is" [15, p. 346]. That is, the differences between scientific disciplines relate to the
aspects and manifestations of the studied "necessary" and are based on a comparison
of these aspects. Since the scientific is a priori concentrated and localized in its own
beautiful grounds, it does not participate in this process of comparison and refers it to
the competence of the philosophical sphere, which, in general, plays the role of a
specific interlayer designer to differentiate between the various scientific branches.
According to the famous Russian philosopher of the design N. N. Mosorova,
"design, developing and enriching its own philosophical methodology, turns not into a
super tool but into the art of liberation and self-development. The objective of the
design is the specification of maximum consumption, individualization of the results
of the project, the implementation of design methods of participation. The design aims
not only related to the solution of problems of material equipment of life but also very
specific tasks aimed at activating passive consumerism. The design provides a man
with the opportunity to experience the richness of her own existence, a variety of
possibilities, helps to feel the possession of their own imagination" [10, p. 3-4].
CONCLUSION
Having originated as due to changes in industrial production phenomenon, design
in the period of its existence passed the stage of self-development, dissemination,
socio-cultural deepening and grew into a powerful force, one of the most significant
cultural phenomena, which is able to determine the spiritual state of a person and
influence current problems of an individual and social life.
The application of historical approach gave the opportunity to present the design
evolution as a development/transformation of its spheres of influence, technological
and methodological tools and objects of development. Starting from the design of
individual products, it gradually turned into development activities of the subject
systems, the spatial environment as a whole. The analysis of variations in a modern
design activity allows to represent a specific tool to identify and factor in the formation
of culture in all possible ways.
The significance of cultural approach to a holistic understanding of design is to
bring its unquestioning relationship with the cultural sphere; the allocation of design
activities to everyday culture, which is closely connected with the concept of fashion,
the problems of formation of individual and public aesthetic taste, consumer
preferences, expectations etc.
Aesthetic approach appeared, to a certain extent, to be fundamental for the
development of the design theory and influenced the understanding of the ideological
foundations of its activities as the artistic aspect of technical or technical expression in
the art form. The deepening of the study of the aesthetic contributed to its wider
understanding which in general expresses the internal through the external and applies
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