Vilniaus dailės akademijos Dizaino katedra, 1961-1990: profesionalaus Lietuvos dizaino pagrindas

LTLeidinio tikslas - pristatyti sovietinio periodo Dizaino katedros veiklą. Analizuoti ją kaip profesionalaus Lietuvos dizaino pagrindą, pabrėžti kūrybinio paveldo svarbą, apžvelgti mokymo metodikos strategiją, ryšius su pramonine gamyba. Šio tyrimo problematika apima katedros įkūrimo ir sovietinės pramoninės dailės bei gamybos plėtotės, sovietinio laikotarpio techninės estetikos ir katedroje puoselėtų estetinių dizaino nuostatų santykio, taip pat sovietinio dizaino palikimo, katedroje sukurtų darbų vertės klausimus. Monografijos skyriuose nagrinėjama 1961-1990 m. laikotarpio katedros istorija, studijų metodika, studentų kursiniai ir baigiamieji darbai, pateikiamos darbų fotografijos. Siekiant parodyti ryšį su šiandienine Dizaino katedros veikla, trumpai aptartas ir atkurtos nepriklausomybės laikotarpis. Šaltinius, kuriais remiantis parengta monografija, tikslinga skirstyti į dvi dalis. Didžiąją dalį sudaro faktografinės medžiagos gausus Dizaino katedros archyvas. Kitą - dizainą populiarinantys spaudos straipsniai, knygos, kuriose gvildenama techninės estetikos problematika. [Iš Pratarmės]

ENThe Department of Design of Vilnius Academy of Arts celebrates its 50th anniversary in 2011. Actually, in 1961 it was called differently - the Department of Industrial Products Artistic Construction (DIPAC), and its graduates were not called designers in a western manner, but "artists-constructors". The purpose of the publication is to introduce the activities of the Department of Design during the Soviet period. As well as to analyse it as the basis of the Lithuanian professional design, to highlight the significance of the creative heritage, to review the strategy of training techniques and continuity of traditions, relationships with industrial production. The history of the Department in 1961-1990, methodology of studies applied here, students' term papers and graduation theses have been analysed in the chapters of the monograph, and photographs of the works have been presented. In order to show the connection with today's activities of the Department of Design, the restored independence period has been discussed briefly. Summing up almost thirty years' period of the Department's activities, we can clearly note two periods. During the first ten years' period, the methodology of the Department was created, study guidelines were drawn, during the second period the strategy of the Department was developed. Most likely, the periods of the Department's activities could be defined in some other way. Its activities were influence also by the approach F. Daukantas and T. Baginskis, who headed the Department, towards the study process and the future of the specialists that were prepared, by the employed lecturers' qualification and the nature of creative work.During the first period of the Department's activities, structural similarity with the Bauhaus education model was revealed. The introductory course, also called the propaedeutic course, acquainted future professionals with the artistic expression opportunities and led them towards solution of professional design problems. Searching for innovative teaching methods, the schools preparing industrial art professionals in other former Soviet republics and in the countries within the Soviet sphere of influence, such as Poland, Czechoslovakia, as well as West Germany, were looked at. Therefore, the study methodology of the Department was progressive during the Soviet period. It met the needs of those days. There were no breaking changes in the studies of the Department even when the new head of the Department was elected. Relations with the manufacturing companies were developed from the very beginning of the Department's activities. Contracts concluded with industrial companies gave the future professionals an access to the specifics of the manufacturing process, to the formal limits for development of design objects. During all four years of studies, the students were designing articles intended for industrial production, and their final works were introduced into production after obtaining of the industrial design certificates. After graduation, based on the compulsory posting procedure, the majority of students were employed in the manufacturing companies, in the design-engineering bureaus of manufacturing companies, in Vilnius branch of STEMTI. The Department of Design became the centre for training of the industrial art or product design experts and the launching platform of their careers.The retarded Soviet manufacturing base prevented from implementing in the industrial production the design projects developed during the years of studies and later. However, this and other circumstances do not diminish the artistic value of the design of objects created - they represent not only a historically valuable mirror of those days, but also certify the artistic intentions. Neo-functionalist aesthetics are characteristic to the majority of the design projects developed in the Department of Design. As the restoration of independence was approaching, strict geometric shapes were gradually replaced by more streamlined, soft design. Functionalist tendencies of the period were supplemented by the design of Scandinavian countries, as well as specific features of the design of other countries. [...].

• Menotyra / Arts
• Istorija / History