AESTHETICS IN THE STRUCTURE OF THE ESSENCE OF DESIGN

Abstract

The article considers the rationale for the need to update knowledge related to the definition, functions, and structure of connections of aesthetics in design; the formation of new ideas about the harmony of the design product, different from those offered by “technical aesthetics”, both in the system of relations “object – person” and in the system “object – person – environment”. The possibility of the specified renewal is based on the understanding of aesthetics and aesthetic as an outer manifestation of the inner content or expression of the inner essence of the object through the external. That is, the term “aesthetic” describes primarily expression or expressiveness, and aesthetics (for example, according to A. Losev) is the science of expression in general. And what we consider beauty or beautiful is a kind of balance between the terms “inner” and “outer”, a certain achievement of the intended or harmony between the “inner” as a goal and the “outer” as the achievement of this goal, that is, the expression or aesthetics. The article focuses on the fact that the understanding of harmony is always correlated with the knowledge and actual problems of humanity that it is trying to solve. And for now, it is a reconciliation between human activity and nature conservation, a solution to existing environmental issues, in particular through the means of design. It is noted that in order to create a harmonious, ecologically appropriate design product, it is important that “ecological aesthetics-expression” is formed at the stage of thinking and included further stages of visualization, materialization, and functioning in the design. The author emphasized that the relationship between personal and object forms of aesthetic culture, where the first (characteristic of an individual or a community) is formed under the influence of the second, and the second is conditioned by the first, proves the existence of a relationship between the form and image of a design object, which is important for the prospects of society’s development and the form and image of human life. It has also been found that the concept of a specific design project, which can be perceived precisely through aesthetics, in addition to solving the utilitarian tasks, will also be correlated with certain ethical norms, ideological preferences, and universal philosophical views held by the author of a project.