Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 Development of design education in : history and contemporary problems

1Anna V. Solovieva, Tatiana S. Semichevskaya, Oleg V. Bik, Elizaveta S. Terekhina

1 Department of Architecture and civil engineering at Peoples’ friendship university of Russia (RUDN University), , Russia; 2Department of Architecture and civil engineering at RUDN University, Moscow, Russia; 3Department of Architecture and civil engineering at RUDN University, Moscow, Russia; 4Department of Architecture and civil engineering at RUDN University, Moscow, Russia; [email protected], [email protected], [email protected] [email protected]

https://doi.org/10.26782/jmcms.2019.03.00051

Abstract The article discusses particularities of the development of design education in modern Russia. The necessity of interrelation between classical art and design, academic art and engineering education, traditional craft and applied art was identified and represented by variety of opinions of Russian and foreign researchers. It shows the evolution of opinions on the methods of formation a creative vision in the process of professional training of future designers. Article contains a detailed analysis of the history of educational activities and creative concepts of innovative design trends and activities. It shows the specific place and role of art universities, as well as the contribution of individual masters in the development of modern design education. Today in Russia, the graduate preparation of designers is determined by the federal state standard, but the alternative system of design education on the basis of non-state private educational institutions is becoming more competitive. The results of the analysis show that the formation of a creative vision in the process of professional training of future designers implies the multidimensionality and unity of design education. Keywords : design history, design education, russian design, professional competency, professional training

I. Introduction It is well known that the context in which we receive information impacts our interpretation of the information, the opinions we form and the decisions we make.

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 Studying history of the design is a way to add context that will impact understanding of design in a positive way. Studying design history means investigating the way the outstanding designers created their masterpieces, exploring the beautiful path the human mind came through. Learning design experience for higher education is extremely important for not to repeat faults and mistakes that were made before. And studying history of national design also helps to understand better the particularities of your own country and also adds a lot to understanding the global processes in world art and design. II. Development of design education in Russia The word "design" in the international professional vocabulary came into common use in the middle of the XX century. The ambiguity of the term, both abroad and in Russia, is due to the interconnection of several types of activities: art-project activity, engineering design and science. Thus discussing the semantic basis of the phenomenon of design as a kind of culture some specialists see it as an entirely commercial beginning, marking it down as a product of mass art while others using luxury design as a counter-argument, see it as the fundamental basis for "high" art. Regarding it there are different opinions about the nature of design, which in their essence can be reduced into determining the role of design in the life of society: as an exclusively commercial activity aimed at consumer demand; or as a free creativity which contributes a lot in aesthetic formation of the consumer taste. For example, the Soviet and Russian researcher of project creativity and architectural heritage Vyacheslav Glazychev (2006) writes in his famous book "Design as it is" that for John Gloag the only ideal was the development of "the normal good design" and any attempt to impose a new profession with any abstract ethical or aesthetic ideal, which has nothing in common with the market and consumer’s demand, evokes in him a sharp protest against the "intellectual dictatorship". Philip Ashford under the function of design considers always only the consumer function, which is thus unified and indivisible in all the diversity of its components (Glazychev V., 2006). From the philosophical point of view, all these differences are determined by the specific feature of this dual world in which the antagonism between economy and art has always been a problem. There is an interesting argument in the works of Fr. Sergius Bulgakov (Lossky, N., 1991): "If art treats economy scornfully and contemptuously for its calculating utilitarianism and wingless creativity, then the economy patronizes art for its dreamy impotence and involuntary parasitism in the face of economic need." No doubt, in a developed society one cannot exist without the other and in such conditions "the ideal unity between art and economy is achieving through the art of life itself, which transforms the world and creates life in beauty." In this respect, design as the closest to everyday life form of art can and should be one of the directions of professional creative activity "reconciling" both sides of being.

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 Design as an educational activity starts its history from the era of industrialization, when a serial factory production necessitated a new profession. For the first time the problems of teaching the basics of design were announced during the discussion of the results of the First World Industrial Exhibition held in London in 1851. And specific suggestions on reforming the education system in art schools with the idea of specializing in basic design activities after general introductory courses were given first in the book "Science, Industry and Art" by Gottfried Semper (1970). This teaching methodology was included in program of South Kensington College, opened in 1850s, where students studied museum collections and exhibitions of contemporary art industry, paying great attention to manual assignments of projects in the material. Already by the middle of the 1870s the School of Industrial Art in Helsinki included classical methods of art education - drawing training, geometric constructions on the plane and in space, as well as mastering various techniques while working with wood, metal and textiles. Today design is represented by integration of project-design and artistic activity, existing simultaneously in the field of art and technology, synergizing the natural, technical, humanitarian knowledge, engineering and artistic thinking, and aimed at shaping the architectural and design environment in all spheres of life. As a consequence, a new professional activity was established, based on indissolubly intertwining concepts - technology and aesthetics, and its main practical task is the creation of an objective environment that harmoniously combines both spiritual and utilitarian needs of the life of society. But such a broad interpretation presents ambiguous and contradictory requirements for the training of specialists in the field of design, whose professional qualifications are closely related to the level of aesthetic perception and rethinking of the environment. In this regard, various approaches and directions in design education have evolved into various world schools that have their own concepts. In Russia the historical path and other factors determined the prerequisites for the formation of its own school which has its own characteristics. A distinctive feature of it is a close relationship with classical art, academic art education, engineering and traditional arts and crafts. As we know from the history of Russia, the beginning of art education was due to the opening of the Academy of Arts in 1757 in St. Petersburg. In 1764, the Empress Catherine the Great approves the charter and staff of the Academy, which receives the status of the . Founding the Academy, Catherine II collected there the children of noble families, and she personally supervised their upbringing. The special character of the upbringing at the Academy of Fine Arts deserves some serious attention. Complete freedom, moral mood and practical way of teaching without any violence constituted the extraordinary strength of this institution. Children, who were still supervised by nannies, constantly heard French, German and Italian languages and effortlessly learned them. This subsequently gave them the opportunity to get acquainted with the scientific literature of the then-scholarly world. Children were taught to music, there were choirs and their own orchestra. Drawing was also a mandatory subject for everyone. There they knew not only how to

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 compose and sculpture a monument, but also how to cast it in bronze. The technical side was next to the formal and aesthetic. Not only art, but also crafts, such as: blacksmith, carpentry, woodwork, etc. were practically studied by the aesthetically developed students of the Academy. From which it follows that the engineering and technical side (necessary for the implementation of the idea) was given no less importance. In 1825 Count S.G. Stroganov in Moscow was founded "School of drawing in relation to arts and crafts." Its creation was caused by the demands of the national culture, social and economic development of the country of the time when traditional art crafts gave way to the coming industrial production. At this time, there was a need for specially trained artists who would be to link art crafts with their traditional scheme of transferring creative craftsmanship "from father to son" and the new demands of a rapidly developing national industry. The founder of the school - Count S.G. Stroganov was a representative of the well-known family of the richest industrialists, a participant in the Patriotic War of 1812, who advocated the development of national art. The systematization of art education through introduction of such subjects as "Composition", "Study of Styles", "Study of Ornaments", "History of Russian Art" and "Universal Art History" ensured the production of qualified artists for the art industry (Solovieva, A.V., 2010). Undoubtedly, the search for inspiration in practical project activities was replenished from authentic sources, folk traditions and the rich cultural heritage of Russia. At the edge of the XIX-XX centuries in Russia appeared Talashkino and Abramtsevo estates which had a unique significance as the centers of artistic life. The village Talashkino, just like Mamontov's Abramtsevo, thanks to the efforts of Princess M.K. Tenisheva Fig.1 becomes the center of the revival of folk crafts and the creation of a new Russian style. Forgotten peasant crafts were born anew and the ancient artistic language was updated in Talashkino village. Everything was adapted to culture and living, to the demands of modern life.

Fig. 1: I.E. Repin. Portrait of Princess M.K. Tenisheva. Canvas, oil. State Russian Museum.

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 "I wanted to try and to test my forces in this direction, calling for help an artist with a great imagination working on this ancient Russian fairytale past, to create an artistic atmosphere that I did not have," wrote M.K. Tenisheva (1933) in her memoirs "My Talashkino workshops are a test of Russian art". Sketches for art and craft workshops, where boys were taught carpentry, pottery, ceramics, carving and painting, and girls - needlework, created by living and working in Talashkino artists - Victor Vasnetsov, Mikhail Vrubel, Konstantin Korovin, Nikolai Roerich. Artist Sergei Malyutin, who led carpentry and carved workshops, sketched chests and armchairs, and a fabulous "Teremok" Fig, 2-3, a home theater and a museum "Russian Antiquities" in were built basing on his projects (Voronov, N. V., 2002).

Fig. 2-3: The hut "Teremok" - the project of the artist S. Malyutin 1901-1902.

The Church of the Holy Spirit Fig.4 was created by the project of Sergey Malyutin, Maria Tenisheva and Ivan Barshcheuski in 1902-1905. In 1910-1914 it was decorated with mosaic sketched by Nicholas Roerich, recruited in the private mosaic workshop of Vladimir Frolov. The color of the mosaics is still very rich - azure, densely crimson, clean ocher.

Fig. 4: Church of the Holy Spirit

Soon after the revolutionary events of 1917 with the beginning of the era of industrialization, the Moscow Svomas (Svobodnye gosudarstvennye khudozhestvennye masterskiye) – “Free State Art Studios” are opened in Russia and

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 a real history of the emergence of special design education in our country begins, where design training took place at the intersection of production and agitation-mass art. In 1920 in Moscow through the unification of the Svomas, formed earlier on the basis of the Stroganov School of Art and Industry and the Moscow School of Painting, Sculpture and Architecture, the Moscow educational institution - acronym for Vysshiye Khudozhestvenno-Tekhnicheskiye Masterskiye - "Higher Art and Technical Studios", and Institute INHUK (Institute of Art Culture) (Khan-Magomedov S.O., 1996). In the early 30s, Russia became one of the most important centers of design formation in the production departments of VKhUTEMAS and it is this time that can be considered the beginning of the professional training of certified designers in the country, when the task of combining art and practice was set before the national art school. In the period of industrialization of the country the design contributed to the formulation of the artistic style of socialist society and the state national idea. Since the 30-ies there are numerous theoretical conceptual developments about the role of design and its place in the life of the Soviet man. Despite the popularization of the avant-garde, the mass art of Soviet Russia retained academic artistic principles. The method of teaching design in Soviet Russia these years, similar to the Bauhaus method in Germany was aimed at solving practical tasks: the development of household equipment for dwellings, the furnishing of working clubs and public interiors. Despite significant differences in the ideological views and pedagogical conditions of these educational institutions, their experience and educational concepts formed the basis for all subsequent world design schools. The propaedeutic courses developed on the basis of these educational institutions were subsequently accepted by many schools of the world and included in the structure of the initial training of designers. In the first third of the 20th century in Russia, not only the methods of shaping were comprehended, but attempts were also made to develop a design-project method. In newly created VHUTEMAS and INHUK institutes the questions of "objective methods" of teaching were raised to solve art problems. "Objectivity" should have been in the general that unites the methods of teaching various artistic disciplines. The origins of this method lie in the currents of avant-garde art, revealing the highest level of abstraction, composing the composition, determining the conditions for perception of the artistic image and the formation of creative design concepts. The idea of creating an architectural environment for the new society served as a stimulus for the development of a new style - constructivism, which was associated with a radical restructuring in the ideological views of the society of Soviet Russia. Architectural projects of architects and designers of the time (K. Melnikov, etc.) distinguished by new artistic, functional-planning and architectural-spatial solutions. The avant-garde projects of A. Rodchenko, L. Lisitsky, V. Tatlin, due to the classical architectural art, were adapted to the real solution of town-planning tasks and innovative ideas in printing works (advertising, campaign posters, book printing). In the same period, the design begins to be divided into narrowly applied directions: engineering, technical, and decorative, which were perceived as different types of activities. The development of higher design education continued with the creation of the All-Union Scientific Research Institute of Technical Aesthetics

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 (VNIITE) in 1962 in USSR, whose specialists managed to preserve the Soviet theoretical school, continuing to study the experience of European design and putting forward their concepts. Along with the creation of VNIITEE begins the training of specialists in artistic design in Moscow Art and Industrial School named after S. Stroganov. The faculties and departments of industrial art were opened, but the problems of reforming and developing design education at the state level were not touched upon, and the steps taken in this direction were made due to the enthusiasm of the people who were at the root of the formation of design education in our country. The methodology of the training consisted of two directions: the first, artistic design, which relied mainly on engineering science and was associated with the activities of the Special Art Design Bureau (SCKB) and VNIITE. The second is artistic design, which relied on fine art and artistic culture in general. The foremost authority of domestic design theory O. I. Genisaretsky (2009) writes that "in the 1960s. for art historians, philosophers and methodologists, design was something like Klondike - a land where you could test your strength ". Thus, one of the advantages of Russian domestic design education has always been the ideological influence, as well as the breadth and large volume of academic knowledge, but the design education is intended to give maximum knowledge about the true art and teach to apply it in the realities of modern life. The post-Soviet period in Russia expanded the notion of design, as a result of which a great potential for its development was mastered. This was facilitated by the openness of borders and the global spread of media technologies. All this contributed to a cultural exchange and opened up to anyone who wants access virtually to all the knowledge that has been accumulated by mankind since the appearance of physical media. After 30 years of copying, saturated with the stereotyped application of foreign models, often divorced from the real-world reality, we return to the origins and do not separate design from the historically traversed path of art and our cultural heritage, coming to understanding the necessary connection of design with classical art. But we shouldn’t forget about the peculiarities and needs of our society. Such a statement of the problem makes serious demands on the upbringing and education of domestic designers. III. Results and Discussion Nowadays in Russia design takes on a new life in the sphere of production, that’s why the system of training of future designers began to reform. In many leading universities of the country began to open faculties and departments of design, changing the principles and approaches to the educational program for the training of future specialists. Today Russian design education includes such areas as interior design, environment design, graphic design, clothing design, but there is also a more extensive concept - creative industries covering such concepts as music, art, cinema, television. In modern methods of education, design is represented by a project culture, and project design itself is the process of creating a project with a certain theme. In modern Russia the main state educational base preparing specialists with a higher education in the field of design are the educational institutions that emerged

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Copyright reserved © J.Mech.Cont.& Math. Sci., Special Issue-1, March (2019) pp 509-517 immediately after the end of the Second World War. In the field of industrial, environmental and graphic design - this is the Moscow State Art and Industrial University. S.G. Stroganov (MGHPU), the St. Petersburg State Art and Industry Academy (S.P.HPPA), as well as the Ural State Architecture and Art Academy (UralGAHA) in Yekaterinburg. But at the beginning of the 21st century more attention is paid to the alternative system of design education that arose on the basis of non-state private educational institutions. Today in Russia, graduate preparation for creative activity in the field of modern design is determined by the federal state standard and implies the mastery of certain competences by the student. Theorists and practitioners of education in the field of design discussed the issues of reforming design education in connection with new theoretical concepts and views on design, the relevance and socio-cultural significance of the dissemination of design ideas, the trends of its interaction with other spheres of culture. But with all the diversity of formulations and terms, students see the creative component as the basis for the formation of professional competence (Slastenin V.A.; Isaev I.F.; Shiyanov E.N., 2002). The formation of a creative vision in the process of professional training of future designers implies the multidimensionality and unity of design education, as well as the equilibrium functioning of its three elements: education, upbringing, creative development of the personality (Tkachenko, E.V.; Kozhuhovskaya, S.M., 2004). IV. Conclusions

Even within the framework of a unified system of higher education, under the influence of the regional factors of our huge country, each of Russian design schools (Moscow, St. Petersburg, Yekaterinburg, Rostov, etc.) is guided by its original concept with an individual vision of the tasks, methods and means to solve them. This is in tune with the current tasks of the state policy - the search for one's own idea, the formation of its multinational ethnos, its features and established traditions. As a result of the passed way, we return again to comprehending our own understanding of aesthetics, due to a number of ethno-cultural, political and spiritual characteristics, and such a paradigm contributes to the artistic, aesthetic and spiritual education of the younger generations (Solovieva, A.V., 2008). V. Acknowledgment The publication was prepared with the support of the “RUDN University Program 5-100”.

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