REPRESENTATIVE DESIGN PRACTICES AS A DESIGNER’S RIGHT TO CREATIVE COMMUNICATION

Abstract

To be a designer means to create new things and new qualities of already existing things, determined by the current concepts. Information about the functions and emotional characteristics of the future product is initially reflected in the author's concept, that is, in the text about the qualities of a specific but not yet produced thing. This concept is consumer-oriented but not intended for them. Nevertheless, it becomes the basis of communication between the designer, the product manufacturer, and the consumer. This study aims to determine how the process is organized, which ensures the transformation of the designer's creative ideas into conceptual texts and then into real objects that can become productive means of socio-cultural communication. The study relies on methodological foundations of a general philosophical nature. Thus, the axiological approach, as a socially holistic complex of views, beliefs, and ideals, allows a designer to analyze the values of a modern person and consider them in the design process. The phenomenological method reveals the features of design objects involved in communication. The structural and functional approach reveals the diversity and complexity of the connections inherent in the representation practices as original forms of communication. As the mechanisms of the representative practices are constantly developing, they are one of the most effective means for creative communication. By the results obtained, we can conclude that representations designed as a self-sufficient design product denote not only an act of such communication but also protect the designer's rights to express creativity at the interpersonal, professional, and social level of communication.