ОНТОЛОГІЧНА ОСНОВА ВІНТАЖНОЇ КУЛЬТУРИ В КОНТЕКСТІ ОРГАНІЗАЦІЇ ЖИТЛОВОГО ПРЕДМЕТНО-ПРОСТОРОВОГО СЕРЕДОВИЩА
| Main Author: | Сталінська Г. Д |
|---|---|
| Format: | Article Journal |
| Bahasa: | ukr |
| Terbitan: |
, 2018
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| Subjects: | |
| Online Access: |
https://zenodo.org/record/1801220 |
Daftar Isi:
- In recent years, there has been an increasing interest in vintage culture and its implementation in the interior design. The circulation of vintage culture, especially in the aspect of the formation of the subject-spatial environment, is observed in the countries of Western and Eastern Europe and the USA. The tendency of the organization of interiors on the basis of a combination of antique objects (or stylized antique) and modern elements in interior design became popular at the beginning of the XXI century. The wide assortment of design materials and their variability have created the need to consider the origin of the vintage stylistic direction, the reasons for its popularity and demand in contemporary design practice. The objectives of this study are to determine the consideration of the ontological basis of vintage culture, the reasons for its occur-rence, demand, and prevalence in contemporary design practice. The causal link of the emergence of the vintage culture is the ontology, a philosophical doctrine of being, investigating the most common causes of all things, examining the sources, the nature and directions of the development of the universe and its components of large and small systems. An analysis of the ontology of vintage culture is aimed at revealing the root causes of its occurrence and the peculiarities of its implementation into the design of the environment. The consideration of this question is one of the top priorities of the study of socio-cultural issues of the stylistic direction of the “vintage”, which is embodied through the synthesis of social relations and culture and is a manifestation of its social essence. The social culture acts as a quality systemic that includes spiritual values, sustainable traditions, and social experience. These aspects are best shown in the stylistic direction of the “vintage”, in which the revival of local traditions reflected in the ethnocultural vintage, and the rethinking of a certain social experience formed the concept of industrial vintage. The results of the research support the idea that the technological revolution, computerization, dissemination, and popularization of communicative networks and the formation of a modern “ideal” model of human life led to the creation of a distance of the traditional cultural features in different countries of the world. The globalization of social processes, the departure from traditional cultures, values and the associated unification and standardization of life in the new conditions of the social and economic development of the Western world have become a new reality. The mentioned processes neutralize the cultural-historical heritage, which leads to standardization, unification, and impersonation of objects of the environment of human life. The globalization erases distinctive features and traditions that are a certain obstacle to its integration. The basic principles of globalization are standardization and minimalism. The standardization is related to the economic space, the spread of global brands that promote their own concepts without taking into account specifics and traditions. In the design of the subject-space environment, standardization destroys the unity of spiritual and artistic traditions of the em-bodiment of cultural values, and the replacement of traditional materials and technologies in the world destroys the identity of both objects and residential and public interiors. The standardization in the design of the spatial environment gradually erases the subtleties and refinements that become economically unprofitable for their support. The rich heritage of forms of culture disappears through the natural processes of human life, which are caused by economic expediency, technological development of society and the evolution of media and innovative technologies. On the ontological level, this means the transition from the process of contemplation and the close relationship with nature to the pragmatic development and the speed of being. The above-mentioned globalization processes, and especially the development of innovative technologies and their active implementation into all spheres of human activity, have shaped the urgent need of society for the organization of a more humanist-oriented housing spatial environment that would be of an individual nature and would create connotations with a particular culture or region. Fundamentals of the modern societies life caused the desire of a certain part of society to return to valuable landmarks linked to their cultural and historical heritage. This created new tasks for the design of spatial and spatial problems, where it became necessary to find a balance between progress and tradition, abandonment and self-identity. This task has caused the emergence of tendencies for the reproduction and preservation of cultural identity, genetic memory, support of the individualized nature of being and the specifics of the organization of the housing subject-space environment. It is entirely reflected in the concept of vintage interior, one of the areas of which is thе restoration and reconstruction of the traditional and comfortable living environment of human life. The restoration of an authentic living environment rich in artifacts of material culture creates a harmonious coexistence of the processes of globalization and the preservation of the inheritance of past generations. In this case, the stylistic direction of “nesting” acts as a mediator between the two poles of the present: innovation and tradition, globalization and self-identification. In the aspect of the development of vintage culture, the preservation of authentic artifacts and traditions of the past and the creation of stylized pseudo-historical objects become the dominant ones. Here one can distinguish one of the main approaches to the creation of vintage objects – appeal to national traditions and experience of the past. An important method for implementing this approach is the use of various technologies of manual production of objects of the subject-spatial environment, which in the past determined the appearance, stylistics and natural materials of the relevant traditions and artifacts.