Creative experimentation and the generation of innovative ideas in artistic design

Formulation of the problem. Teaching the design of the environment, as well as practical achievements in this field of artistic creativity of teachers, students and graduates of Lviv National akademy of arts, have a thorough basis. Lviv school design of interiors has a long history, and the chair of design of the environment of Lviv National akademy of arts is the heir to the traditions and achievements of several generations of Lviv artists. It is important to reveal the process of formation in Lviv artistic design education, the theoretical foundations of the artistic organization of the subject environment surrounding a person, to identify and compare historical levels in the development of works, their technological and stylistic changes in time, investigate the relationship between different artistic techniques and options design at different stages. Analysis of recent research and publications. Important is the study of Alexander Noha on the theme of the Lviv design school. In his book 2001 «Ukrainian art-industrial ceramics in Galicia (1840-1940)» is considered a period of birth and development of industrial design in Lviv [10]. The activities of the architect Ivan Levynskyi and his school, especially in the art of ceramics important for the design of the environment, were covered in collective monographs: 2019 «Ivan Levynskyi. Impulse» [6] and 2020 «Ceramic code of Ivan Levynskyi» [7]. Architecture and design of public spaces in the structure of historical residential building of Lviv on the verge of the XIX-XX centuries became the object of scientific research in articles and in the candidate’s thesis Olga Lysenko [8]. Similar issues (secession design of the entrance spaces of Lviv buildings) are partially solved Yulia Bogdanova and Zhanna Komar in their 2014 book-album «Secession in Lviv» [24]. The analysis of the source base revealed that to date no comprehensive study of the development of the Lviv school of subject-spatial environment design has been carried out. This problem requires a multifaceted and synthetic approach. The purpose of the article: to consider the forming factors, the theoretical principles of the Lviv design of the environment and their practical implementation in 1872-1918, introduce new facts to scientific space, surnames of artists and their works. Study Results. For the first time there is a comprehensive scientific study of the stylistic evolution of the Lviv design of the subject-spatial environment – from the neo-styles of historicism to secession (art nouveau), modernized empire and early art déco. The universal essence of the secession provided it gradually, but continuously growing coverage of various types of creativity and became one of the main formative factors of a subject-spatial design in the capital of Galicia at the beginning of the twentieth century. The article reveals the formative factors of the design of the environment, illuminates the regularities of the emergence and establishment of artistic and design education and practical activities in this area of the creativity. The emergence of theoretical principles of artistic design in Lviv is shown, starting with articles and public speeches of Julian Zachariewicz. The history of Lviv design of the environment is systematized, in many aspects the works of individual artists of different nationalities are analyzed, their previously unknown works, which are introduced into scientific circulation for the first time, are revealed. In particular, the creative work in the field of design of W. Sadłowski, A. Zachariewicz, I. Levynskyi and his followers, T. Obmiński, M. Olszewski is studied. Getting to know the achievements of leading European art centers, Lviv design school has maintained its independence and originality. The peculiarity of its representatives was the complexity of the polyethnic structure, the multilayer of the topics and motives (the sources of which were diverse aspects of national life and the tradition of everyday life) and in the use of the treasury of regional cultural achievements. Conclusions. The analysis of creativity of artists of the Lviv school design of the environment showed its artistic integrity, revealed a large socio-cultural and artistic significance of objects of subject-spatial design of the period of 1872-1918.The historical change of styles in the design of public and residential interiors of Lviv, the formative factors of design, the achievements of teachers and graduates of the Artistic and industrial school are considered. Until recently, the existing idea of the Lviv art of design was significantly supplemented, and new facts and works were introduced into scientific circulation.

The aim of the project Meta-Image , funded by German Research Foundation (DFG), is to provide a network-based research environment for art history and other sciences concerning visual culture. It consists of the two components prometheus and HyperImage . Meta-Image combines the distributed digital image archive prometheus , which consists of a very large pool of images, with HyperImage ( http://www.hyperimage.eu ), a tool for image annotation. prometheus provides over 700,000 images in nearly 60 connected image databases; Hyperimage facilitates collaborative work directly on the image. The numerous users, the secure legal context for use and the existing technologies for collaborative research make prometheus a perfect subject for HyperImage . This image annotation tool serves as an instrument to support research in art history. It allows the identification of motifs, the creation of linked image networks as well as the addition of metadata. This synthesis creates the ability to reorganise, juxtapose and annotate images in a way that can lead to new conclusions concerning image-based research. Art history and other cultural studies can finally realise the potential of the network based and collaborative analysis of images.

Purpose. The research aims to identify new figurative-artistic, constructive, and communicative qualities of traditional model-making within the context of its synthetic coexistence and development alongside advanced digital technologies of three-dimensional modeling in the processes of visualizing design ideas and artistic form creation. Methodology. The study employs methods of information search and analysis within the defined research field to clearly formulate its relevance. The historical prerequisites for the development of physical models are briefly examined to outline contemporary tasks. A structural and systemic analysis method is applied to determine the role of traditional model-making under the conditions of emerging modeling technologies. Results. The research reveals the role of traditional model-making within its synthetic coexistence and development with contemporary digital technologies. A comparative analysis of the efficiency of using two types of models – physical and digital – is conducted, highlighting their respective advantages and limitations in form-generation processes. Examples of the effective use of physical models in solving constructive and compositional design tasks are provided. Scientific novelty. For the first time, the study emphasizes the rationality and efficiency of using hand-crafted models in contemporary practice on a parity basis with the latest visualization technologies in design and presentation processes. Practical relevance. The obtained results can be applied in design practice, educational processes for training specialists in the fields of art and creative industries, as well as in academic research in art studies, cultural studies, architecture, and design.

PurposeCustomer centricity has evolved into a success factor for many companies, requiring all corporate activities – including business processes – to be aligned with customer needs. With most existing approaches to business process (re-)design focusing on process efficiency, customers are often treated as second-class citizens. Despite emergent research on customer process management, there is a lack of guidance on how to design customer-centric business processes.Design/methodology/approachThe authors conducted a structured literature review and analyzed companies awarded for outstanding customer centricity to compile design heuristics for customer-centric business processes. The authors iteratively validated and refined these heuristics with experts from academia and industry. Finally, the heuristics was grouped according to their expected impact on interaction capabilities to enable their prioritization in specific settings.FindingsThe authors proposed 15 expert-approved and literature-backed design heuristics for customer-centric business processes together with real-world examples. The heuristics aim at increasing customer satisfaction with interaction-intensive core processes, which is an important driver of corporate success.Originality/valueThe design heuristics complement existing efficiency-centered (re-)design heuristics. They reflect cognitive shortcuts that support process analysts in the generation of innovative ideas during process (re-)design. The heuristics also add to customer process management and help put customer centricity into practice.

"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "

With the development of science and technology, computers have brought many changes to our life. For artistic design creation, the use of computer aided design can not only break through the traditional form of expression, more importantly, it can liberate our design thinking. Computer in visual communication, environmental design, animation and industrial modeling and other fields, has become an indispensable performance tool. Computer aided design as a new design tool, it broke the original design form, compared with the traditional technique of expression to its visual effect is distinct, picture abound change simple, accurate and fast operation, easy to modify and so on a series of advantages are obvious, that is why by computer-generated performance figure has a wide range of generally accepted by people in the area, in cultivating talents of higher learning design, computer aided design course has become an important part of art design teaching course system, for art design major students to master relevant professional auxiliary software has become an essential skill.3DS MAX aided design can provide powerful real-time 3 d modeling, rendering and animation design, and other functions, it has been widely used in film and television, games, multimedia production, advertising, architecture, industrial design and engineering visual field, as a design student engaged in film and television media, advertising design and architectural design in the future, etc. At the same time, industrial design, architectural design, environmental art design, animation design and other art design related majors in colleges and universities have listed “computer Aided Design - 3DS MAX” as a compulsory course, and its teaching reform is attracting more and more attention.

Background. Within the framework of art-historical discourse, the peculiarities of the influence of design developments and concepts on progress of humanity are considered. Researchers offer ambiguous estimates of this phenomenon, discussions are lasting and different opinions on the issues of influence of design on technological and cultural progress of human society are putting forward. The aim of the paper is to systematize and generalize scientific concepts about the design role in the society progress. Novelty of the research consisting in synthesis of information on features of development of design for the last years in various spheres of culture and social practice defines its practical significance: the Ukrainian educators and art critics can consider the information contained in the article useful to develop new strategy of training in bases of design to non-specialist students. Methodology. Major publications and monographs on the subject have been reviewed. It has been found that terminological judgment of design began with the middle of the XX century, first, within postmodern paradigm. The design as a component of culture correlates with cultural and art traditions, philosophy, ecology and other areas of public and humanitarian knowledge. Hence, the study of the role of design in ensuring progress provides for the wide use of theoretical and methodological tools not only of design theory, but also of other disciplines: art history, cultural studies, social psychology, aesthetics, ecology, etc. The design is considered both as universal and as a national phenomenon. The definitions of design in the works of a number of domestic and foreign authors in the context of its cultural-creative influence are compared. The analysis of design in its connection with artistic creativity is carried out. The components of contemporary design art are determined, the characteristic to the newest manifestations of design is given. Results. The design represents the hierarchical structure expressed by means of а material, space and balance of proportions, contrasts, repetitions (in ornaments, etc.), scale and a form, a size, a color and density, texture and weight, and other. It is possible to consider culture of design as the huge multilayered text, which is written down by different ways in different spheres of culture and art. However the dilemma “art or production” in the sphere of design is inevitable. Design is directly involved in technical progress in material culture and uses the art of planning, invention, modeling as a method, also introducing new object forms (see, for example, Vershinin & Melentyev, 2005: 1001). The design role in culture is connected with creation of esthetically perfect fine environment. At the same time, it is differentiated essentially depending on the region of the world. So, design creativity is reasonably considered a manifestation of project activities and project culture of the 20th century. However, the progressive function of design at the beginning of the 21st century is that design is becoming a way to bridge the gap between technical civilization and spiritual culture, and design projecting is becoming a way of harmonizing human life in a modern environment. The importance of design for the progress of humankind is clearly demonstrated by the modern ecological direction, one of the components of the international movement of “green” design, namely, “environmental” design. This concept implies the creation of products that are compatible with the environment, the reduction and complete elimination of the negative impact on nature through the use of alternative resources and energy, as well as non-toxic materials. Ideally, the design should be in line with the “3R” ecological principle: reduce, reuse, and recycle. The value of design for progress in art can be understood, having only tracked integration of painting, architecture, industrial and graphic design and having seen what the role in tangled process of creation of design is played by contents and a form, which also are the expression of the thought, the point of view and social responsibility of the designers. It is also important to emphasize the role of the designer’s profession, because for many artists design and art is a cultural mission, where life and work are inseparable. Judgments of design in art are formed, proceeding from two types of estimates: symbolical, or associative (external), and formal (internal). Symbolical estimates are mostly subjective and have no relation to design or art per se, being most often based on a habit, rumors, others thought, personal factors, prejudices, misunderstanding, that is on social, psychological, political, financial and even religious factors. Internal assessments concern an esthetics and actually design (appearance of the work of art, its visual quality) regardless of what it personifies. If external estimates belong to contents, then internal – to beauty. The latter is difficult to measure it and here such factors as talent, erudition, taste, susceptibility, experience and visual feeling matter. When determining a role of design in art, it is also necessary to remember that the principles of laconicism, laws of color, a rhythm and even plot equally work in any material, these fundamentals exist out of time, space, the state, school or style. To resume, human progress is largely driven by the positive influences of design concepts. Summarizing the views of Ukrainian and foreign researchers, it can be argued that design as a type of purposeful creative activity of mankind contributes to progress, since: 1) provides support for the development of civilization by creating new and improving known man-made objects; 2) creates an optimal human environment in order to achieve maximum comfort of his existence; 3) contributes to the formation of creative personality traits, its purposeful activity, which is one of the main social tasks. Design acts as an universal phenomenon, which covers different spheres of human activity, being, at the same time, the factor of socio-cultural communication and the basis for personality realization. As the socio-cultural phenomenon, it correlates with understanding of the person as source of intrinsic forces acting like the harmony catalyst in space.

The article discusses transcultural art history with Danish examples about Japanese art. This includes an introduction to the concept of transculturation, and how the concept is used in art history research. The core of the argument concerns two interrelated aspects of Danish art historiography: the role of ethnography and the myth of modernism as a Western phenomenon. For the first of these aspects, I analyse the only existing Japanese art history in Danish language, published in 1885. For the other aspect, I analyse recent interpretations of the Danish painter Anna Ancher and her alleged use of formal elements from Japanese woodblock prints. I thereby wish to connect the theoretical issues of transculturation with analyses of transformative and constituent exchange of objects, phenomena and ideas, and point out the potential of the concept of transculturation as both theory and method. An investigation of transcultural connections between Japan and Denmark will contribute to writing a new art history on global interactions.

This project studies the patterns in which the Medusa myth shapes, constructs, and transforms new meanings of women today, correlating portrayals in ancient Greek myth, nineteenth- century Symbolist painting, and new, controversial, visions of women in contemporary art. The myth of the Medusa has long been the ultimate symbol of woman as monster. With her roots in classical mythology, Medusa has appeared time and again throughout history and culture and this book studies the patterns in which the Medusa myth shapes, constructs, and transforms new meanings of women today. Hedgecock presents an interdisciplinary and broad historical “cultural reflections” of the modern Medusa, including the work of Maria Callas, Nan Goldin, the Symbolist painters and twentieth-century poets. This timely and necessary work will be key reading for students and researchers specializing in mythology or gender studies across a variety of fields, touching on interdisciplinary research in feminist theory, art history and theory, cultural studies, and psychology.

The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.

When we first applied for the role of organizers of the VI th International Congress of Art History Students, in what now seems like a very distant late 2016, we knew there

This article provides an introductory discussion of the ways in which popular perceptions of artworks, artists, and the creative process have generated a repertoire of recurring motifs. Sometimes reinforced by art historical research and documentary evidence and sometimes at variance with all such scholarship, the tropes of ‘artlore’ constitute a catalogue of persistent story types that spring from visual interpretation experienced within a shifting cultural context.

Proposing Bakhtin’s dialogical principle as a guiding light for cross-cultural studies in art historical research on the diasporic formation of Afro-modernism, Kobena Mercer’s discussion essay highlights the value of his postformalist outlook as he responds to commentaries by Eddie Chambers and Huey Copeland on his edited series Annotating Art’s Histories. Examining interactions among artists, artworks, and artworlds as a dialogical circuit facilitates close attention to art’s aesthetic agency without the pitfalls of biographical reduction to identity or sociological reduction to context.

Araştırmanın ilgilendiği sanat işleri, sanat tarihi çalışmalarında “duvar resmi” terim anlamının içine dâhil olmaktadır. İncelenen resimler, “geçiş döneminin” artık fotoğraf teknolojisinin de bu uygulamada rolü olduğu 19. yy. ‘ın son çeyreğine aittir. Edirne’de konak maliki merhum Şücaattin Dumlu ismi dolayısıyla Dumlu Konağı olarak geçen günümüzde metruk halde bulunan tarihi konaktaki toplamda 4 adet duvar resmi, estetik değerleri, mekânla kurduğu ilişkileri ve sanat tarihsel özellikleriyle incelenmektedir.

As we contemplate the future of forest landscapes under changing climate conditions and land‐use demands, there is increasing value in studying historic forest conditions and how these landscapes have changed following past disturbances. Historic landscape paintings are a potential source of data on preindustrial forests with highly detailed, full‐color depictions of overstory and understory environments. They display key details about forest community composition, microhabitat features, and structural complexity from a time well before the advent of color photography. Despite these paintings' potential, their scientific applications have been impeded by questions of validity.How truly accurate are the images portrayed in these paintings? How much of an image is an artist's manipulation of a scene to best illustrate an allegory or romanticized view of nature?Following an established assessment model from historical ecology for evaluating resource validity, we demonstrate how scholarship on art history can be integrated with ecological understanding of forest landscapes to follow this model and address these questions of image veracity in 19th century American art. Further, to illustrate the potential use of these historic images in ecological studies, we present in a case study assessing microhabitat features of 10 different paintings. While this paper explores 19th century landscape art broadly, we focus our art historical review in particular on Asher Durand, a prolific and influential artist associated with the so‐called “Hudson River School” in the mid‐1800s. Durand left clear records about his perspectives on accurately depicting nature, and from a review of images and writings of Durand, we find support for the potential use of many of his paintings and sketches in historic forest ecology research. However, we also identify important caveats regarding potential ecological interpretations from these images. More broadly, because 19th century landscape paintings are not always directly transcriptive, and because regional art cultures differed in the 1800s, we cannot within this paper speak about landscape image veracity across all 19th century landscape art. However, in following established methods in historical ecology and integrating tools from art history research, we show that one can identify accurate historic landscape paintings for application in scientific studies.