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Unity of value accents of economic and non-economic project
approaches
Immediately make a reservation that from here on, I will not "pick the same one"
(as it may seem to someone), but "try to talk about the different facets of the
same thing", which, of course, there are different things, especially when it is
possible to grope something close to each other, while it seems very productive
for comparison.
Project activities can be meaningfully defined through the design category, the
most breakthrough conceptual developments in the field of which are
simultaneously the developments in the field of project thinking. The explanation
of why neoconomy has not yet reached the realm of these narratives, in my
opinion, is in the same, mostly economic, status of the majority of neoconomic
narratives, whereas the very theme of design, having an unconditional content
bridge with these narratives through non- technological set (PTM) and organized
forces of nature (which have not received sufficient attention in the framework of
this research program), in essence, is fundamentally non-economic rather,
fundamentally superior to the subject in the degree of generality, as well as the
subject of architectural knowledge from which it originated and which today
includes (see. below remark about L.Alberti).
For reference, it is useful to consider the identity of the translation of English
words project and design:
project: 1. – and the plan, and the program, the development, as well as the
research task, as well as the idea, thought, intention; 2. – mapping, discarding
[i.e., "projection"], highlighting or outlining on the background, ejecting,
releasing, protruding, highlighting [which, again, always occurs against the
background of something], as well as incarnation, transfer and demonstration;
design: 1. – brainchild, intent, intention, purpose, intrigue, as well as the
same plan, drawing, sketch, sketch, model, template, (basic) scheme,
composition; 2. – an idea, a notion, development, planning, the intention to go
somewhere, to designate, to construct, to do sketches-sketches-patterns.
It can be seen that if the translations of the word "project" tell us about
something as a given, and the givenness of something outstanding in one way or
another, and in its constitutional sense, and its present presence or presentation
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– even if it is a question about something not yet embodied, such as an idea or
intention, the word "design" implies not only the design of the goal or intention,
but, first of all, the direction to its embodiment, the tension between the
potential and the actual – intention (and therefore opens in the project activity
and thinking The importance of the phenomenological narrative associated with
an organized and thoughtful observation of everyday life, connected not only
with the question of how to achieve goals under the existing conditions, but also
what goals to set). That is, design is always, in a certain sense, something more
dynamic than a project.
That is why the creator-projector entrepreneur Grigoriev, who seeks to provide
the most dynamic view of all social processes, can be considered as a designer.
But it also means, taking into account the whole context of realistic ideas about
design, that it is necessary to admit a certain share of the humanitarian and
artistic. Projective thinking is the basis of the project activity, which Grigoriev is
talking about: it forms it, but this thinking itself must be formed. A new designer,
considered in such an expanded sense, seems able to overcome the theoretical
and applied gloominess of the economy (especially today) on the field of a more
integrated social science of urban studies (which should still be understood in this
capacity) towards a new humanism. Hence the question arises: Is it not the
designer who should replace the economist, if the economy itself as a science
arose from the tasks of the entrepreneur?
Among the leaders of project thinking, as well as the most radical and
breakthrough ideas about the design of the 20th century, Richard Buckminster
Fuller and Victor Papanek should be specially considered. Being widely known at
the world level (but, alas, not yet widely known in Russia), both by design and
philosophical ideas, Fuller hardly has direct points of contact with economic
science. Much more close to Grigoriev's views are the views of another theorist of
design, Papanek (who in many respects agrees with the ideas of his friend Fuller),
a supporter of the so-called integrated design (ID) concept, which undertakes a
comprehensive reproduction of the design process aimed at solving the tasks of
everyday life worlds of people as developed, both developing and developing
countries, taking into account the specific specificity of everyday life and the
principle recognition of the differences between these worlds, as well as the
recognition of the importance of socioeconomic ble factors (though actually looks
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Victor Papanek to the adjacent non-economic problems). At the same time,
Papanek sets educational tasks, believing that for the preparation of designers of
this level it is necessary to go beyond a narrow specialization and engage in
disciplines considered to be unrelated or indirectly related to design. In his
opinion, the ID is not a set of skills, techniques or rules. This is a series of
functions acting simultaneously, and not in a linear sequence. The ID requires an
initial definition of the difficulty level of the problem. Meanwhile, such a
university approach to design in fact means, if not presentation of a requirement
for a designer to be a "universal person" and a philosopher, then, at any rate,
makes it so (as is the case in architectural science).
The views of the "designer-designers" Papanek and Fuller (the latter, perhaps,
even advantageous in this topic) unites recognition of the pernicious nature of the
re-specialization of areas of knowledge and competencies leading to the artificial
division of professions and, as a consequence, to the impossibility of solving
complex problems (chapter "Phylogenocide" in Papanek's book "Design for the
Real World"). In turn, with the position of Grigoriev's economist, the designer
Papanek brings together the following from this idea the call to overcome the
disunity of scientific subjects, as well as the recognition of the need for historical
consideration of problems as a methodological principle (compare with
Grigoriev's acknowledged approach of the so-called "American school of historical
narrative" ), and the requirement of the theory's alignment with practice (with
the utmost clarity the definition of the ID is set out on pages 190-191 of this
book).
In the same sense, Papanek discusses the role of the designer as an intermediary
in the group of project specialists who speak their professional languages and act
as, in his words, as "qualification synthesists." Which is quite consistent with the
concept of a project manager in Grigoriev, who speaks of a true entrepreneur as
an organizer of the routine of the production process, whose role is also
constructive-intermediary, and who lacks a niche in the world that is already
framed in a certain system of division of labor (SRT). But who, in the framework of
the considerations presented here, is not such a person, should hack into the
modern money economy of the world, since the money itself, as will be discussed
below, turns out to be a peculiar product of the communication format design?
However, in order to create a new format, it is not just necessary to know the
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