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Man and Culture
Reference:

An object in the interior design as a concept of integrating decorative and applied art into the design of premises

Mikhailenko Anastasiia

designer, director KREATIVE Market design studio, master and teacher of decorative and applied arts, member of the professional Union of Artists of Russia.

390027, Russia, Ryazan region, Ryazan, Bystretskaya str., 11

kreativ-market@mail.ru

DOI:

10.25136/2409-8744.2024.1.69671

EDN:

FGOWXY

Received:

25-01-2024


Published:

13-02-2024


Abstract: The subject of the research is the types of decorative and applied art, the connection of decorative and applied art with the interior design of residential and public spaces. Special attention is paid to the fact that in modern interior design, the tendency to transform interior space using decorative and applied art objects is widespread, which determine the overall style of the room, despite the particular academic design style used in the project. The author examines in detail such aspects of the topic as the influence of the author's thing on the exclusivity of the project, giving a typical interior individuality by including an object of decorative and applied art made specifically for this room, or competently selected by a specialist taking into account the specifics and purpose of the room, the transformation of the project from a typical to an individual one. The author analyzed and systematized modern methods and techniques of introducing the author's art into the interior design of premises for various purposes. Based on the results of the study, a general methodology was formed and proposed for integrating things into the interior of the proposed spaces, the concept of transforming rooms using objects and techniques of decorative and applied art. The main conclusion of the research is that the author's art object of decorative and applied art, created in a certain way and integrated into the interior design, allows to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The novelty of the research lies in determining the current trend of integrating handmade objects into the interiors and spaces of residential and commercial premises for various purposes in order to give uniqueness, which contributes to the development of the design industry and art in general.


Keywords:

decorative and applied art, design, interior, design project, art object, author's work, furniture, lamp, handmade work, object

This article is automatically translated. You can find original text of the article here.

Decorative and applied art is a type of artistic creativity that encompasses many varieties of professional and amateur creative activities aimed at creating products that combine utilitarian, aesthetic and artistic functions in one way or another. This collective term conventionally combines two broad types of art: decorative and applied. Sometimes this broad area, together with design, is called subject creativity. Works of decorative and applied art can have practical, and therefore applied use, or serve as decoration in the broadest sense of the word, which means decorative art. In the first case, the key concept is utilitarianism or a utilitarian function, in the second — decor. Thus, decorative and applied art, along with architecture and design, belongs to the genus of bifunctional arts [1].

In fact, decorative and applied art is the creativity of people, aimed not only at decoration, but also for use in everyday life. It has not only an aesthetic, but not an artistic character. Decorative and applied art is organically connected with the concept of interior design, and aesthetic function and imaginative solution are priorities [2]. It follows from this that the integration of things and handmade objects into the interior design of residential and public spaces is the right direction for the development of design and bifunctional arts. Currently, the trend of creating interior spaces using objects and techniques of decorative and applied art is widely used. Conducting a comprehensive study of this area, the article formulated the basic principles of integrating objects into the interior and developed the concept of "things in the interior", used to give the interior a certain design style.

"Interior design in the modern world is based on the foundation of a number of features that serve to ensure a comfortable existence indoors" [10]. The purpose of the interior can be different, and it is on this that its style and design depend. If we talk about rooms intended for living, then the main task of the space is to provide convenience and coziness. It is often the individual characteristics of a person that should be reflected in the design project of such an interior. Based on the preferences of the customer, the designer chooses one or another style of the project. However, the right choice of academic style in design will never be able to bring individuality, and more often it even comes down to uniformity. In addition, the embodiment of the style of such a project is limited by the choice of standard products, in particular: furniture, finishing materials, decor, textiles. This kind of depersonalization of space can be observed for many years. The fashion for coloristics, materials and styles is changing. All interiors are tailored to this peculiar fashion. The rooms become the same, not interesting and boring. The conducted research and observations have shown that it is the inclusion of works of author's decorative and applied art in such similar projects that can significantly enliven the interior and give it individuality.  Such handmade work of the master, as a rule, created in a single copy, makes the interior unique and inimitable. The symbiosis of academically correctly created interior design with the subject of author's art is an innovative direction of modern art. For example, to give an individual author's uniqueness to the design of the premises of the most ordinary typical kindergarten or children's department of the clinic, author's paintings on the walls, frescoes, decorative panels are used. Only a practicing artist will be able to choose the style, colors, sizes. It is almost impossible to design such a project using industrially created paintings and other interior items.

The main feature of decorative and applied art, unlike easel, mass types (painting, graphics, sculpture), is the organic connection of his works with the surrounding subject-spatial environment, the needs of ordinary people's lives in the ordinary living environment of a residential space, and not the contemplation of beauty in museums [3].

There are many varieties of decorative and applied art based on the use of various techniques, techniques, materials and techniques, many of which have been polished for centuries in folk and professional art. So, in the processing of stone, wood, bone, carving is used: stone carving, bone carving, wood carving. In working with fabrics: weaving, knitting, sewing, patchwork, carpet weaving, lace, applique, batik and much more. In glassmaking: blowing, grinding, engraving, painting. In metal: hammering, stamping, engraving, forging [4,5]. However, due to the various features of the art space, not all forms of existence of objects of decorative and applied art are suitable for use in interior design. The proposed concept of a thing in the interior implies the existence of a thing or an object of decorative and applied art in interior design in only a few forms.

An art object is an author's piece of decorative and applied art, as a form of interior decoration. An art object is a work of art designed for a person's emotional reaction. It may have a monumental structure and be oversized, not suitable for integration into the interior. Three-dimensional art objects of small shapes, small plastic, small-sized sculpture, wall decorative panels and other works of decorative and applied art, as well as formal things made in various techniques and materials that convey the creative idea of the artist are suitable for use in interior design [6]. The processes and technologies of active renewal of the oldest types of arts and crafts have a significant impact on the formation of modern art objects. Today, artistic processing of metals and wood, painting, and enamel art are widely used [11]. However, it should be noted that the inclusion of original works of decorative and applied art in the interior design is not as simple as it might seem. An ill–considered choice of an art object will not give the desired result.  The work, first of all, must correspond to the purpose of the room, its color, style, furniture and lighting. The choice of an object and its manufacture is often made after the formation of the main direction of the interior design project. In addition, if residential premises are considered as an example, then it is impossible not to take into account the hobbies, interests and even professions of the people for whom they are intended. For example, for the interior design of a children's room, a handmade art object was made that reminds a teenager of a character from a favorite movie. (Figure 1)

Figure 1. Mikhailenko A.Y. Decorative wall panel "I'm back". 2022

We live in an age of rapid development of neural networks and innovative technologies. Approaches to solving and modeling various design tasks are changing rapidly. However, each person sees finishing materials in interior design in their own way, which is explained by different subject views and approaches to the spatial environment. The idea of the qualities of space is formed in humans not only through visual interaction with it, but also with the participation of all other receptors of the body [12,14]. Since a person perceives objects of the surrounding world not only visually, but also tactilely, the texture and naturalness of the material are of key importance in the product.  Thoughtful synthesis of materials is not contradictory in the perception of objects. To enhance the artistic and imaginative concept of an art object, it is necessary to combine not only rationality and beauty, but also materials. The most interesting products are those that combine smooth and rough, shiny and matte texture, which help to reveal the characteristic features and properties of the material [7].

Such a stylistic direction in interior design as ecological design is rapidly developing in the XXI century. It is primarily characterized by the use of natural materials, rational consumption of resources, safe disposal of waste and the competent use of recycled materials in modern design. Eco-design encourages the authors to recreate the natural environment in residential and public spaces, bars, restaurants, shopping malls. [13]. The thing in the interior is, first of all, the concept of creating and integrating an art object into the interior. A distinctive feature of this approach is the naturalness of the materials used in the manufacture of embedded items. The process of creating an object of decorative and applied art is based on the use of a material such as wood. Natural wood is widely used in decorative and applied art. It attracts primarily by its environmental friendliness, which corresponds to modern trends. Its versatility, ease of processing and painting make it indispensable. Firing, brushing, tinting, carving, varnishing, patching and painting with hundreds of different compositions allows this material to be used in various fields of decorative and applied art. Considering this, an art object made of wood can be fitted into any interior, precisely emphasizing the style of the room.

Also, the most significant shaped object for integration into the interior is furniture. There are purely functional types of furniture that serve people for their intended purpose and are not distinguished by a deep creative idea. At the same time, for use in interior design, it is necessary to consider not only the functionality of furniture as a household item, but also as an aesthetic decoration of a residential or public space [15].

From the point of view of the concept of things in the interior, furniture is considered as an author's work of decorative and applied art. Initially, furniture by its nature refers to objects created manually, without the use of mass production technologies. It is decorated with wood carvings, inlays and paintings. Soft and easy-to-process wood is used as the material, which allows organically applying the entire arsenal of decorative means, popular at that time: floral and geometric motifs, ornamental patterns, acanthus leaves and others. Russian furniture is a collective designation of furniture products produced in Russia from the beginning of the XVI century to the present. In the history of art, Russian furniture of this period is considered as one of the historical and regional varieties of decorative and applied art. For centuries, Russian carpenters have been making chests, benches, stools, small cabinets and chairs traditional for peasant crafts. At the end of the XVII century, "German and Polish tables" with carvings and paintings on black, gold and silver backgrounds appeared at the Moscow court of Tsar Alexei Mikhailovich. Moreover, the painting was done by Russian masters.  Since the 1660s, foreign craftsmen have been working in the workshops of the Armory in Moscow, who manually made expensive furniture using veneering, intarsion and ornamental carving techniques. Their staff included a number of masters of decorative and applied arts, among whom was an ornamentalist draughtsman and a woodcarver [8,9]. Furniture made according to the canons of decorative and applied art is still easy to identify today thanks to traditional techniques. As before, it is made mainly of wood and will perfectly fit into the interiors of apartments and houses of people who prefer the environmental friendliness of natural materials that reflect the restrained beauty of the surrounding world. Modern furniture made in the techniques of decorative and applied arts (Figure 2) demonstrates not only the reliance on tradition, but also innovative solutions in working with materials such as wood, helps to enliven the static interior of the room and is an important stylistic accent.

Figure 2. Mikhailenko A.Y. Mounted decorative shelf "Sosnovy Bor". 2019

In the work "Clothes hanger made of forged nails", as part of the design project "House forest view", materials such as metal and wood are organically combined. (Figure 3)

Figure 3. Mikhailenko A.Yu. A hanger made of forged nails "Smoke of a steam locomotive". 2021

The most important part in interior design is the light. "Today, light is a tool for shaping and modeling space in fine art, architecture and design at the level of experimental and real design" [16]. The right choice of light creates an atmosphere, emphasizes the space, reveals it. Lighting plays an important role in the design of a room, as it determines the impression of interior design that develops when entering a room, as well as the mood and well-being of a person when they are in it. But just the aesthetic freedom of the interior is expressed in spectacular, functional and creative lamps and chandeliers full of innovations and creative design that will help to decorate a stylish interior. However, the modern mass market is unable to offer the buyer a decent range of such goods.  Lighting devices produced by mass production are limited in aesthetic form and content. Innovative styles in interior design require more interesting design solutions in lighting, and the integration of lighting devices made in decorative and applied art techniques into the interior is more appropriate than ever. After all, among other things, a designer lamp is a worthy investment in the interior. You can always feel the handmade work of the master of decorative and applied arts in the author's work created by him. (Figure 4) Adding a sometimes unexpected and fascinating accent to the design of an academic interior of a certain style is a sure way to create a unique, individual atmosphere in the room.

Figure 4. Mikhailenko A.Y. Wooden rope chandelier "Point-Nest X". 2020

All the listed objects characteristic of the concept of decorative and applied art in the interior, such as: an art object, furniture, lighting device are the main subjects of the concept of integrating copyrighted works into interior design. However, it is not always appropriate to add an art object to the interior as a material object. It is often more appropriate to use the very technique of making decorative and applied art objects in the interior. Sometimes design surveys require the conversion of standard items. For example, an artist can paint a picture on canvas, or maybe on an old refrigerator, transforming it into an object of art, which will also play not only a functional, but an aesthetic role in the design of this interior. The wood carving technique can be applied to any existing wooden object, whether it is furniture, door frames, baseboards and even walls of a room decorated with wooden panels.

For each project, the ratio between visual design and design is distributed depending on the tasks and preferences of the customer. When designing according to the concept of integrating the subject of decorative and applied art into the interior, three main formats for the introduction of creative works should be guided: the creation of both the interior and objects of decorative and applied art simultaneously within the stylistic solutions of a specific design project; the creation of an interior around objects of decorative and applied art; the creation of art objects in order to integrate them into an already embodied design.

In the first case, there is an almost complete fusion of creativity and design. It is not difficult for a designer to organize a symbiosis of decorative and applied art and interior design, to erase the lines between them.  The walls, ceiling and floor become blank canvases. The designer is writing the interior! This approach is extremely rare, but it gives the project executor maximum freedom.

The second way to integrate art into interiors is to build compositions around original works and art objects. In this case, the designer creates a project based on specific elements of the customer's collection. The fundamental purpose of this approach is to emphasize the importance of the subject, to focus attention on it. At the same time, the interior should not distract attention from the work or be in conflict with it.

The third way to integrate decorative art into the interior is to give stylistics to a ready-made room by introducing specially created objects of decorative and applied art into the interior. This method is currently the most popular among clients of design bureaus. In this case, the designer can set the necessary atmosphere for the space, using only a few art objects. But those that visually enrich the space and set the right dynamics, based on the character of the future owner and the style in which the project is being created.

If we talk about the formation of one's own style, then, first of all, it should be understood that the interior cannot be completely author's. As a rule, the project is based on an academic artistic style or a mixture of styles from the past or present. But individual solutions and ways of their implementation, which the designer comes up with himself, just form the author's and recognizable component of interior design. So, in a certain way, an author's art object of decorative and applied art created and integrated into the interior design allows you to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The integration of handmade objects into the interiors and spaces of residential and commercial premises contributes to the development of the design industry and art in general. After all, by showing a drop of ingenuity, even an amateur designer will be able to create a unique project and enhance the artistic quality of the space.

References
1. Vlasov, V. G. (2012). Fundamentals of the theory and history of decorative and applied art. Educational and methodical manual. St. Petersburg: Publishing House of St. Petersburg University.
2. Pronina, I. A. (1983). Decorative art at the Academy of Arts. Mоscow: Fine Arts.
3. Saltykov, A. B. (1969). The closest art. Moscow: Enlightenment.
4. Kagan, M. S. (1972). Morphology of art: Historical and theoretical study of the internal structure of the world of arts. Leningrad: Iskusstvo.
5. Vlasov, V. G. (2010). Art crafts. New encyclopedic dictionary of fine arts. In Х volumes. St. Petersburg: ABC Classics.
6. Ses, N. A., & Shchirova, A.N. (2012). Art object as a specific art form. Uspekhi of modern natural science, 5, 23-24.
7. Gerasimova, A. A., & Kagan-Rosenzweig, B. L. (2017). Color science: coloristic possibilities in the design of artistic metal products. Magnitogorsk: FGBOU VO "Magnitogorskiy gosudarstvennyy tekhnicheskiy universitet im. G. I. Nosova".
8. Vlasov, V. G. (2008). Russian furniture / New encyclopedic dictionary of Fine Arts. In 10 volumes. St. Petersburg: ABC Classics.
9. Bott, I. K., & Kaneva, M. I. (2003). Russian furniture: History. Styles. The masters. St. Petersburg: Iskusstvo.
10. Lopasova, V. S., & Vasilenko, YE. V. (2020). Znacheniye tsveta v dizayne inter'yernogo prostranstva. Modern Science, 4, 10-13.
11. Gerasimova, A. A., Gavritskov, S. A., & Rozentsveyg, B. L. (2019). Ispol'zovaniye art-ob"yektov v tekhnike khudozhestvennogo emalirovaniya pri dekorirovanii inter'year. Kul'tura i iskusstvo, 5, 8-19.
12. Petrov, O. V. (2021). Sovremenn·yye otdelochn·yye materialy v dizayne inter'yera. Inzhenern·yye issledovaniya, 3(3), 22-27.
13. Smirnova, M. A., & Maslov, M. M. (2020). Sovremenn·yye tendentsii v proyektirovanii inter'yera kvartir dlya tvorcheskikh lyudey. Biznes i dizayn revyu, 4(20), 9.
14. Vasilenko, P. G, & Vasilenko, YE. V. (2019). Ergonomicheskiy aspekt sozdaniya sredy obucheniya i proyektirovaniya uchebnogo prostranstva. Rossiya: tendentsii i perspektivy razvitiya, yezhegodnik, 723-725.
15. Ma"rufov, F. O (2021). Stil' mebeli v sovremennykh kvartirakh. Academy, 1, 69-73.
16. Zayeva-Burdonskaya, YE. A, & Nazarov, YU.V. (2022). Nov·yye formy osveshcheniya muzeynoy ekspozitsii. Puti poiska i resheniya. Svetotekhnika, 6, 18-24.

First Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the research in the article submitted for publication in the journal "Man and Culture", as the author somewhat verbatim reflected in the title ("A thing in the interior, as a concept of integrating decorative and applied art into the design of premises for various purposes"), is the integration of a work of decorative and applied art into the design of premises. Accordingly, the design of the premises is the object of research. Since the author understands the integration of a work of decorative and applied art (art object) into the design of premises as a creative process, the article is methodical in nature, i.e. it is focused on developing methodological recommendations for practicing designers, the application of which implies improving the already established practice of interior design. The author quite reasonably reveals his theoretical position in criticizing the general trend of modern design, which excludes elements of uniqueness from practice. Indeed, the design technology put on stream for compiling standard solutions in the design of premises practically eliminates the rich resource of decorative and applied art, which is a serious practical and theoretical problem of modern design: such, if I may say "design", essentially excludes its own grounds from the practice of design, replacing the uniqueness of the creative act with the technique of typical copying. The reviewer notes that such a substitution of the function of an artistic work by its circulation (simulacrum) became obvious already at the beginning of the XX century, as many theorists wrote (X. Ortega y Gasset, H.-G. Gadamer, J. Baudrillard, etc.), pointing out, among other things, that this trend is a logical consequence of the ideas of the European Enlightenment multiplied by consumer bourgeois ideology. Design in general, as a theory and practice of aestheticizing utilitarian things, is extremely vulnerable in terms of replacing artistic uniqueness with a typical compilation, and disappears where uniqueness is completely erased, turning into quackery. It is extremely difficult for an ignorant person, an ordinary consumer / customer of design, to distinguish a designer from a charlatan who deceives himself into ensuring his own existence. Therefore, of course, the article presented by the author deserves the attention of readers of the magazine "Man and Culture". Having demonstrated by examples three main ways of integrating a work of decorative and applied art (art object) into the design of premises, the author emphasized the importance of the result of a unique artistic act in the design of premises and proposed his own solution to the problem of replicating standard projects. Thus, the subject of the study was considered by the author at a theoretical level sufficient for publication in a scientific journal. The research methodology is based on a harmonious synthesis of the elements of analysis of specific unique objects presented in the illustrations with well-founded provisions of design theory. The author pays special attention to clarifying the categorical and terminological apparatus of the study, excluding the possibility of theoretical discrepancies in basic concepts, traces the logic of the practice of integrating a work of decorative and applied art (art object) into the design of premises and quite reasonably identifies three ways of such integration, offering them as methodological recommendations. The author justifiably associates the relevance of the research topic with the need to preserve the uniqueness of the design solutions of the premises in practice. The main thesis of the author is really relevant in connection with the growing trend of depersonalization of the design of things and premises put on stream. The scientific novelty, consisting in the explication of the original empirical material into the theoretical discourse and the author's well-reasoned position on the value of integrating unique works of decorative and applied art into the interior design, is beyond doubt. The style of the text is generally scientific, but the author needs to subtract and correct the text in terms of punctuation: in particular, the reviewer draws the author's attention to the fact that square brackets of references to sources and parentheses with notes are part of the sentence, so the dot is not placed before them, but after; you also need to check the punctuation associated with the introductory in words (not everywhere there are the necessary commas, which complicates the reading of the author's thought). The structure of the article corresponds to the logic of the presentation of the results of the research conducted by the author. The bibliography reflects the subject field of the study only to a certain (minimally acceptable) extent (there is no domestic and foreign scientific literature for the last 3-5 years) and requires adjustments taking into account the design requirements of the editorial board of the journal and GOST. The appeal to the opponents is correct and quite sufficient, although the author avoids direct discussions with colleagues. The article is of interest to the readership of the journal "Man and Culture" and after revision, taking into account the comments of the reviewer, it can be recommended for publication.

Second Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

In the magazine "Man and Culture", the author presented his article "A thing in the interior, as a concept for integrating decorative and applied art into the design of premises", in which an analysis of the possibility of mixing styles in the development of the project was carried out. The author proceeds in the study of this issue from the fact that the interior cannot be completely copyrighted. As a rule, the project is based on an academic artistic style or a mixture of styles from the past or present. Individual solutions and ways of their implementation, which the designer thinks over himself, form the author's and recognizable component of interior design. Thus, the author's art object of decorative and applied art, created in a certain way and integrated into the interior design, allows you to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. Unfortunately, the article lacks a theoretical component, which should contain information about the relevance of the study. The author has not set the purpose of the study, its tasks have not been defined. There has also been no analysis of the scientific validity of the problem, which makes it difficult to make assumptions about scientific novelty. As a methodological justification, the author uses both general scientific methods (analysis and synthesis, description), as well as artistic and socio-cultural analysis. The empirical material was art objects created by modern designers. The author reveals the essence of the concepts of decorative and applied art and art object, notes the diversity of their types, shows the features of the development of this area in the XXI century, namely the possibility of using neural networks and innovative technologies. As the author notes, the main feature of decorative and applied art, unlike easel, mass types (painting, graphics, sculpture), is the organic connection of his works with the surrounding subject-spatial environment, the needs of ordinary people's lives in the ordinary living environment of a residential space. The phenomenon of a thing in the interior is defined by the author as the concept of creating and integrating an art object into the interior. A distinctive feature of this approach is the naturalness of the materials used in the manufacture of embedded items. The practical functioning of the concept of the thing of decorative and applied art in the interior is considered by the author on the example of the integration of such author's works into interior design as: an art object, furniture, lighting device. The author identifies three main formats for the introduction of creative works in the design according to the concept of integrating the subject of decorative and applied art into the interior: the creation of both interior and decorative and applied art objects simultaneously within the stylistic solutions of a specific design project; the creation of an interior around decorative and applied art objects; the creation of art objects in order to integrate them into an already embodied design. Unfortunately, in conclusion, the author does not present a conclusion on the conducted research, which should contain all the key provisions of the presented material. It seems that the author in his material touched upon relevant and interesting issues for modern socio-humanitarian knowledge, choosing for analysis a topic, consideration of which in scientific research discourse will entail certain changes in the established approaches and directions of analysis of the problem addressed in the presented article. The results obtained allow us to assert that the study of the possibility of eclectic styles when creating a design project of a room is of undoubted theoretical and practical cultural interest and can serve as a source of further research. The material presented in the work has a clear, logically structured structure that contributes to a more complete assimilation of the material. An adequate choice of methodological base also contributes to this. The bibliographic list of the study consists of 16 sources, which seems sufficient for generalization and analysis of scientific discourse on the studied issues. Nevertheless, the author obtained certain scientific results that allowed him to summarize the material. It should be stated that the article may be of interest to readers and deserves to be published in a reputable scientific publication after these shortcomings have been eliminated. In addition, the article needs correction, as the text is overloaded with unnecessary punctuation marks.

Third Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the research in the presented article is a thing in the interior, as a concept of integrating decorative and applied art into the design of premises. The descriptive method, the method of categorization, and the method of analysis were used as the methodology of the subject area of research in this article. The relevance of the article is beyond doubt, since decorative and applied art is called the creativity of people, aimed not only at decoration, but also for use in everyday life. It has not only an aesthetic, but not an artistic character. Decorative and applied art is organically connected with the concept of interior design, and aesthetic function and imaginative solution are priorities. It follows from this that the integration of things and handmade objects into the interior design of residential and public spaces is the right direction for the development of design and bifunctional arts. Currently, the trend of creating interior spaces using objects and techniques of decorative and applied art is widely used. Conducting a comprehensive study of this area, the presented study formulated the basic principles of integrating objects into the interior and developed the concept of "things in the interior", used to give the interior a certain design style. The scientific novelty of the research lies in the detailed description and analysis of things in the interior as a concept of integrating decorative and applied art into the design of premises. The article is written in the language of scientific style with the competent use in the text of the study of the presentation of various positions of scientists to the problem under study and the application of scientific terminology and definitions, as well as the author's vision of the issue under study. The structure is designed taking into account the basic requirements for writing scientific articles, in the structure of this study such elements as the introductory part, the main part, the final part and the bibliography can be distinguished. The content of the article reflects its structure. The content of the study notes that there are many varieties of decorative and applied art based on the use of various techniques, techniques, materials and techniques, many of which have been polished for centuries in folk and professional art. So, in the processing of stone, wood, bone, carving is used: stone carving, bone carving, wood carving. In working with fabrics: weaving, knitting, sewing, patchwork, carpet weaving, lace, applique, batik and much more. In glassmaking: blowing, grinding, engraving, painting. In metal: hammering, stamping, engraving, forging. However, due to the various features of the art space, not all forms of existence of objects of decorative and applied art are suitable for use in interior design. The proposed concept of a thing in the interior implies the existence of a thing or an object of decorative and applied art in interior design in only a few forms, the description and analysis of which are given in the article. The bibliography contains 16 sources, including domestic periodicals and non-periodicals. The article describes various positions and points of view of well-known scientists, characterizing approaches and various aspects to understanding things in the interior and the concept of integrating decorative and applied art into the design of premises, and also contains an appeal to various scientific works and sources devoted to this topic, which is included in the circle of scientific interests of researchers dealing with this issue in our state and other countries. The presented study contains conclusions concerning the subject area of the study. In particular, if we talk about the formation of one's own style, then, first of all, it should be understood that the interior cannot be completely author's. As a rule, the project is based on an academic artistic style or a mixture of styles from the past or present. But individual solutions and ways of their implementation, which the designer comes up with himself, just form the author's and recognizable component of interior design. So, in a certain way, an author's art object of decorative and applied art created and integrated into the interior design allows you to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The integration of handmade objects into the interiors and spaces of residential and commercial premises contributes to the development of the design industry and art in general. After all, by showing a drop of ingenuity, even an amateur designer will be able to create a unique project and enhance the artistic quality of the space. The materials of this study are intended for a wide range of readers, they can be interesting and used by scientists for scientific purposes, teaching staff in the educational process, cultural and art workers, designers, architects, art historians. As disadvantages of this study, it should be noted that the article did not clearly define and highlight its structural elements, such as introduction, relevance, research methodology, research results and conclusions, although they are undoubtedly traced in its content, however, they are not separately indicated by the appropriate headings. In the title of the article, the presence of a comma before the word "how" is debatable. When making drawings and bibliography in the text of the article, it is necessary to pay attention to the requirements of the current GOST. These shortcomings do not reduce the high scientific significance of the study itself, but rather relate to the design of the text of the article. It is recommended to publish the article.
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