二十世纪六七十年代设计活动的科学依据和设计师培训教育计划的引入

Kuvshinova G.A.
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引用次数: 0

摘要

本文追溯了二十世纪六十年代初赫鲁晓夫解冻时期与全苏技术美学研究所(VNIITE)的出现有关的设计教育领域的事件。文章旨在从培养设计师的角度,分析 VNIITE 对国内设计教育在高等职业教育体系中的形成和发展的影响,这对当前的高等教育改革无疑具有借鉴意义。在撰写本研究报告的过程中,作者采用了以下科学方法:系统分析官方文件,尤其是官方教育文件;分析赫鲁晓夫解冻时期的历史文献;综合上世纪 60-70 年代设计师的理论和实践作品。研究者设定了一个目标,即了解培养设计师的教育计划的起源和后续实施的原因,从而分析高等教育改革的现状。这项工作的成果是对 VNIITE 在研究期间的工作进行了详尽的分析,并可能将这一独特机构的主要工作思路纳入当今培养专业设计师的教育内容中。作者认为,重新思考全联技术美学研究所的丰富经验,有助于今天的研究者更清晰地看到后工业时代现代设计教育的发展前景。此外,作者还将继续进行有关国内设计教育的形成与发展的历史研究工作,直至今日。所有对俄罗斯设计教育的产生和发展历史感兴趣的人都会对这篇文章感兴趣。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
SCIENTIFIC SUBSTANTIATION OF DESIGN ACTIVITY AND THE INTRODUCTION OF EDUCATIONAL PROGRAMS FOR THE TRAINING OF DESIGNERS IN THE 1960S-1970S OF THE TWENTIETH CENTURY
This article traces the events taking place in the field of design education related to the emergence of VNIITE (All-Union Research Institute of Technical Aesthetics) during the Khrushchev thaw in the early 60s of the twentieth century. The purpose of the article is to analyze the influence of VNIITE on the formation and development of domestic design education in the system of higher professional education in terms of training designers, which is undoubtedly relevant to the current reform of higher education. In the process of writing this study, the author used the following scientific methods: systematic analysis of official documents, in particular official educational documents, analysis of historical documents during the Khrushchev thaw, synthesis of theoretical and practical works of designers of the 60-70 years of the last century. The researcher set a goal to see the reasons for the origin and subsequent implementation of educational programs for training designers in order to analyze the current situation of reforming higher education. The result of the work is an exhaustive analysis of the work of VNIITE in the period under study, with the possible inclusion in the content of today's education in terms of training professional designers, the main ideas of the work of this unique institution. In the author's opinion, rethinking the rich experience of the All-Union Research Institute of Technical Aesthetics will help today's researchers to see more clearly the prospects for the development of design education in the post-industrial period of modernity. Further, the author will continue his historical research work concerning the formation and development of domestic design education up to the present time. The article may be of interest to all those who are interested in the history of the emergence and development of design education in Russia.
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