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1 Non-state educational institution higher professional education "Russian-British Institute of Management" (NOUVPO RBIM) Department of Design V.S. Bannikov LAYOUT IN ENVIRONMENTAL DESIGN Reference material and guidelines for students in the field of Design, Chelyabinsk, 2015
2 Landscape design of the environment: Reference material and guidelines for performing practical tasks. Chelyabinsk: NOUVPO RBIU, p. Author-compiler: V.S. Bannikov, Member of the Board of Directors of the Russian Federation. This publication includes theoretical and reference material, structured according to models, defines the content of practical tasks by type independent work; offers one of the test options in the form of testing. In order to ensure high-quality completion of assignments, educational literature is presented with page numbers. Reviewer: I.V. Vinokur candidate pedagogical sciences, Director of the Higher School of Art of the NOUVPO RBIU, Head of the Department of Drawing and Painting of the NOUVPO RBIU
3 CONTENTS Introduction... 4 Contents academic discipline... 4 Methodical recommendations for independent work... 5 Tasks for independent work of students... 8 Bibliography...10
4 METHODOLOGICAL RECOMMENDATIONS FOR STUDYING THE DISCIPLINE "LAYOUTING IN ENVIRONMENTAL DESIGN" for independent work of students The main objective of the course "Layouting in Environmental Design" is to develop the personality of students, prepare them for the future professional activity as a designer. Methodological recommendations are intended to help students organize independent extracurricular work on the course, as well as deepen and systematize subject knowledge on the main issues of the course. The study of landscape design is focused on students mastering a system of knowledge about the aesthetic qualities of natural and cultural landscapes; consideration of the historical experience of gardening art and current problems architectural and landscape organization of city territories; mastering skills in the field of landscape design (architectural and landscape analysis of the territory, creating landscape compositions in the form of draft graphic sketches, working and layout drawings, plans and writing explanatory notes for them). Before starting to master the discipline Modeling in Environmental Design, the student must carefully familiarize himself with the Course Program, which reveals its structure, logic and sequence of study topics, and records the list of knowledge that the student must master upon completion of the course. In the learning process, forms such as lectures, seminars, and independent work are used. CONTENT OF THE ACADEMIC DISCIPLINE 2.1. Contents of the discipline Section I. Layout methodology. Topic 1. Introduction. Connections General introduction to the purpose, scope and objectives of the Layout Course. Contents of the work. Layout and its role in the designer’s design activities. Rigidity elements. Methods of joining (gluing): end-to-end (on edge), gluing one form to another using folded edges of paper. Topic 2. Platonic solids. Shells.
5 Study of the properties of Platonic solids. Creating a form from repeating elements. 1. Marking 2. Cutting 3. Making developments, assembling polyhedra from them - tetrahedron, cexahedron (cube), octahedron, icosahedron, dodecahedron.. Topic 3. Bodies of revolution. Creation of bodies of rotation.1. Marking along the generatrix. 2. Assembly from repeating elements. Topic 4. Reverse fold. "Terrain". Studying the properties of paper through opposite paper folds. Studying how to make a relief from one sheet. Sketch development. Drawing according to markings. Incisions. Deflections Topic 5. Origami. Mastering the origami technique. 1. Marking.2. Flexion. Topic 6. Transformations. "Showcase space." : Creation of complex shapes through transformation. 1. Marking. 2. Cuts according to the markings. 3. Gluing. 4. Formation of volumes by folds. Topic 7. Elements of interior equipment. Creation of individual interior filling elements. Studying methods for manufacturing complex volumetric shapes.1. Sketch marking. 2. Cutting out individual elements. 3. Manufacturing of individual elements and their arrangement. 4. Assembly. Topic 8. Interior of a room (bedroom, office, kitchen). Studying methods of creating interior space (deep spatial composition). 1. Creating a sketch. 2. Cutting out individual elements. 3. Manufacturing of individual equipment elements and their arrangement. 3. Assembly. Methodological recommendations for independent work It is advisable for each student to listen to all lectures on the course Layout in Environmental Design, making notes and highlighting the most significant provisions in them. Independent work consists of participation in seminars and practical classes, allowing the student to
6 theoretical and practical levels to understand problems that are difficult for him, to get answers to questions that turned out to be incomprehensible. Exchange of opinions and active discussion with other students in the group on the issues of historical and further development of landscape design will contribute to more successful mastery of educational material. In preparation for the seminar and practical classes the student should use the Layout Course Syllabus. in environmental design: read the list of questions, as well as the list of report topics, familiarize yourself with the list of basic and required literature. After this, the student will have to take notes on the required literature. To do this, you need to carefully read the recommended texts, and then, having studied the analogues, make a series of analytical sketches that clearly demonstrate those ideas that are important for their further application in practical work. Next, it is advisable for the student to study the relevant sections teaching aids. If any questions remain unclear or arouse special interest, they should be recorded and referred to additional literature. Such questions, further, should be proposed for general discussion at the seminar and possible options for their implementation should be clearly demonstrated in sketches. All the literature necessary for preparation is available in the reading room of the library of NOUVPO RBIU. In addition, students receive from the teacher individual assignments for independent work, consisting in preparing the study of visual and theoretical material for further solving problematic design problems. When preparing a report, the student, having studied the list of recommended literature on this issue and in consultation with the teacher, studies the literature, visual material, draws up a plan for his work and selects analogues that allow him to reveal the main issues of this plan. Next, the student completes a series of sketches (5–10 options). In order to achieve a conscious attitude towards the educational process, students need to learn how to organize their work independently, look for an idea, formulate goals, identify hidden problems, and improve technical skills. When performing practical independent work, it is necessary to clearly fulfill the tasks and requirements set by the teacher. You should also pay attention to the thoroughness of the work.
7 When preparing for a seminar, which involves answering theoretical questions along with listening to reports, it is recommended to adhere to the following sequence in work: 1. First repeat, and, if necessary, study the visual range related to the material covered: practical work, diagrams and illustrations in lecture notes and educational literature; 2. Repeat special words and expressions; 3. Repeat text material from lectures; 4. Read the text of lectures and educational literature. Preparation for independent work is carried out on the following topics, which are given in the table. Independent work of students Table 1. Topic Contents Control form hours 5th semester Topic 1. Introduction. Compounds Topic 2. Platonic solids. Topic 3. Bodies of revolution. Gluing one form to another by turning over the edges of the paper. 1. Marking 2. Cutting 3. Making developments, assembling polyhedra from them. 1Marking along the generatrix. 2.Assembly of repeating elements. Examination homework; discussion of work results Checking homework; discussion of work results Checking homework; presentation Topic 4. Reverse fold. “Terrain” 1. Development of a sketch. 2.Drawing according to the markings. 3.Incisions. 4. Deflections Checking homework; presentation. 2
8 Topic 5. Origami 1. Marking. 2.Bending. Presentation, discussion of issues on the topic. 6 Topic 6. Transformations. “Showcase space” Topic 7. Elements of interior equipment Topic 8. Room interior 1.Marking. 2.Incisions according to the markings. 3.Gluing. 4.Formation of volumes by folds. 1. Marking the sketch. 2.Cutting out individual elements. 3. Manufacturing of individual elements and their arrangement. 4.Assembly. 1. Creating a sketch. 2. Cutting out individual elements. 3. Manufacturing of individual equipment elements and their arrangement. 3. Assembly. Checking homework; discussion of work results Checking homework; discussion of work results Checking homework; discussion of the results of the work. Tasks for independent work of students: Topic 1. Introduction. Connections Task: Glue dice 30*30mm. Gluing one form to another by turning over the edges of the paper. Whatman material. Topic 2. Platonic solids. Task: Glue out any of the Platonic solids. Step by step work. 1. Marking 2. Cutting 3. Making developments, assembling a polyhedron from them. Whatman material. Topic 3. Bodies of rotation. Task: Glue out a cylinder 10mm high, 40mm in diameter. Whatman material. Topic 4. Reverse fold. "Terrain"
9 Task: Develop a sketch of the terrain. Having drawn according to the markings, make the necessary cuts and deflections, thereby simulating the terrain. Whatman material. Topic 5. Origami Task: Select analogues that clearly demonstrate the origami technique. Using the selected sample, having made the necessary markings, make bends in the designated places, thereby achieving the expected result. Whatman material. Topic 6. Transformations. “Showcase space” Task: Complete a preliminary design of a storefront on a specific topic (“clothing”, “furniture”, etc.). Actual dimensions: height 2100mm, width 3400mm, depth 1300mm. Scale 1*25. The color range is limited to 2 tones. Material: Whatman paper, cardboard. Topic 7. Elements of interior equipment Assignment: Make a drawing of a certain element of interior equipment: sofa, bed, wardrobe, desk. Scale 1:10. The color range is limited to 2 tones. Material: Whatman paper, cardboard. Topic 8. Interior of the room Assignment: Complete a preliminary design of the room. You can take a ready-made situation from any project as a basis. Scale 1:10. The color range is limited to 2 tones. Material: Whatman paper, cardboard. Internet resources 1. Origami from paper diagrams, instructions, step-by-step assembly of origami Schemes for assembling origami from paper, how to make figures, modular origami Origami from paper for professionals. Schemes.
10 Bibliography: Basic literature: 1. Zolotukhina E.N. Composition and layout: Educational method. complex. - Chelyabinsk: ChGI, p. 2. Kalmykova N.V., Maksimova I.A. Layout in educational design: Proc. manual for universities. M.: Architecture-S, p. 3. Kalmykova N.V., Maksimova I.A. Layout from paper and cardboard: Textbook. manual for universities. M.: University, p. 4. Stasyuk N.G. Fundamentals of architectural composition: Textbook. manual for universities. M.: Architecture-S, p. 5. Volume-spatial composition: Textbook. manual for universities / Ed. A.F. Stepanova. M.: Stroyizdat, p. 6. Ruzova E.I., Kurasov S.V. Fundamentals of composition in environmental design practical course: Proc. manual for universities. M.: MGHPA im. S.G. Stroganova, p. Additional literature: 1. Grozhan D.V. A beginner's designer's guide. Rostov n/a: Phoenix, s. 2. Ustin V.B. Composition in design: methodological foundations of compositional and artistic form-building in design creativity: Textbook. manual for universities. M.: AST, p. 3. Ustin V.B. Composition in design: methodological foundations of compositional and artistic form-building in design creativity. M.: AST, p. 4. Chernyshev O.V. Formal composition. Creative workshop on the basics of design. Mn.: Harvest, p. 5. Shapovalov V.G. Asymmetrical composition in fine arts: theory-methodology-pedagogy. Chelyabinsk: Chelyabinsk Humanitarian Institute, p. 6. Shimko V.T. Architectural and design design. Fundamentals of theory: Textbook. manual for universities. M.: Architecture-S, p.
11 Appendix Fig. 1. Gluing one form to another using folded edges of paper Fig. 2. Developments of Platonic solids
12 Fig.3. Layout of the terrain made of corrugated cardboard. Rice. 4. Origami “tulip”.
13 Fig. 5. Origami “bird”.
14 Fig. 6. Origami “elephant”. Rice. 7. Layout of a clothing store display window. Rice. 8. Layout of a “watch” shop window.
15 Fig. 9. Layout of furniture equipment.
16 Fig. 10. Model of a residential interior. Rice. 11. Model of a residential interior. Hallway.
17 Fig. 12. Model of a residential interior. Living room with dining area.
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The design is undoubtedly innovation activities, but, unlike discovery and invention, it has a precisely defined goal, which is formulated in the form of a design task. For a long time in our science, the word “design” was understood only as “artistic construction”.
Artistic design is the process of solving a design problem, which includes the stages of developing a concept, identifying specific goals, analyzing an object, designing, developing project documentation and creating an image of a thing.
In general, the process of creating a new thing can be represented as the following diagram: demand - planning - programming (forecasting) - design - production - replication - distribution - consumption. The starting point of a designer’s creativity is the needs of man and society. He must study them, know them, feel them and transform them into objective forms and images that arise as a response to needs. The basis of design is a comprehensive consideration of social needs. Actually, the study of needs is the main content of pre-project analysis when creating a new thing: studying consumers and their needs; properties and qualities of products; requirements for this type of product. The design methodology is based on the consistent application of analysis and synthesis methods.
Pre-design analysis is a study and comparison of data carried out at the initial stage of design about the desired functions of a thing or a set of things or environment, about the appearance of the designed product and environment, about the manufacturing method, about the presence of analogues of the proposed object (analogue is a product similar to the one being designed for its functional purpose, principle of operation, conditions of use). Pre-design analysis reveals shortcomings of existing products and consumer wishes.
In addition to pre-design analysis, when designing a new product, they resort to socio-economic analysis, functional analysis (study of ways to use the product), functional-cost analysis (study of the structure of the needs of various population groups and the most cost-effective ways to satisfy them), technological analysis (research of materials and possible methods of manufacturing a product), shape analysis (research of the structure of a product and its analogues, search for options for compositional, structural and plastic solutions).
The results of the analysis must be integrated into synthesis operations through reification (structure formation) and harmonization (composition) of the object. Structuring of individual objects - shaping. Composition is a method of harmonization, a system of means and methods for creating an aesthetically holistic object. In the process of synthesis, the results of the research conducted are implemented in specific methods of shaping: combinatorial, analog, figuratively associative. Combinatorial and analogue methods of suit shaping have been quite well studied*. Synthesis in design is the mental ordering of design information selected during design analysis, and combining them into a single whole - a design image. Synthesis methods can be either systematic (combinatorial, analog) or spontaneous-intuitive (associative). In the process of synthesis, a creative concept is formed - the most important link in solving a design problem. The concept in design is the main idea, the semantic orientation of the goals, objectives and means of design.
Design is the creation of a description, image or concept of a non-existent object with specified properties. “The main stage of design takes place in the mind of the designer... Design combines knowledge and fantasy, intuition and calculation, science and art, talent and skill”**. Design is associated with the psychology of creativity, therefore, in order to intensify design, the designer needs to take into account and apply heuristic methods that promote the development of fantasy and imagination and the search for new non-trivial ways to solve a design problem. In the design process, it is necessary to apply scientific data (sociology, forecasting), as well as use figurative and associative methods that allow filling the form with meaning and sociocultural content.
The design idea is “materialized” during the design process in a sketch - in a layout - in a model. The initial stage of designing a new product is creating its sketch. The designer first creates in his imagination a prototype of the future thing, taking into account existing project ideas, technology, economics of production, achievements of artistic culture (architecture, painting, sculpture), and then its preliminary graphic image (sketch), which is then supplemented with three-dimensional models, descriptions of the appearance and method of practical use. In this case, the project takes on specific shape in the process of design modeling.
Modeling is a display, representation or description of an entire object (system of objects), situation or process. There are artistic and figurative modeling, mathematical modeling (calculating a mathematical model), design and graphic modeling (creating a sketch), volumetric modeling (creating a layout and model), verbal modeling (creating a verbal concept of a new object, describing the principle of its operation, etc. )
The most common modeling method is retrospective modeling, based on the analysis of prototypes and analogues and the formulation of a design problem based on this analysis. However, this method does not allow fulfilling the main task of design - creating new things, but makes it possible to improve existing ones. Another modeling method is constructive modeling, i.e. modification of the functions and morphology of a thing (the morphology of a thing is the material form of a thing, organized in accordance with its functions). Constructive modeling can be: corrective (the functions and shape of a thing are improved); transitional (functions and morphology are subject to rethinking to give the object new qualities - as an example from clothing design, one can cite the direction of deconstructivism in design); projective (the functions and form of a thing are created again - the work of the Japanese clothing designer I. Miyake). The most innovative modeling method in design can be considered prospective modeling (or project forecasting), which studies the desired prospects for the development of society and develops projects that can help achieve these prospects.
One of the design methods is prototyping - creating three-dimensional images of designed objects.
Layout - making mock-ups of products from various materials in full size or on the required scale. The following methods of layout are used in clothing design: tattooing and moulage. A model is a material spatial image of the designed product.
When designing instruments and machines, it is necessary for an engineer to check the technical viability of the plan, after which the designer makes adjustments to the design taking into account the actual technical capabilities. The final stage is the joint work of the designer and engineer on the structural, technical and aesthetic “refinement” of the image.
A clothing designer is able to independently design and manufacture a product without the participation of other specialists, since he has all the necessary skills. But if we're talking about about industrial design, then at different stages other specialists, primarily the designer and technologist, take part in the work.
Clothing design is the creation of a new sample of clothing with specified properties, including research, creation of sketches, layouts, models, calculations and construction of product drawings, production of prototypes. Designing clothing, like designing in general, involves the same steps and uses the same methods. Based on research of consumer demand and analysis of analogues, a creative concept is born, which is embodied primarily in the image. It is born either on paper when creating a sketch and then embodied in a layout, and then in a model, or in working with the material during prototyping, and the layout is then embodied in a model. Modeling the shape of a suit - organizing the material in accordance with the compositional idea of the suit, embodying the idea of a clothing model in the material. The result of modeling is a finished product.
If we are talking about industrial design, then the clothing designer works together with a technologist and designer, first developing an experimental model, and then, after selection and testing, an industrial design.
Clothing design - development of the design (construction, relative arrangement and configuration of parts) of a clothing model. It consists of the following stages: selection of a methodology, development of product drawings for a preliminary design, calculation, construction of a drawing (using individual or standard measurements), making patterns, drawing up working documentation.
Technical modeling - development of drawings and clothing samples based on a basic model or its graphic image. The developed sample serves as a standard of form and design for mass production.
Technology - a set of methods for processing, manufacturing or processing raw materials, materials, semi-finished products or products in the production process; a set of techniques and methods for making clothing.
Academic painting
Academic drawing
Graphic presentation
Design Research
Design-engineering-course project
Design
Information Technology
History and methodology of design
Computer technology in design
Creative technologies in industrial design
Multimedia presentation
System design
Contemporary Design Issues
Special drawing
Typography
Ergodesign
History and philosophy of science
Intellectual Property Protection
Innovation management
Business English
Bachelors
Introduction to the specialty
History of design, science and technology
In this course, students gain an understanding of the role of technology in the development of civilization, its influence on the formation of a way of life and thinking; gain an understanding of the role and place of design in modern world culture, an understanding of the possibilities and ways of development of technology and design. The course covers: Design as an activity. Design in the system of culture, art, production. History of technology development. Philosophy of technology. Origins of design, design and craft art. The emergence of industrial production and the emergence of design issues. Technical progress of the 19th - early 20th centuries. Specifics of industrial development of Russia. Industrial art in Russia, constructivists, etc. Features and problems of domestic design. Design achievements, world design schools, personalities.
History of culture and arts
In this course, students gain an understanding of world cultures, their history, characteristics, traditions and heritage in the field visual arts; understanding the general cultural context of which design is a part. The course covers: Culture and art primitive society and the Ancient World. Development of arts, types of arts. Culture and art of the Middle Ages and the Renaissance. Baroque, Rococo, Great Age French Revolution and Empires, Romanticism and Modernity. Realism, modernism, postmodern. Great masters of the past and present. Art of the East, America and Africa in the context of their cultural characteristics. Culture and art Ancient Rus', the originality of Russian culture. Russian art ХYI-ХХ centuries. Mass culture and the 20th century. Trends and features of the development of contemporary world art. Trends in the development of contemporary world art - realism, modernism, postmodernism, mass culture; Features of the development of culture and art in the second half of the twentieth century. Directions and theories in art history. Schools of contemporary art.
Academic drawing
The discipline "Academic Drawing" studies the language of representation graphic information about three-dimensional objects of varying complexity and methods of displaying graphic information in two-dimensional graphics to prepare students for independent professional work. The discipline "Academic Drawing" belongs to the cycle of general professional disciplines, aimed at developing in students aesthetic taste, artistic thinking and vision, compositional flair, the ability to abstract the shapes of objects, independently pose and competently solve compositional problems in artistic design. The method of teaching the subject is based on the achievements of the national school of educational drawing. The study of this discipline is inextricably linked with the basic level disciplines “History of Culture and Arts”, “Painting”, “Sculpture and Plastic Modeling” and in turn creates necessary basis for more successful mastery of the most important advanced-level disciplines, such as “Special drawing”, “Design and modeling of industrial products”, etc.
Sculpture and plastic modeling
Despite the widespread use of computer design technologies and the growing use of rapid prototyping methods for the production of mock-ups, models and prototypes of designed products, traditional prototyping and, in particular, operational manual prototyping using simple materials (paper, cardboard, foam) remains an integral and important part of the overall design process in industrial design. Simple and relatively inexpensive layouts made from available materials make it possible, already at the initial stages of a design project, to visually and comprehensively present options for future solutions and evaluate them both for the designers themselves and for other project participants. The discipline “Sculpture and Plastic Modeling” aims to teach students the basics of design prototyping, skills in working with prototyping materials and tools, teaches precision and accuracy, and allows them to carry out certain design solutions using simple prototyping materials at different stages of design project development. Laboratory work are devoted to performing various exercises and background aimed at studying the properties of individual model materials, gaining skills in working with paper, cardboard, hand model tools, plasticine and foam plastic. Students gain skills in working with the most common simple design materials, using their properties and capabilities, and developing three-dimensional and design thinking. By mastering various methods and techniques of prototyping using examples of objects of different nature and using materials with different properties, students learn to choose the optimal materials and prototyping technology, develop a rational structure of the layout and the design of its parts, as well as plan the entire process of developing and manufacturing the layout. The discipline “Sculpture and Plastic Modeling” is close in nature and purpose to the course “Fundamentals of Composition in Industrial Design” and technically complements it. Therefore, methodologically, the disciplines are closely related: some of the training exercises and assignments are common to both courses, logically complement each other, making the learning process more integrated, and the students’ work more meaningful and purposeful. Students further use the knowledge, skills and experience gained during the study of this course in the course “Design Design” when developing products and for visualizing design results, as well as in the subsequent course “Prototyping in Industrial Design”.
Flower science and coloristics
The discipline “Color Science and Coloristics” introduces two areas of knowledge: the first, preliminary, relates to the field of psychology and introduces the patterns of visual perception necessary for understanding color harmony and compositional principles, as well as for design practice in general. The second, main one, is directly devoted to color, its theory, research of properties and experience of application in professional activities. This course studies the conditions for the occurrence of visual phenomena, the laws of their perception; laws of color formation and principles of color harmony, classical and modern color models and color theories, fundamentals psychological impact colors. Students explore the conditions for the occurrence of visual phenomena, master methods for assessing them; observe and study the conditions for the appearance of color, the effects of its manifestation and mixing, study the properties of light, color, and pigments. Students gain practical skills in using color, gain experience working with paints and digital color when creating pictorial compositions, and experience selecting colors using standard catalogs and samples. Homework is aimed at consolidating acquired knowledge and skills and at developing color perception in the practice of working with color.
Information technology in design
Discipline" Information Technology in design" aims to study and master the basic programs of vector two-dimensional and three-dimensional graphics used in design activities; acquiring skills to work with them for their practical application in the learning process and in design. The main packages are studied: Corel Draw (two-dimensional graphics) and Rhinoceros (three-dimensional modeling). In the course of lectures, students become familiar with the principles of working in two-dimensional and three-dimensional vector graphics; structure and tools of relevant programs and methods of working in them. Laboratory work is devoted to the practice of using these programs when solving graphic problems, when creating objects and models. Students gain skills computer drawing and three-dimensional modeling; initial skills in modeling and visualization of simple products; Basic skills in developing graphic and industrial design objects. Students use the experience gained in the Design Engineering course to develop products and to visualize design results.
Organization of project activities
In this course, students acquire the ability to rationally and effectively organize the design process, the process of communication with the client; the ability to respect and defend one’s creative commercial interests; the ability to correctly and rationally conduct contractual relations; ability to bring a project to fruition; knowledge of copyright protection.
Basics of organizing the design process, project management, interaction with the client, project promotion, designer supervision, contractual and project documentation. Design management. Copyright and patent law, utility models and industrial designs.
Painting
Seminar classes in the discipline "Painting" are conducted interactively, and their goal is to master the fundamentals of academic and plane art. decorative painting. The discipline studies the basic laws of painting, its means, techniques, means of expression and harmony, which contributes to deepening knowledge, and develops the necessary techniques for independent professional creativity. At seminar classes, students master methods of working on drawing, composition and color, and in practice learn professional skills in working with painting materials, such as watercolor, gouache and acrylic paints. Students are introduced to finding a choice of expressive compositional and color solutions in painting, in practice they master the methods of transition from a volumetric-spatial interpretation of the shape of objects to a more conventional and flat decorative painting, they are able, by generalizing nature, to see the main thing in it. Students set themselves creative tasks and find means to solve them, have their own artistic vision and taste, and have a high performing level. Thus, students gain practical and theoretical skills as an artist to further implement the creative vision of an industrial designer from the analytical stage to the final result. Homework is aimed at accumulating knowledge and skills to gain practical experience necessary in the professional activities of an industrial designer.
Basics of Composition in Industrial Design
The discipline "Fundamentals of Composition in Industrial Design" aims to study and master the basic principles of compositional construction, the development of volumetric-spatial thinking, the interaction of flat and volumetric elements and colors on the plane and in space. Various harmonization techniques and composition construction techniques are mastered. This discipline represents a deep organic basis for the design of industrial products. It is the general compositional solution, together with the composition of nuances and details, that determines the image and appearance of the product - integral components of its overall design. Therefore, this course is one of the most important components of the industrial designer training program. During lectures, students become familiar with various types compositions in art, architecture and industrial design, the basic laws of its construction, learn to analyze ready-made compositional solutions. Seminar classes are devoted to practical exercises in creating planar, relief and volumetric-spatial compositions. Students gain skills to work with various materials and techniques, develop a “vision and sense of composition”, learn to creatively approach the search and selection of compositional solutions. The discipline "Fundamentals of Composition in Industrial Design" is partly close in nature to the course "Sculpture and Plastic Modeling", complements and creatively enriches it. Therefore, methodologically, the disciplines are closely related: some of the educational exercises and assignments are common to both courses, logically complement each other, making the learning process more integrated, and the students’ work creatively interesting, more meaningful and purposeful. Students actively use the knowledge, skills and experience gained during the study of this course in the main course “Design and Design”, as well as in the courses “Special Drawing” and “Design of Packaging and Accompanying Documentation”.
Fundamentals of theory and design methodology in industrial design
In this course, students master artistic design as a method of design activity and the basic principles of shaping industrial products; study the process of artistic design, stages of the project; solve basic types of design problems.
The course covers:
Definitions of design. Design and production, design and technology, design and market, design and lifestyle. Areas of application of design - design in the living environment; design in the transport sector; design in the social sphere; design for the disabled, elderly, children, etc. Design process, project stages. Basic requirements and composition of the design project. Categories of designer's design activities. Research of the project situation, modern methods of pre-project research, comparison with marketing research. Choosing a strategy, methods for developing creative thinking and searching for ideas. Design in innovation processes. System design, methods and tools for designing system objects, design typologies and classifications.
Design of accompanying documentation and packaging of industrial products
In this course, students master the practice of designing packaging and accompanying documentation as components of a design project.
The course covers:
Types and role of packaging and accompanying documentation for industrial and consumer products, their importance in the holistic presentation of the project; development methods and practices.
Design and modeling of industrial products (design engineering)
Seminar classes in the discipline "Design-projecting" are conducted interactively and are aimed at students mastering practical design project activities. The discipline studies methods for designing products of varying complexity and methods for solving various design problems to prepare students for independent professional work. During the seminars, students become familiar with the subject of design, the scope of its application, the current state, the specifics of design, and the composition of a standard design project. Students master methods of analyzing a pre-project situation; methods of setting goals and objectives, choosing strategy and tactics for a design project; methods of searching for ideas through various creative techniques; methods, approaches and means of conceptual, sketch and technical design. Students gain practical skills in developing design projects for products of varying complexity from the analytical stage to the final result; skills of visualization and argumentation of one’s own ideas; teamwork skills. Homework is aimed at acquiring independent, versatile practical experience necessary in professional activities. In design, students use the knowledge and skills gained from studying all other disciplines of the course and incorporate them into semester assignments and projects. The discipline is taught by leading practicing industrial designers, members of the Union of Designers of Russia. During its study, it is planned to implement projects based on real industry orders.
Layout in industrial design
In this course, students master plastic materials and their use in design practice; master prototyping methods to find and check the design, form and other components of the project.
The course covers:
Layout functions, types of layouts. Layout on different stages design, materials for prototyping and types of finishing. Modern methods rapid prototyping.
Guidelines for performing laboratory work
Design in industrial design
In this course, students become familiar with the basics of design in mechanical engineering; gain an understanding of the strength and performance characteristics of structures and typical structural elements and their application.
The course covers:
Basic principles and methods of design. Fundamentals of Strength of Materials. Machine parts.
Alphabets in industrial design
In this course, students gain knowledge about sign systems and how to use them in design practice.
The course covers:
Sign systems, their types, place, role and meaning in the general cultural context. Font, symbol, color alphabets. Industrial design objects as carriers of graphic and font information.
Materials Science in Industrial Design
In this course, students gain an understanding of technologies, knowledge of materials, their design features and decorative properties for practical use in design.
The course covers:
Technological shaping, manufacturability. Materials processing technologies (metals, plastics, composites). Form-forming and decorative properties of structural materials; protective and decorative coatings.
Ergonomics
In this course, students gain knowledge of ergonomic requirements and recommendations, gain skills in using them in design activities, and become familiar with the ergonomic support of a design project.
The course covers:
Fundamentals of ergonomics, ergonomic requirements, anthropometry. System "man - machine - environment". Ergonomic support for the design of products and equipment; workplaces, visual systems, interfaces.
Visual Communication Design
Computer support for design
The discipline "Computer Support of Design", being a logical continuation of the course "Information Technologies in Design", gives students knowledge and skills in the field of raster two-dimensional graphics, three-dimensional modeling and computer rendering of three-dimensional objects and scenes, and also prepares students for the effective use of digital technologies in the design process. During the classes, students learn the raster graphics program Photoshop and the 3D modeling and rendering programs Rhinoceros and Flamingo - software actively used by professional designers. Two-dimensional graphics and the Photoshop graphics program are studied to the extent necessary for use in industrial design projects. The 3D modeling and rendering programs Rhinoceros and Flamingo, being the main computer-aided design tools for industrial design, are studied in full. The Rhinoceros program course is a continuation and expansion of the study of three-dimensional modeling methods begun in the “Information Technologies in Design” course; section of the Flamingo program is a self-paced course in computer rendering of 3D models and scenes.
The study of programs is based on a combination of two forms of classroom training:
a) lecture-demonstration type, in which the teacher talks about the capabilities and tools of the software, while simultaneously demonstrating them and how to work with them using the appropriate software package, computer, projector and large screen
b) laboratory type, in which students, under the supervision of a teacher, perform exercises in the relevant sections of the course.
Doing homework allows students to consolidate the knowledge acquired in lectures and laboratory classes. Not only abstract educational models are used as topics for laboratory and homework assignments, but also objects designed in the parallel courses “Volume-spatial composition” and “Design design”, thanks to which individual educational courses are connected, and the work of students becomes more meaningful and productive. Successful completion of the course program "Computer Support for Design" allows students to effectively use the acquired modeling and visualization skills both in the course of further education and in future professional activities.
Layout at different stages of design.
Lecture 12. Layout and modeling and their role in design.
1. The concept of “Layout”, “Layout”, “Model”, “Modeling”.
Layout(French Maquette - scale model, Italian macchietta, diminutive of macchia) - a model of an object on a reduced scale or life-size, usually devoid of the functionality of the object being represented. Intended to represent an object. Used in cases where the representation of the original object is unreasonably expensive or impossible.
Architectural layout - three-dimensional image architectural structures.
Original layout is an original that completely coincides with the future printed edition.
Electronic layout – generalized information about the product and its components in electronic form.
An urban planning model is a model of an entire microdistrict or city. Often on a scale of 1:1000 – 1:5000
Landscape layout - layout of the area. Displays mountains, lakes, terrain, trees.
Interior layouts – show the interior arrangement of an apartment or cottage.
A mockup is a model of something: a preliminary sample. For example, a layout of scenery, a book, a binding.
Layout has been widely used since ancient times; unlike graphics, it insignificantly reflected culture and had little connection with plastic art and had only practical significance.
Models of architectural structures dating back to the Renaissance, Baroque and Classicism periods are known. Russian architects of the 18th – 19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferrand practiced prototyping widely. The main proportions, scale of details, and possible visual distortions were checked on the model. Often the models were made detachable and from them it was possible to judge not only appearance buildings, but also about its interior. The architecture of the middle of the last century excluded prototyping not only from design practice, but also from educational process. Modeling was once again revived by constructivism, associated in Russia with the activities of VKHUTEMAS. Since then, prototyping has been widely used in architecture.
Modeling as a method associated with the design of an object was rarely used during the time of craft production.
Only with the advent of artistic design as a type of design activity did prototyping become an integral component of it, and the layout often integral part finished project.
A model is some simplified resemblance of a real object; reproduction of an object in a reduced or enlarged form (layout); diagram, physical or information analogue of an object.
Modeling is:
Construction of a model of real-life objects (object, phenomenon, processes);
Replacing a real object with its suitable copy;
Study of objects of knowledge on their models.
Modeling is an integral element of any purposeful activity, one of the main ways of cognition.
Due to the polysemy of the concept “model” in science and technology, there is no unified classification of types of modeling: classification can be carried out according to the nature of the models, the nature of the objects being modeled, and the areas of application of modeling (in engineering, physical sciences, cybernetics, etc.). For example, the following types of modeling can be distinguished:
Information Modeling
Computer simulation
Mathematical modeling
Mathematical cartographic modeling
Molecular modeling
Digital modeling
Logic modeling
Pedagogical modeling
Psychological modeling
Structural Modeling
Physical modeling
Economic and mathematical modeling
Simulation modeling
Evolutionary modeling
The modeling process includes three elements:
Subject (researcher),
Object of study
A model that defines (reflects) the relationship between the cognizing subject and the cognizable object.
The first stage of building a model assumes some knowledge about the original object. The cognitive capabilities of the model are determined by the fact that the model displays (reproduces, imitates) any essential features of the original object. The question of the necessary and sufficient degree of similarity between the original and the model requires specific analysis. Obviously, a model loses its meaning both in the case of identity with the original (then it ceases to be a model), and in the case of excessive difference from the original in all significant respects. Thus, the study of some aspects of the modeled object is carried out at the cost of refusing to study other aspects. Therefore, any model replaces the original only in a strictly limited sense. It follows from this that for one object several “specialized” models can be built, concentrating attention on certain aspects of the object under study or characterizing the object with varying degrees of detail.
At the second stage, the model acts as an independent object of research. One of the forms of such research is conducting “model” experiments, in which the operating conditions of the model are deliberately changed and data on its “behavior” are systematized. The end result of this stage is a set (set) of knowledge about the model.
At the third stage, knowledge is transferred from the model to the original - the formation of a set of knowledge. At the same time, a transition occurs from the “language” of the model to the “language” of the original. The process of knowledge transfer is carried out according to certain rules. Knowledge about the model must be adjusted taking into account those properties of the original object that were not reflected or were changed during the construction of the model.
The fourth stage is the practical verification of the knowledge obtained with the help of models and their use to build a general theory of the object, its transformation or control.
Modeling is a cyclical process. This means that the first four-step cycle may be followed by a second, third, etc. At the same time, knowledge about the object under study is expanded and refined, and the initial model is gradually improved. Deficiencies discovered after the first modeling cycle, due to poor knowledge of the object or errors in model construction, can be corrected in subsequent cycles.
Now it is difficult to indicate an area of human activity where modeling would not be used. For example, models have been developed for car production, wheat cultivation, the functioning of individual human organs, and life Sea of Azov, consequences of nuclear war. In the future, each system can have its own models; modeling should be carried out before the implementation of each technical or organizational project.
