ΠΠ½ΠΈΠ³Π° ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΌΡΠ·Π΅ΠΉΠ½ΠΎΠΉ ΡΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΠΈ ΠΈ ΠΌΡΠ·Π΅Ρ ΠΊΠ°ΠΊ ΠΎΠ±ΡΠ΅ΠΊΡΠ° ΠΊΡΠ»ΡΡΡΡΡ Π² Π½Π°ΡΠ°Π»Π΅ XXI Π²Π΅ΠΊΠ°. ΠΠ½Π° ΡΠ²Π»ΡΠ΅ΡΡΡ ΠΏΡΠΎΠ΄ΠΎΠ»ΠΆΠ΅Π½ΠΈΠ΅ΠΌ ΠΊΠ½ΠΈΠ³ Β«ΠΡΠ·Π΅ΠΉ ΠΊΠ°ΠΊ ΠΎΠ±ΡΠ΅ΠΊΡ ΠΊΡΠ»ΡΡΡΡΡ. ΠΡΠΊΡΡΡΡΠ²ΠΎ ΡΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π°Π½ΡΠ°ΠΌΠ±Π»ΡΒ». Π.: ΠΡΠΎΠ³ΡΠ΅ΡΡ-Π’ΡΠ°Π΄ΠΈΡΠΈΡ, 2015 ΠΈ Β«ΠΡΠ·Π΅ΠΉ ΠΊΠ°ΠΊ ΠΎΠ±ΡΠ΅ΠΊΡ ΠΊΡΠ»ΡΡΡΡΡ. XX Π²Π΅ΠΊ. ΠΡΠΊΡΡΡΡΠ²ΠΎ ΡΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π°Π½ΡΠ°ΠΌΠ±Π»ΡΒ». Π.: ΠΡΠΎΠ³ΡΠ΅ΡΡ-Π’ΡΠ°Π΄ΠΈΡΠΈΡ, 2017. ΠΡΠ° ΠΊΠ½ΠΈΠ³Π° ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΠ΅Ρ Π·Π°Π²Π΅ΡΡΠ°ΡΡΠΈΠΉ ΡΡΠ°ΠΏ ΠΌΠ½ΠΎΠ³ΠΎΠ»Π΅ΡΠ½Π΅Π³ΠΎ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΡΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π°Π½ΡΠ°ΠΌΠ±Π»Ρ Ρ Π΅Π³ΠΎ ΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ Π΄ΠΎ ΡΠ΅Π³ΠΎΠ΄Π½ΡΡΠ½Π΅Π³ΠΎ Π΄Π½Ρ. ΠΠ½ΠΈΠ³Π° ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° Π°Π½Π°Π»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΏΠ°Π½ΠΎΡΠ°ΠΌΠ΅ ΠΌΡΠ·Π΅ΠΉΠ½ΠΎΠ³ΠΎ ΡΡΡΠΎΠΈΡΠ΅Π»ΡΡΡΠ²Π° Π½Π°ΡΠ°Π»Π° XXI Π²Π΅ΠΊΠ° Π² ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠΈ Π΅Π³ΠΎ ΡΠΎΡΠΌ, Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΠΉ ΠΈ ΡΠ΅Π½Π΄Π΅Π½ΡΠΈΠΉ. Π ΡΠΎΠΊΡΡ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½ΠΈΡ Π²ΡΠ±ΡΠ°Π½Ρ Π½Π°ΠΈΠ±ΠΎΠ»Π΅Π΅ ΡΡΠΊΠΈΠ΅, ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΈΠ΅ ΠΏΡΠΎΠ΅ΠΊΡΡ.
ΠΡΠΏΠ΅ΠΊΡ, Π²Π·ΡΡΡΠΉ Π² ΠΊΠ½ΠΈΠ³Π΅, ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅Ρ ΡΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΡ ΠΌΡΠ·Π΅Ρ ΠΈ Π²ΡΡΡΠ°Π²ΠΊΠΈ Π² ΡΠΈΡΠΎΠΊΠΎΠΌ Π΄ΠΈΠ°ΠΏΠ°Π·ΠΎΠ½Π΅ ΡΠ°Π·Π»ΠΈΡΠ½ΡΡ Ρ ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ ΡΠ΅Π½Π΄Π΅Π½ΡΠΈΠΉ, Π½ΠΎΠ²ΡΡ ΠΌΡΠ·Π΅ΠΉΠ½ΡΡ ΠΈ Π²ΡΡΡΠ°Π²ΠΎΡΠ½ΡΡ ΡΠ΅Ρ Π½ΠΎΠ»ΠΎΠ³ΠΈΠΉ, ΠΊΠΎΠ½ΡΠ΅ΠΏΡΠΈΠΉ ΠΈ ΡΠΎΡΠΌ ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΠΈ. ΠΡΠ»ΠΈ Π² ΠΏΠ΅ΡΠ²ΡΡ Π΄Π²ΡΡ ΠΊΠ½ΠΈΠ³Π°Ρ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½ΠΈΠ΅ ΡΠ»ΠΎ ΠΏΠΎ Π²Π΅ΡΡΠΈΠΊΠ°Π»ΠΈ ΠΈ Ρ ΡΠΎΠ½ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠΌΡ ΡΠ°Π·Π²ΠΈΡΠΈΡ, ΡΠΎ ΡΡΠ° ΠΊΠ½ΠΈΠ³Π° ΠΏΡΠΈΠ²ΠΎΠ΄ΠΈΡ Π°Π½Π°Π»ΠΈΠ· ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»ΠΎΠ² ΠΏΠΎ Π³ΠΎΡΠΈΠ·ΠΎΠ½ΡΠ°Π»ΠΈ, Π΄Π°Π²Π°Ρ ΡΡΠ΅Π· ΡΠ΅Π³ΠΎΠ΄Π½ΡΡΠ½Π΅Π³ΠΎ Π΄Π½Ρ Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ ΡΠ΅Π½Π΄Π΅Π½ΡΠΈΠΉ Π½Π°ΡΠ°Π»Π° XXI Π²Π΅ΠΊΠ°. ΠΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠ΅ ΠΏΠΎΡΡΡΠΎΠ΅Π½ΠΈΠ΅ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ Π² ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅ ΠΎΠ΄Π½ΠΎΠ³ΠΎ ΠΈΠ· ΡΠ»ΠΎΠΆΠ½Π΅ΠΉΡΠΈΡ ΠΆΠ°Π½ΡΠΎΠ² ΡΡΠ΅Π΄ΠΎΠ²ΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΈ Π΄ΠΈΠ·Π°ΠΉΠ½Π°, Ρ ΠΏΡΠΈΡΡΡΠΈΠΌΠΈ Π΅ΠΌΡ ΠΊΠ°ΡΠ΅ΡΡΠ²Π°ΠΌΠΈ ΠΈ ΡΡΠ΅Π΄ΡΡΠ²Π°ΠΌΠΈ Π²ΡΡΠ°Π·ΠΈΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ, ΠΏΡΠΈΠ½ΡΠΈΠΏΠ°ΠΌΠΈ ΠΏΠΎΡΡΡΠΎΠ΅Π½ΠΈΡ ΡΡΠ΅Π΄Ρ ΠΈ ΠΎΠ±ΡΠ°Π·Π°. ΠΡΠΈΠ²ΠΎΠ΄ΡΡΡΡ ΠΏΡΠΎΠ΅ΠΊΡΡ Π²Π΅Π΄ΡΡΠΈΡ Π°ΡΡ ΠΈΡΠ΅ΠΊΡΠΎΡΠΎΠ², Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠ² ΠΈ Π΄ΠΈΠ·Π°ΠΉΠ½Π΅ΡΠΎΠ², ΡΠ°Π±ΠΎΡΠ°ΡΡΠΈΡ Π² ΡΡΠ΅ΡΠ΅ ΠΌΡΠ·Π΅ΠΉΠ½ΠΎΠ³ΠΎ ΠΏΡΠΎΠ΅ΠΊΡΠΈΡΠΎΠ²Π°Π½ΠΈΡ. ΠΠΊΡΠ΅Π½Ρ Π΄Π΅Π»Π°Π΅ΡΡΡ Π½Π° ΠΎΡΠ΅ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠΉ ΠΏΡΠ°ΠΊΡΠΈΠΊΠ΅.
ΠΠ½ΠΈΠ³Π° Π°Π΄ΡΠ΅ΡΠΎΠ²Π°Π½Π° Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°ΠΌ, Π΄ΠΈΠ·Π°ΠΉΠ½Π΅ΡΠ°ΠΌ, ΡΠΎΡΡΡΠ΄Π½ΠΈΠΊΠ°ΠΌ ΠΌΡΠ·Π΅Π΅Π², ΠΏΡΠ΅ΠΏΠΎΠ΄Π°Π²Π°ΡΠ΅Π»ΡΠΌ ΠΈ ΡΡΡΠ΄Π΅Π½ΡΠ°ΠΌ ΡΡΠ΅Π±Π½ΡΡ Π·Π°Π²Π΅Π΄Π΅Π½ΠΈΠΉ Π΄Π°Π½Π½ΠΎΠ³ΠΎ ΠΏΡΠΎΡΠΈΠ»Ρ, ΠΏΡΠ°ΠΊΡΠΈΠΊΠ°ΠΌ, Π·Π°Π½ΠΈΠΌΠ°ΡΡΠΈΠΌΡΡ ΡΠΊΡΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΡΡ, Π° ΡΠ°ΠΊ ΠΆΠ΅ Π²ΡΠ΅ΠΌ ΡΠ΅ΠΌ, ΠΊΡΠΎ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΡΠ΅ΡΡΡ Π²ΠΎΠΏΡΠΎΡΠ°ΠΌΠΈ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΈ ΠΊΡΠ»ΡΡΡΡΡ.
The books deals with the issue of formation of the museum exhibition area and museum as an object of culture in the early XXI century. It is a continuance of the following books: βMuseum as Object of Culture. Art of Expositional Ensembleβ. M.: Progress-Tradition, 2015, and βMuseum as Object of Culture. Art of Expositional Ensemble -XX Centuryβ. M.: Progress-Tradition, 2017. The book represents the final stage of the long-term study of expositional ensemble from the time of its establishment till nowadays. The analytical view of museum evolvement including its various forms, styles and trends in the early XXI century is treated in the book. The most creative and outstanding projects are highlighted. The aspect, treated in the book, examines the exposition of the museum and exhibition in a wide range of different artistic trends, new museum and exhibition technologies, concepts, and presentation forms. In the former books the problem was considered in vertical direction and chronological sequence whereas in this book the materials are analyzed horizontally within the context of the early XXI century trends presenting the up-to-date pattern. The expositional scheme is examined as one of the most complicated genres of environmental art and design with its inherent features and expressive means, principles of display arrangement and image formation. The projects of the foremost architects, artists and designers working in the field of museum design are cited as examples. The domestic practice is emphasized. The book is addressed to artists, designers, museum staff, lecturers and students of the educational institutions of the given profile, practitioners engaged in exposition activities, and all those who are interested in art and culture.
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