Academic literature on the topic 'Design, Decorative.ment'

This paper aims to incorporate artistic vocabulary from intangible cultural heritage into historical clothing designs, particularly beautiful pattern designs. It is based on a profound understanding of the concept of immaterial cultural heritage and the mastery of its traditional skills to meet the public’s needs in terms of clothing and flowers. Technology, culture, and intangible cultural legacies can all be passed down and incorporated into the design. It is using interactive evolutionary computing to investigate the intangible cultural heritage elements of designing novel decorative flower patterns for clothing. Due to the rapid advancement of digital technology, computers are now used more frequently in the design of patterns and clothing. The goal is to improve the production of artistic trends and decrease the use of manual and traditional methods. This study uses interactive genetic algorithms to examine the current state of intangible cultural heritage elements in building designs for decorative flower patterns for clothing. The application of genetic algorithms to the design of clothing with flowers as decorative patterns is the main focus of this paper. The genetic algorithm is described, followed by an analysis of its fundamental structure. Then, the characteristics of the clothing flower decorative pattern are determined, the genetic algorithm model is applied to the design of the decorative flower patterns for clothing, and the hierarchical structure of heredity, variation, and interaction is provided. Finally, the genetic algorithm is applied to the large-scale generation and mutation optimization of designing decorative flower patterns for clothing after analyzing its application in clothing flower decorative pattern technology. The idea presented in this paper can self-reproduce and optimize, resulting in the nonartificial generation and optimization of designing decorative flower patterns for clothing.

Formulation of the problem. Teaching the design of the environment, as well as practical achievements in this field of artistic creativity of teachers, students and graduates of Lviv National akademy of arts, have a thorough basis. Lviv school design of interiors has a long history, and the chair of design of the envi- ronment of Lviv National akademy of arts is the heir to the traditions and achievements of several gen- erations of Lviv artists. It is important to reveal the process of formation in Lviv artistic design educa- tion, the theoretical foundations of the artistic or- ganization of the subject environment surrounding a person, to identify and compare historical levels in the development of works, their technological and stylistic changes in time, investigate the relationship between different artistic techniques and options design at different stages. Analysis of recent research and publications. Important is the study of Alexander Noha on the theme of the Lviv design school. In his book 2001 “Ukrainian art-industrial ceramics in Galicia (1840- 1940)” is considered a period of birth and develop- ment of industrial design in Lviv [16]. Architecture and design of public spaces in the structure of historical residential building of Lviv on the verge of the XIX-XX centuries became the object of scientific research in articles and in the candidate’s thesis Olga Lysenko [12]. A number of works of design of the Lviv Art déco 1920-1930’s was analyzed by Anna Bantsekova in the catalog of the exhibition in 2001 “Art déco in Lviv” [5]. Marta Makovetska in article 2016 trailed trends in the decoration of premises (especially furniture) in the Ukrainian folk style in Lviv of interwar time [13]. The analysis of the source base revealed that to date no comprehensive study of the development of the Lviv school of subject-spatial environment de- sign has been carried out. This problem requires a multifaceted and synthetic approach. The purpose of the article: to consider the form- ing factors, the theoretical principles of the Lviv design of the environment and their practical im- plementation in 1872-1944, introduce new facts to scientific space, surnames of artists and their works. Study Results. For the first time there is a com- prehensive scientific study of the stylistic evolution of the Lviv design of the subject-spatial environment – from the neo-styles of historicism to secession (art nouveau), art déco and functionalism. The universal essence of the secession provided it gradually, but continuously growing coverage of various types of creativity and became one of the main formative fac- tors of a subject-spatial design in the capital of Gali- cia at the beginning of the twentieth century. If the art déco to some extent continued decorative trends of secession, then functionalism has shown the de- sire for a new approach to organizing the design space. The artists began to refuse abundant decor in favor of a clear constructive basis and restrained coloring, to emphasize the compositional-rhythmic construction of geometric volumes and planes. The article reveals the formative factors of the de- sign of the environment, illuminates the regularities of the emergence and establishment of artistic and design education and practical activities in this area of the creativity. The emergence of theoretical prin- ciples of artistic design in Lviv is shown, starting with articles and public speeches of Julian Zachariewicz. The history of Lviv design of the environment is sys- tematized, in many aspects the works of individual artists of different nationalities are analyzed, their previously unknown works, which are introduced into scientific circulation for the first time, are re- vealed. In particular, the creative work in the field of design of W. Sadłowski, A. Zachariewicz, I. Levynsky and his followers, T. Obmiński, M. Olszewski, T. Wró- bel, Z. Sperber is studied. Getting to know the achievements of leading European art centers, Lviv design school has main- tained its independence and originality. The pecu- liarity of its representatives was the complexity of the polyethnic structure, the multilayer of the top- ics and motives (the sources of which were diverse aspects of national life and the tradition of everyday life) and in the use of the treasury of regional cul- tural achievements. Thus, numerous exhibitions of Ukrainian manufacturers of the period 1919-1939 showed a high level of Ukrainian designer opinion and active searches for national identity on the basis of traditional folk material culture and in the direc- tion of the formal system of art déco. Conclusions. The analysis of creativity of artists of the Lviv school design of the environment showed Юрій Бірюльов 105 Львівська школа дизайну середовища 1919–1944 рр.: теоретичні засади та їх втілення its artistic integrity, revealed a large socio-cultural and artistic significance of objects of subject-spa- tial design of the period of 1872-1944.The historical change of styles in the design of public and residen- tial interiors of Lviv, the formative factors of design, the achievements of teachers and graduates of the Artistic and industrial school are considered. Until re- cently, the existing idea of the Lviv art of design was significantly supplemented, and new facts and works were introduced into scientific circulation.

With the gradual advancement of globalization, cultural values and traditional decorative practices as well as people’s lifestyles have changed through digital awareness. This has seriously affected the interior decoration industry and brought challenges to the local handicraft industry. Pakistan’s traditional handicraft is famous in the world, but the flow of imported machine-made products in Pakistan has led to a decline of Pakistan’s handicraft industry. This research investigated which factors are involved in home decoration and to see if these factors are advantageous for the handicraft industry or not. The use of handicraft decoration objects varies among people when they design their houses. Thus, study conducted a survey, which found several factors that Pakistani people emphasize in relation to home decoration. Currently, these factors do not benefit the handicraft industry as people pursue a modern lifestyle and they consider handicraft objects without innovation and design outdated. Interior decoration is seen as a major aspect of traditional Pakistani life and culture, with distinct cultural characteristics. Inspired by the latest way of thinking, an interior design first exists as a concept and is then realized through careful planning. It is meant to evoke a specific mood through the strategic use of color, space, and style. In Pakistan, home accessories are generally and strongly influenced by the current fashion in the end market, with many changes brought about by consumers’ purchasing patterns, designers’ and decorators’ styles, and economic conditions. Keeping up with constantly changing trends is the main challenge faced by the traditional handicraft industry sector. In many cases, craftspeople are disconnected from the end market, which is a challenge for them to be able to profit from their work.

The artifacts design and usage have been evolving since preliminary civilization period from to satisfy pure physical needs gradually to also meet psychological needs. As the evolution result, some artifacts are designed and produced not only with practical or decorative value, but also with purpose to demonstrate the consciousness of rank difference. This article, from social class consciousness perspective, with the analysis on decoration methods, clothing color and materials, demonstrates the explicit and implicit class ideological connotation in Chinese traditional dress. The dress color and pattern are strictly defined for and associated with social classes, where any violation is prohibited. As a conclusion, most artifacts especially Chinese traditional dresses which clearly represent all social classes are the intended product by ruling class.