Architectural design enhancement of gardens/parks in Yerevan

In Yerevan, as well as in a number of other Armenian cities, gardens were designed and constructed mainly during the Soviet era, and most of them were transformed, distorted and devastated in the first decade of the period of independence. In the last decade, a unique number of gardens/parks have been built or reconstructed in Yerevan. The city of Yerevan needs this kind of investigation. To observe and analyse the current state of gardens and parks, architectural and design structures as well as compositional design issues and problems concerning Yerevan’s gardens and parks can be the first study in the Armenian history of design and architecture We still do not have any information about similar research efforts in the given sphere carried out in the countries neighbouring Armenia and other foreign countries. This article presents the right process of modernization and/or construction of gardens/parks based on the study of the best models envisions and requires application and implementation of different tools of compositional design and modification not only in the design proper of gardens/parks, but also in the external design and aesthetic nuances of the adjacent surrounding, leaving any compositional design setup unchanged.

Italian Office Desk

In Italy the history of modern equipment design has shifted between ‘mass production and one-off’, as architects Gio Ponti and Antonio Fornaroli wrote in an article in the magazine Domus (1948). Starting from this important reflection by the two Italian architects, the article takes into consideration the case study of office furniture.The aim of the article is to identify the cultural landscape of Italian design during the twentieth century, taking into consideration the example of the office desk as fil rouge of the history of design in Italy.The methodology adopted is deductive: starting from the selection of some case studies (desks designed for some elitist furnishings or, vice versa, for serial reproduction) and in relation to the architectural and cultural context in which they were created, some key concepts are deduced in order to understand the progressive adherence of Italian architects to the idea of modernity, and then to the massification of industrial design. New materials and ancient ‘know-how’ have merged into projects that have distinguished the history of design in Italy as original.The conclusion highlights how in the history of Italian office furniture as a multi-faceted history, where elite furniture can become a democratic product, until it becomes part of the contemporary office.

Creativity of Martin Margiela and designers of the Antwerp Six in the context of deconstructivism of the late XXth — early XXIst centuries

The paper analyzes main methods and peculiarities of garment construction characteristics of deconstruction imagery and style of Belgium designers at the end of the XXth — at the beginning of the XXIst centuries. After researching the designers’ collections, deconstruction means and approaches have been systematized and generalized, the features of form and construction, the use of colors and materials have been studied, including the practical use of garment collections and their presentation. The paper provides the similar and different deconstruction features of the creativity of Martin Margiela, Ann Demeulemeester, Dries Van Noten and other designers of the ‘Belgium six’, it traces their ideas and fields of design creativity. It highlights the importance of the rethinking of the traditional fashion ideas of Belgian designers within the postmodern culture as well as significance of their creativity for the design of modern clothing collections. The paper materials are supposed to be used in scientific research on the history of design, for making lectures, manuals and other methodical materials.

THE THEATER OF MUSICAL COMEDY IN ROSTOV-ON-DON: ARCHITECTURAL DESIGNS AND THEIR IMPLEMENTATION

The Theater of Musical Comedy in Rostov-on-Don is a unique structure that clearly reflects the features of Soviet modernism. This landmark building is known for its long history of design and implementation (1969-1999). Its construction lasted almost 25 years. This, of course, affected the architectural and artistic appearance of the building. The various design proposals and the actual project have significant differences in stylistic techniques: the bold forms of brutalism appearing in the initial developments remained on paper and the building that embellished the central street of the city was significantly influenced by the minimalistic trends of the 1990s. Based on archival materials, the paper attempts to analyze the evolution of the theater’s design solutions, evolving from eccentric dynamic volumes to a static monumental composition, shows the changes that took place during implementation, and identifies their causes and contexts.