An Innovative Strategy for Determining the Levels of Scale Ratio between Art Objects and Interior Space

The aim of the article is to establish the main categories for classifying art objects with the definition and study of their characteristics regarding the visual and functional impact on the design of interior space, taking into account both traditional and modern trends. Research methods include comparative analysis, field survey, description, systematization and generalization, as well as the results of many years of creative project practice. The scientific novelty lies in the proposed classification of art objects to create a coherent system in terms of its use in the design of interior space. The results of the research are based on the analysis of examples of modern art and project practice. Conclusions. In the process of research, a classification of art objects was created according to six basic categories, which allow tracking the peculiarities of the functioning of a certain art object in the interior. The first of the categories considered the distinction by types of art, according to which it was determined that in relation to traditional types of art, the art object functions, complementing the general artistic concept of the interior, establishing a figurative connection with its space; instead, correlated with modern forms of art, the art object acquires features and a way of functioning of non-traditional arts with modern means of expression, technologies and materials. The second category of division is by function: the predominance of the utilitarian function in an art object allows its introduction as a constructive element of the interior or equipment; while the predominance of the aesthetic function can state the decorative use of the art object. The third category of dividing art objects is by size: large-sized art objects are designed for perception in a sufficiently large space from a long distance; small-sized art objects are designed for perception from a close distance in smaller rooms. The fourth category is based on the form of expression: the realistic form is based on images that correspond to nature and gives the interior space a traditional character; instead, the abstract form with the use of non-realistic means of expression endows the interior space with features of modernity and uncertain content. The fifth category of division is by style: accordingly, the modern style of art objects involves involvement in various currents and directions of modern art, and the means of expression change the traditional appearance of space and its filling; instead, traditional stylistics uses classical forms and means of expression characteristic of known historical trends. The sixth category of division is based on materials: art objects with the use of traditional materials reveal the specificity and structure corresponding to nature, and in the visual perception of the interior space, they give it comprehensibility, basicity and reliability; instead, modern materials allow you to create new forms in the interior space with the help of art objects.

The aim of the article is to study the aesthetic and cultural aspects of art objects in the design of modern interior space from the point of view of ideological, ethical and substantive aspects of integration. Research methods included critical analysis of theoretical and practical material, comparative analysis, systematization, and generalization. The scientific novelty: consists in determining the key aspects of integrating art objects into interior space to create a coordinated system of their use in interior space design. Conclusions. As a result, the key aesthetic and cultural aspects of the integration of art objects into modern interiors were identified and formulated: 1) the substantive aspect in interior design – can play the role of transmitting and revealing ideas, concepts, cultural codes with the formation of semantic meaning and creating a meaningful filling of space; 2) the ethical aspect of the integration of art objects into the interior space, which reflects moral values, is oriented towards respect for human dignity, the social responsibility of art as a component of the interior environment and awareness of the impact of creativity on society; 3) the ideological aspect of the integration of art objects focuses on socio-political principles in art and highlights current social problems. Consideration of the defined aspects will enable designers and artists to ensure greater artistic integrity and functionality of the interior space for various types of premises. The results of the study proved that art objects in modern interior space have a multifaceted instrumental function that reflects the ideological and artistic content of the subject-spatial environment as a whole. The perspective of further research includes a comprehensive theoretical improvement of the problems of integrating art objects into interior space in the context of the general concept of the synthesis of arts.

IntroductionIn Keats's narrative poetry, an acute awareness of the spaces that characters occupy and in which the action unfolds gives particular symbolic significance to various interior spaces (such castles and houses, living rooms, ballrooms, bedrooms, tombs, etc.) with windows and doors or no openings. In this article, I account for Keats's employment of the descriptive method with a specific focus on his creation of interior space. How does he craft these interior spaces? Which means are used to achieve which ends? How do they function within the narratives? are they mainly performed by or focalized through characters?To address these issues, I turn to Gotthold Ephraim Lessing's book Laocoon: An Essay on the Limits of Painting and Poetry, published in 1766. Lessing theorizes what he deems the proper subjects for painting and poetry, respectively. Although he concludes that depicting in space belongs to painting whereas depicting a sequence of events falls under the domain of poetry, he investigates how poetry and painting can use each other's resources. In a similar vein, Georg Lukacs has theorized about literature's means of evoking space in his 1936 essay Narrate or Describe? Skeptical towards extensive descriptions mere fillers, Lukacs instead advocates that description should be thematically integrated in a central action.In dialogue with Lessing's and Lukacs's theories, I analyze Keats's use of description and interior space in his narrative poetry. I apply three ideas from Lessing to Keats: first of all, his notion of an economy of descriptive adjectives (functioning epithets); secondly, his notion of narrativized description; and finally, the notion that poetry literally organizes language spatially. In relation to the latter, I supplement Lessing with Brian McHale's notion that poetry spaces language, proposed in Unnaturalness of Poetry (2013). Though I argue that Keats's rendition of space is mainly aperspectival, I employ Lessing's three ideas to probe the way his description of interior space can have multiple functions: serving deliberate interruptions; being thematized, semanticized and narrativized; offering a poetic vision; and occasionally reflecting character psychology.The interpretation of Keats focuses on Isabella; or, The Pot of Basil (1818) and Eve of Agnes ( 1820). In I explore the image of the tomb and the spatial entities of the pot and the forest, which according to Keats's extended understanding of space function interior spaces (with the ability to contain living or dead people within them). In St. I focus on the symbolic significance of Madeline's chamber space for the scene of seduction, the climax of the story.Descriptive Stasis versus Plot ProgressionIn Sleep and Poetry (1817) Keats bids farewell to delightful poetry in order to write in an epic and more narrative mode, with these often-quoted lines: And can I ever bid these joys farewell? / Yes, I must pass them for a nobler life, / Where I may find the agonies, the strife / Of human hearts ( 122-125). Yet if we assess what Keats went on to write, the narrative poetry of his last volume of poetry Lamia, Isabella, The Eve of Agnes, and Other Poems ( 1820) does not really conform to these epic aspirations. For one thing, he continues to write lyric poetry (not least, the critically-acclaimed great odes) and, for another, he composes his narrative poems, which are lyric-narrative hybrids.Keats indulges in elaborate descriptions of various items in both his lyric and in his lyric-narrative poetry. Scholars have stressed how Keatsian narrators often present various figures as though they were art objects (Kelley 170). Keats's Fragment of Castle-Builder typifies his interest in description. The speaker in the poem indulges in imagining-or performatively inventing-a specific room in a castle. Theresa Kelley writes about how the title and the repeated use of the modal 'should' (26, 28, 59, 63, 65) recognize this room a rich poetic 'phantasy' (47), created out of thin air and that [tjhe features and appointments seem both substantial and yet patently invented (Kelley 175). …

The aim of the article is to study the role of different types of art objects in the formation of characteristic features of interior space. Research methods included bibliographic, typological and comparative analysis, field survey, compositional method, systematization and generalization. The scientific novelty lies in the research, analysis and systematization of the functional and aesthetic role of art objects in the formation of characteristic features of interior space. Conclusions. As a result of the study, the main features of the interior space, which can be achieved by placing an art object in it, were determined: intensification, assimilation, hyperbolization and transformation. Thus, the intensification of the interior is achieved through the dominant position of the art object, its compositional coherence with other elements, the subordination of rhythmic structures to it, and the creation of space for the effects of dynamism and expressiveness. Assimilation is achieved by subtly combining the geometric shapes of the interior space and the art object, creating a sense of balance, homogeneity, and compositional completeness. Hyperbolization relies on a pronounced semantic and stylistic contrast between the art object and the interior elements, resulting in the effect of compositional dissonance, revitalization, and at times, irony, sarcasm, and satire. Transformation involves visually altering the geometric form, size, or shape of both the interior space and the art object. This is achieved through methods such as dismemberment, emphasis, and the reconfiguration of spatial elements, leading to the effect of compositional asymmetry, dissymmetry, and dynamism. The study tested specific results in the design work of design students. The prospect for further research is to analyze the role of art objects in the qualitative transformation of modern interiors, to identify and systematize modern trends in the relationship between fine art and the object and spatial environment.

This article is a study of the main forms of art objects in the interior, where a system of levels of their visual perception is proposed for the first time. Such a system represents an effective way of solving practical issues, when at the first stage of design, the artist and designer solve the problems of the place of installation of this or that art object from the point of view of determining the necessary zone of its perception depending on the type of form. The main key emphasis in the research was made on the analysis of contemplation and perception of art objects of certain forms from different perspectives. 3D modeling of conventional art objects in virtual space was used as an experimental tool. The results of various experiments with three main types of forms were presented in the form of graphic drawings, diagrams with angular dimensions of perception zones, which reflect the content and structure of the studied problems. The method of systematization and generalization of the results made it possible to formulate the necessary levels of visual perception of the main forms of art objects in the interior, which consist of: First maximum level; Second intermediate level; The third minimum level. To test the reliability, the obtained research results were checked by student design practice. The research results were applied in real architectural projects, which made it possible to evaluate their effectiveness and practical value. The effectiveness of the formulated levels of visual perception of the main types of forms of art objects in the interior space was clearly demonstrated by the results of practical implementation. The results of the research can improve the theoretical basis in the design methodology and be recommended for implementation in the educational process, as well as for practical use in the development of art objects in various types of interiors. The proposed system of levels of visual perception can allow to expand the designer’s toolkit and will contribute to the optimization of design solutions in the context of modern trends in the design of the object-spatial environment.

The Coat of Arms in Fra Filippo Lippi’s <i>Portrait of a Woman with a Man at a Casement</i>

The building of “Lietkoopsąjunga” (The Union Of Cooperatives of Lithuania) is an example of modernist architecture in Lithuania. It is valuable by it‘s architecture as well as it‘s works of art, made by famous artists of those days. Lively comments of J. Šeibokas and A. Kmieliauskas endue the genuine value to the paper. The paper reveales correlation between the art objects, the surrounding architectural ambience and the potential “observer”. The works of art are analyzed by their location in the interior space, compositional structure, symbolical meaning, etc. The author identifies wether the art objects integrate or contrast to the architecture. The role of light as an important agent is also emphasized. Conclusively, the graphical scheme of analysis is introduced.

The article presents the methods of creating decor samples using the technology of hot enamel of a certain color palette based on selected (suitable) materials. These methods allow expanding the artistic and aesthetic ways of obtaining works of applied art and design objects on the basis of color and interior design principles. Taking into account the functional requirements for the design of banquet halls, the interior space was modeled in the program ArchiCad 16 with implementation of decorative samples of hot enamel. The authors developed decorative samples (triptych composition) for decoration the interior space of the institution banquet hall.

Meiji Kyoto Textile Art and Takashimaya Hiroko T. McDermott (bio) By the middle of the nineteenth century certain types of Japanese artifacts, such as porcelain and lacquerware, had already become known outside Japan. Textile goods, clothing or otherwise, by contrast, were latecomers to the catalogue of Japanese exports to the West. Researchers have noted that the opening of Japan to foreign trade in the late 1850s entailed a dramatic increase in the production and export of silk. But it was raw silk thread and silkworm-egg cards that Europeans were keen to import from Japan in the initial two decades of this trade. Rolls of woven silk fabric were then in little demand as trade goods. Nevertheless, varieties of goods made of silk, for daily use or for gifts, began to be sold at treaty ports. Among these were noncostume textiles that were made specifically for the Western market and for Western tourists as objects of art or interior decoration. From the 1870s such items became an increasingly important part of Japan's export trade. The ornamental textiles that Westerners bought as "things Japanese" were not used in the ordinary residences of Tokugawa and Meiji Japan. Instead, they were the product of a late nineteenth-century effort to adapt traditional textile skills to the production of goods more marketable in the West. To cite a few, folding screens, which had been welcomed in Europe for several centuries and readily used in Western interior space, were now decorated not with a brush and pigment or ink but with needlework and sold as shishū byōbu (embroidered screens). A squarish piece of cloth embellished with a dyed and/or needlework design, the traditional ceremonial gift-cover known as fukusa, would find a new life in Paris, where it was even hung on the wall like a framed painting and appreciated as a work of fine art. Yūzen-zome, a traditional technique of [End Page 37] fixing painted designs on kimono fabric, was applied to make cut-velvet wall-hangings.1 The immense quantity of textile goods exported from the 1870s through the first half of the twentieth century consisted to a substantial extent of relatively low-cost items. The subject of this article, however, is a different type of goods: the high-quality pieces that were produced in Kyoto for a quarter century from the 1880s to the 1910s (that is, the second half of the Meiji period, 1868-1912). As was true of export goods in general, even outstanding examples of this second category typically do not bear the name or signature of their maker or designer and only rarely carry a company label. Some nonetheless involved collaboration with leading artists of the late nineteenth and early twentieth century. Exemplifying the skills and virtuosity of the traditional Kyoto textile industry, such pieces might take two to three years of joint work by a number of artisans specializing in different techniques. What happened to pieces of this sort after they were shipped abroad has been little explored, and most of the examples that survive in Japan today are "leftovers," unsold and left in the hands of the makers or exhibition sponsors. Not surprisingly, Meiji textile-art objects have been little studied by art historians, as once was the fate of late nineteenth-century Japanese export porcelain and lacquerware.2 Although far from comprehensive, documentation on Meiji art textiles is no less rich than for most other genres of nineteenth-century Japanese export crafts. From such documentation, including contemporaneous periodicals, newspapers, and exhibition catalogues, as well as secondary sources, we find that the production of art textiles of outstanding workmanship thrived in the second half of Meiji, with many Kyoto painters contributing to its rise. Large-sized specimens were exhibited at world fairs and used by Japanese authorities as choice gifts for important diplomatic occasions. Competition between three textile firms enlivened this development. The heads of these firms, by whom the businesses themselves are usually remembered, were Nishimura Sōzaemon of Chisō (a commissioner/wholesaler), Kawashima Jinbei of Kawashima Orimono (a weaving firm), and Iida Shinshichi of Takashimaya (a retailer/commissioner and later department store).3 This golden age [End Page 38...

The paper shares the architectural design concepts, the construction technique and innovative strategies used in developing the 90 Sq. m self-sustaining, eco-responsive Solar house ‘BAITYKOOL’. This prototype was designed, constructed, tested and assembled at Solar park Dubai for the Solar Decathlon Middle East (SDME 2018). The study explains the principles used in the house from the architectural concept developed in response to the culture and climate of the region. A biologic ecosystem has been created for the habitat with improved thermal comfort conditions in the patio and the interior spaces with an effective use of active and passive strategies. A smart water management & monitoring system adds value to every drop of water used in the house and helps conserve it. A biological filter has been developed for the project to treat the used water and the treated water is used efficiently to add freshness and life in to the spaces. The house has a composite wall system enhancing the performance of its envelope developed using ecofriendly material with compactness to create comfort conditions within the indoor spaces and reduces the load on the HVAC and lighting system. The sky radiative cooling systems reduces the cooling load of HVAC system taking advantage of the night temperature with sky acting as a heat sink. The efficiency of the house has been further improved by making use of the energy produced by solar balanced with the optimization strategy to reduce the energy consumption. Innovative biomimetic cells mounted on glass PV panels integrated with the architecture of the house has been developed for higher efficiency and energy production. The house exhibits the potential innovative systems and strategies to develop an eco-responsive solutions for a healthy living and working suited to the climate of the region.

This article explores and systematizes the exhibition of chandeliers as the unique art objects within the museum space, as well as reveals the peculiarities in comparison with the interior space. The subject of this research is the display of such multi-component item of decorative and applied art as chandelier in the modern exhibition projects. Based on a range of exhibitions held in the XX and XXI centuries dedicated exclusively to chandeliers and ceiling lights, the author conducts their classification, and reveals the peculiarities of displaying chandeliers in such projects. The representative examples of exhibition projects are considered. This article is to analyze and systematize the experience of exhibiting chandeliers, which is especially relevant because the topic of studying chandeliers as part of the interior is of particular interest among not only scientists, but the artists and curators as well. The conclusion is made that in the most successful projects, the chandeliers are displayed at eye level of the visitors, which allows studying more details about the item. Chandeliers are displayed either as the unique objects, or together with other antique and luxury items, harmonizing on the formal stylistic or historical level, and indicating the modes of stylistic perception of the interior as a reflection of culture of a certain era.

The subject of the research is the types of decorative and applied art, the connection of decorative and applied art with the interior design of residential and public spaces. Special attention is paid to the fact that in modern interior design, the tendency to transform interior space using decorative and applied art objects is widespread, which determine the overall style of the room, despite the particular academic design style used in the project. The author examines in detail such aspects of the topic as the influence of the author's thing on the exclusivity of the project, giving a typical interior individuality by including an object of decorative and applied art made specifically for this room, or competently selected by a specialist taking into account the specifics and purpose of the room, the transformation of the project from a typical to an individual one. The author analyzed and systematized modern methods and techniques of introducing the author's art into the interior design of premises for various purposes. Based on the results of the study, a general methodology was formed and proposed for integrating things into the interior of the proposed spaces, the concept of transforming rooms using objects and techniques of decorative and applied art. The main conclusion of the research is that the author's art object of decorative and applied art, created in a certain way and integrated into the interior design, allows to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The novelty of the research lies in determining the current trend of integrating handmade objects into the interiors and spaces of residential and commercial premises for various purposes in order to give uniqueness, which contributes to the development of the design industry and art in general.

Chinese traditional art has shown an inevitable decline in dissemination in the digital era. This paper utilizes virtual reality technology to enhance the experience of conventional art and LOD technology to manage the specifics of the virtual interactive scene. To display complex virtual terrain accurately, the data is reorganized with the help of a quadtree. The reconstructed art scene creates a virtual hand shape based on the structural characteristics of the human hand and the data glove. The kernel correlation filtering algorithm is utilized to construct the real-time tracking of the virtual hand. The research object in Chinese traditional art is the stele forest in practice. The results of virtual reality experience show the total score of interaction experience 88.159∊(80,100). The VR technology-based calligraphy experience in the stele forest received high user ratings, and the audience recognized the narrative experience. An in-depth study found that the subtitle grouping in the virtual interaction scene significantly affected the immersion of the art experience (P=0.019&lt;0.05, F=4.562). Virtual reality technology provides a communication channel for digitizing traditional Chinese art, and the study contributes to the proposal of communication strategies.

The aim of the research is to identify the compositional methods of using art glass in the interiors of public buildings in order to increase their aesthetic expressiveness. In the article the information on the history of art glass development is given. According to the results of the historical analysis, it is concluded that new directions of glass application arose with the development of new technologies of glass production and processing - this process continues to this day. An overview of the state of study of the problem, in particular the research of Kazakova L.V., F.Petryakova, Som-Serdyukova O.M., Daineko V.V., and identified the main areas in which research is conducted. The physical properties of glass and its types by technological features are considered. A historical overview of the development of gutnitsy on the territory of Ukraine. The two main trends in studio glassmaking to date have been identified and a conclusion has been drawn about the evolution of art glass from the subject form to the art object. The current state of art glass formation is characterized by associativity, metaphoricalness, and increased decorativeness. The classification of art glass according to the function of application in public interior is carried out. The basic compositional methods of placing art glass in the space of public interior are revealed. Three degrees of integration of art glass with elements of architecture are formulated: the decor on architectural elements, as a part of architectural elements, is directly an architectural and constructive element. Examples of objects that demonstrate the integration of art glass with architectural elements are given. Henri Matisse's stained glass windows in the Dominican Sisters' Chapel in Mans, France, are described as an example of the use of the "rhythm" compositional technique and Dale Chihuly's glass garden gallery in Seattle with a glass installation that dominates the pavilion. It is concluded that the choice of compositional methods of including art glass in the interior space depends on many factors - the functional purpose of the room, the specifics of space, its size, etc. and should take into account aspects of its psychological impact on man, principles of structural and compositional organization and features life processes.

The aim of the article is to identify, analyse and systematise methods and means of sign-associative language of modern visual practices of fine arts. Results. On the basis of the conducted structural analysis of the theoretical background, means of sign-associative language of modern visual practices of fine arts, which are based on communication, decoding, structural and organisational principles, are identified. Based on the results of the analysis, methods of sign-associative language of fine arts with their instrumental components — associative, analogy, metaphor, syncretism, mythologising, semantics — are defined and systematised. According to the obtained results, an approach is formed for the practical implementing the methods of sign-associative language of fine arts in the design of interior space, which is based on the structural sequence of semiotic analysis. The scientific novelty of the research grounds on the comprehensive analysis, clear definition and systematic structuring means and methods of the sign-associative language of modern visual practices of interior space. For the first time, an innovative strategy for its application is developed, based on the principles of semiotic analysis and methodologically consistent use of defined means and methods in art design. Conclusions. As a result, it is found out that the sign-associative language of visual practices of fine arts in interior design can be formed as a structural project methodology and is based on the capabilities of certain methods, tools and their functional components. The results of the study confirm the importance of using sign-associative language for forming an interior environment with an expressive artistic image and high ideological content. The perspective of further research is to conduct a deeper analysis of the visual possibilities of the sign-associative language and interior design in order to scientifically determine their interaction in modern visual arts practice.