CC BY
8ECOLOGICAL PARADIGM OF DESIGN EDUCATION FOR SUSTAINABLE DEVELOPMENT
Abstract
This article discusses the possibilities of design in the formation of ecological culture of the people. A special role is taken to the design education, because future designers in the course of their study at the university should examine the ethical norms and paradigms of profession, cultural values, ecological culture, realize the social responsibility of the designer. Also this article presents the forms and contents of model ecological component in design education. The paper analyzes the possibilities of design in addressing environmental issues, the need for formation of ecological culture in the process of training designers.
Keywords
socio-cultural role of design, ecological design, ecological culture, design education
AUTHORS
Marina Pankina Svetlana Zakharova
PhD, Associate Professor PhD, Associate Professor
Russian State Russian State
Vocational-Pedagogical University Vocational-Pedagogical University
Yekaterinburg, Russia Yekaterinburg, Russia
marina-pankina@rambler.ru zsv99@mail.ru
Awareness of the need of preventing the negative impact of human activity on the environment has led to the use of measures with various efficiency. In 1960s, the control of environmental pollution has been an effective way to impact on the industry and to solve environmental problems, but in the 1980s, prevention of the pollution has become more urgent, and in the 1990s, priority was given to industry of environmental management, international standards of ISO 14000 were approved. Currently, in the situation of opposition of culture and nature, destruction of nature, and series of environmental disasters of interstate and world-wide measure, prevention of environmental problems and the formation of ecological culture of the population of the planet to ensure sustainable development is more urgent.
Ecological culture - is a part of universal culture, system of social relationships, moral and ethical standards, opinions, attitudes and values relating to the relationship between man and nature. As a measure of human freedom in relation to nature it regulates man's inner motivation. The major advantage of ecological culture is its preventing mission, while institutional and economic mechanisms of nature using activities regulate only a consequence of processes.
Design projecting and design education have a huge opportunity of contribution to solving problems of sustainable development, in its economical, social, cultural and environmental components. The design connects art, scientific-technical and industrial-technological culture, it is an integral part of industrial production. Design is an activity for future, it is a conscious, purposeful, freely elected by the purposes and means of the method of objectifying human ideas [3]. Design connects spiritual and material culture to a single node. Designers create object-spatial environment, "second nature", which provides human activity and solves the problem of harmonization of coexistence of man
and the envYonment [1]. In the process of projecting and creating the object, designer plays several roles: researcher, psychologist, artist, projector and practitioner, considering design object systemically; economist and ecologist, calculates margins and stages of "life" of the object. This many-sided and at the same time the unity of professional roles teaches designer's thinking to internal dialogic and reflection. Designer is inherently a communicator and a man always working in a team, unifying and coordinating the actions of many people: the customer, consumer, many participants in the production process.
By creating an artificial environment, designers also predict human activ^y in it (in the man-body-machine-environment system), open for society the new forms, constructions and technologies, form social processes, communications and lifestyle of consumers, their aesthetic preferences, bring taste and often provoke a new level of consumption. Impact of visual forms of design artworks occurs indirectly, as encoded in the images of thing-space environment information is perceived at a subconscious level and without translation (remember that amongst all the senses, sight gives us 80% of the information about the world). Means of design, which has become a global phenomenon, it is possible to generate consumer culture, values and worldviews, and ultimately, ecological consumer culture.
Ecologization of designers' project thinking was started with raising awareness of the negative impact of human activity on the environment, as well as the mission, social responsibility and opportunities of profession. The design should be environmentally and socially responsible, as Victor Papanek wrote back in the 1970s [5]. Currently ecological paradigm (as the original concept, model of the problem, a set of values, methods, approaches, technical solutions and tools) should be leading in the design, which forms the object-spatial environment, all stages of life of the object, from design to manufacturing process, use and disposal. Anthropocentrism of classic design and character of commercial business must be changing by ecocentric setting [4].
The need of formation of ecological culture, professional ethics, as a certain moral and ethical code of future designers is axiomatic. Let's remember the "Hippocratic Oath" which doctors give, honor of the officer, teaching ethics, "Code of Judicial Ethics." In these professions special moral responsibility is needed, because they relate to people and their physical, psychological, moral, legal status, which may change in the years to come. Designer is responsible for the state of the people who are in projected object-spatial environment and use the design objects, and for the environment, which is affected by its objects.
Back in the 1990s, the design education task was to build a culture of thinking of the future specialist that will allow him to navigate through the dynamic conditions of production and social life, and actively put their own problems, and be included in their decision. Also the need of integration of academic and technical training component was pointed, as specialization led to technocratic imbalance and leveling of humanitarian values. Understanding of the social responsibility of the designer, the paradigmatic settings, cultural landmarks, ecological culture, standards of ethics of the profession of the future designers should be laid in the learning process at the university, to prevent the pursuit of profit and self-expression or form projecting to become dominant profession. The law: "Do no harm, think about the future" should be with the future designers.
With the apparent demand in the Russian standards of higher design education for Bachelor qualification only in general cultural competencies, it is stated that graduates should be "willing to accept moral responsibilities towards the natural envYonment." Among professional competencies it is told only about social responsibility and the importance of the profession, respectful, caring attitude to the historical heritage and cultural traditions, tolerance of perception of social and cultural differences. For
qualification of the Master, professional competencies include the following: "... able to watch over the prevention of environmental violations" [6]. In the programs of universities it is difficult to identify the disciplines in which the formation of ecological culture of future specialists, development of tools, methods and technologies for environmentally responsible projecting are possible. Content of courses of "Art History", "History and Theory of Design," "Design Philosophy" in retrospect introduces with the names, objects, concepts, trends, existing experience. Core semantic content of the course "Ecology" is: structure of ecosystem and relationship of organism and environment, modern state of the issue and environmental management, nature protection, the elimination of the consequences of a negative impact on the environment, the fundamentals of environmental law. Formation of ecological culture and knowledge of the moral norms of environmental behavior are only declared, but are not provided with educational programs and teaching technologies.
Ecological culture is immanent, above-professional and inter-professional quality of a future designer. For its formation, the integration of environmental, psychological, pedagogical, akmeologycal knowledge is required. In design education special environmental training courses should be introduced and content of various disciplines should be more ecological, that will provide interdisciplinary communication [2]. Axiological meaning of design education is enclosed to form a value environmental attitude, based on the holistic world perception, recognition of not utilitarian, but universal value of nature as the basis of life, responsible attitude to all manifestations of life. The designer must be able and willing to implement them in their professional activities, to project a harmonious and coherent body-space environment, broadcast ecological culture in society.
Environmental competence is an integrative concept and integrates socio-psychological, professional, moral and volitional qualities of personality. Psycho-pedagogical and structural and meaningful characterization of environmental competence includes motivational and evaluative, cognitive, activity-behavioral, emotional and volitional, reflective components, as well as such important personal and professional qualities of future designers as humanity, empathy, thrift, responsibility, integrity; business skills (organization, initiative, commitment, reflexivity, self-efficiency, internality); intellectual abilities and qualities; ability of emotional experience and action in all aspects of the relationship with nature, etc.
The most important factors shaping the ecological competence of future designers
are:
- Psycho-pedagogical preparation for environmentally responsible design, creation of the motivation, personal qualities of students;
- Study and development of technologies and methods in environmental design;
- The formation of the moral imperative and ecological culture, professional ethics.
Introduction of the environmental component in the designer education is
determined by specifics of the profession, responsive to the urgent problems of society. Ecologization of the content of design education is available in various forms, which show the experience in the universities, which train designers. For example, in projects of graphic designers - it's a theme of social ecological advertising, ecological packaging, problems of rehabilitation of depressed areas or harmonization of environment by means of graphic design, visual support of regional tourism. And in preparing of industrial designers - decision is in students' projects of problems of creating rich and convertible modular objects, impervious to obsolescence, durability of objects, the opportunity of their modernization, "second life" or recycling, the use of sustainable materials, and of course - the ergonomics and accordance to the needs of people. There are bionic structures and images, ideas of solar energy, energy-saving technologies, rainwater for
irrigation of landscaping, inclusion of landscaping or the environment in the interior object in these projects.
Projecting of small forms, environmental art objects and installations with ecological orientation, allows students to recognize the socio-cultural functions of design: iconic, axiological, epistemological, communicative, educational, and also to show their active position, to participate in a real project work, public campaigns and solving of environmental issues.
In disciplines of various cycles, students can master the technological and compositional artistic techniques of ecologization of environment. This technological techniques include securing of utilitarian requirements to object and hygienic environmental factors; analysis of the possible negative impact on the environment at all stages of life of the object and project proposals to minimize damage to the environment; the use of sustainable materials, recycling and reuse of resources and objects; use of bionics research in projecting of the structure and design of the object. Technological methods of ecologization have primarily influence on the physiological condition of the people and stimulate the rational use of natural resources. Compositional art techniques include: a solution of space and its substantive content using composite tools and techniques, including both classic art tools and methods of organizing the composition, based on the laws of harmony of perception and modularity, transformability of objects, space zoning, provision of social space, inclusion of living and non-living natural objects and forms, images of natural objects as elements of composition, biomorphic stylization of objects. Compositional and artistic techniques harmonize and organize the space, so life processes and socio-cultural communications affect the psychological state of people (and physiological too), form taste preferences, consumer installations and as a result -the philosophical and aesthetic ideals.
An integrative and synthesis course "Ecological Design" was proposed and tested by the authors of this article, it may be included as an optional part of the cycle of professional disciplines. Learning the basics of ecological design allows to generate value ideas about profitable interaction between environment and human, as well as to become aquainted with the specific techniques of ecologization, which should be used in the projecting of architectural environment and design objects.
The methodology of teaching the course is based on the principles of consciousness, activity and motivation of students. Consciousness in training involves students' understanding of the problems in essence, belief in the correctness and usefulness of acquired knowledge, a positive attitude towards learning. Students' activity should be shown in their intense mental activity, based on the methods of scientific knowledge and creative thinking techniques, and in constant application of received knowledge, skills and technique. Students' motivation is provided by an understanding of the relevance and the social significance of their future professional activities, inclusion in group creative work, systematic independent work followed by a discussion of its results, a constant reflection of their activities.
Thus, the ecological paradigm should become a priority in the design education. Formation of ecological competence and learning the basics of ecological design in system of design education will provide future specialists with value ideas about the interaction of the environment and human, as well as get acquainted with the principles and master the techniques of ecologization, which should be used in projecting of design objects that can be a guarantee of creation of nature conformable projects, promote environmental culture in society by means of design.
The study was sponsored by RFH and the Government of the Sverdlovsk region in the framework of research "Genesis of ecological design and ecological paradigm of design education at the example of the Ural region", project № 13-14-66007.
REFERENCES
1. Cagan M. C. Philosophy of culture. - SPB. : T00 TK Petropolis, 1996. - 415 pages.
2. Glazacheva A. O. Formation of ecological competence of future designers in professional training : Dissertation abstract. - Moscow, 2009.
3. Mosorova N. N. Philosophy of design: Social and anthropological problems : Dissertation abstract, Doctor of Philosophy - Yekaterinburg, 2001.
4. Pankina M. V. Ecological paradigm of design // Academic herald Ural Research Institute Project RAASN. 2012. #2. Pages 90-92.
5. Papanec V. Design for real world. - M.: D. Aronov Publishers, 2008. - 416 pages.
6. Federal state educational standards [Electronic source] // Access mode: http://www.edu.ru
PRINCIPLE OF COMPLEMENTARITY: FROM PHYSICS TO THE GENERAL PARAMETRIC SYSTEMS THEORY
Abstract
The article represents an investigation of complementarity idea as a physical principle introduced by N. Bohr for the description of quantum mechanics objects, and also this idea application in the General Parametric Systems Theory which was developed by A.I. Ujemov and his school. This idea is represented as a principle of dual system descriptions complementarity by the example of deductive and inductive conclusions' system models. The attributive and relational structures investigation is represented in their interrelationship and complementarity to each other. The transformation of the complementarity physical principle into general scientific and philosophical one is also shown in this work.
Keywords
principle of complementarity, General Parametric Systems Theory, system model, attributive and relational system definitions, deduction, induction
AUTHOR
Yuliia Popova
Post-graduate student Natural faculties philosophy department Odessa National I.I. Mechnikov University, , Odessa Juliette-night@yandex.ru
The development of modern society is determined by processes of globalization and scientific knowledge integration. Such processes have a close connection with an appearance of "scientific crossroads" which combine principles and conceptions of different theories. The system method and general systems theory occupy a highly important place in scientific knowledge, and these two theories had a great influence on a development of classical physics, sociology, macroeconomics, medicine, ecology etc. Mechatronics, bionics, bioengineering appeared as a result of sciences' system integration. One of the general systems theory variants is the General Parametric Systems Theory (GPST), which was developed by Ukrainian philosopher and logician A. I. Ujemov and his school.
