Communicative consciousness and principles of environmental design in the experimental project "Stone. Inversion. Vessel"

Chan Xiaogeng ORCID: 0000-0001-7270-0901 Lecturer; Department of Art; Beijing Institute of Petrochemical Technologies 192174, Russia, Saint Petersburg, Prospekt Alexandrovskaya Ferma str., 8, building 1, sq. 531 changxiaogeng@bipt.edu.cn Other publications by this author

Potekhina Alena Evgenevna Independent researcher 192174, Russia, Saint Petersburg, Prospekt Alexandrovskaya Ferma str., 8, building 1, sq. 531 ae.potekhina@yandex.ru

1. Introduction

Today, many representatives of art are once again turning to traditional cultural foundations, finding innovative features in them. The fact is that tradition as such is one of the oldest forms of the development of human self–awareness and worldview as a key element of the environment. The study of the issue of interaction and harmonious combination of tradition and innovation in the creative process when creating a design project is devoted, for example, to the works of Mazina Yu.N. ^[1], Pyankova M. S. ^[2], Zaeva-Burdonskaya E.A. ^[3]. Of the Chinese researchers, it is worth noting Han Jian ^[4] and Li Tiandao ^[5].

So, culture and design as a part of it contain not only the latest technological research, but also continuity ^[6]. According to Tereshchenko G.V., today there is an appeal to archetypal elements, as a result of which "new artistic and figurative solutions arise, which represent a semiotic space" ^[7]. This position is generally characteristic of the work of Chinese representatives of art, whose activities reflect the Confucian principle of creating a new based on the old ^[8].

At the same time, it is becoming relevant for researchers and practitioners of environmental design to search for methods and ways of organic interaction between innovation and tradition so that the consumer, for whom the project is ultimately intended, understands its meaning, content and features of use. The purpose of the proposed study, therefore, is related to the presented trend in modern design, and is to demonstrate the possibility of combining traditional ideas and the latest technologies through three tasks:

1. Through the analysis of a real environmental design project "Stone. Inversion. Vessel" (designer – author of the proposed article, lecturer at the Beijing Institute of Petrochemical Technologies Chang Xiaogeng) to show how innovative 3D modeling techniques can highlight the aesthetic representations of traditional Chinese culture in an original way.
2. To focus on the features of the development of design in the conditions of the modern era.
3. To point out that in environmental design, the most important point is the communication between the "viewer" and the author, which is formed on the basis of images embodied in a particular project.

A characteristic feature of Chinese artists is their appeal to nature. The same can be seen in the project highlighted below. The concept of harmony between nature and man has existed since ancient times in the philosophy of the Taoists, including Chuang Tzu (庄子, 369 BC-275 AD) ^[9]. Today, this concept has found its embodiment in the official regulation on "ecological culture" (Shengtai wenming) ^[10], adopted at the state level in China, and is reflected in art, architecture, and design.

An example of an appeal to the traditional techniques of the art of "imitation" of nature can be the project of Chinese architect Ma Yansong and his agency MAD Architects "Shan Shui City" (Shangshui chengshi) ^[11]. The architect used as the main concept one of the types of traditional Chinese painting – the image of mountains and rivers (山,, Shan Shui). In addition, an example of the implementation of the provision of "ecological culture" is the "Art Zone 798", which was designed on the site of a factory built in the second half of the 1950s in Beijing ^[12]. The reconstruction on the territory of the plant demonstrates the integration of art and technological development of the city.

Projects like Beijing's 798 Art Zone show a possible direction for the implementation of design in the modern era, which is characterized by problems such as rapid technological growth, economic recession, etc. Society lives in a VUCA world where instability, uncertainty, complexity and ambiguity are the main features. VUCA is a term from the military sphere. In the 1990s, the American military proposed it as a description of the characteristics of the multilateralism of the world, which became such after the end of the Cold War period, when the actions of terrorist groups turned out to be more complex and uncertain. COO (Chief Operating Officer) Procter & Gamble's Robert McDonald used this term to describe a new business environment. After the outbreak of a new coronavirus infection in 2020, difficult, uncertain situations are constantly occurring. Today, the VUCA world has become the new norm, and people often remark: "the uncertainty of the external environment is undeniable," "only changes are an unchangeable fact." Interdisciplinary integration and the combination of new technologies are concepts and directions that are necessary to mitigate these characteristics and promote the normal development of society.

One of the modern areas in design reflecting the nature of interdisciplinary integration is environmental design. The object of environmental design is a person in interaction with his environment. The latter is a multifaceted concept of the environment, which includes various categories from natural phenomena to man-made objects ^[13]. Environmental design uses techniques ^[14] from different scientific fields, because the environment transformed as a result of human activity is not the same. Thus, the integration of environmental design, technology and science conveys modern cultural development.

Environmental design as an interdisciplinary field applies, in particular, the methods of the science of sociology, including communicative, because establishing communication between the author of the project and the "viewer", the opportunity to find a "response" in society is the driving force behind the development of design. Here, as a theoretical aid, we can cite the "5W" communicative model of Harold Dwight Lasswell, an American scientist who made a great contribution to the study of political science and sociology. His communicative model includes five main elements, namely: "source of information", "information", "method of information transmission", "recipient of information" and "communication effect" ^[15]. For environmental design, the "communication effect" and the "recipient of information" are the most important components of the chain, since "the center of the environment, its focus and the environment-forming factor is a person" ^[16]. In other words, it is the project in the environment that becomes a platform for communication between the author and the "viewer".

2. Purpose, content, method of environmental design

The environment is a living, changing area of reality under the influence of human activity. The task of an environmental designer is to illuminate a part of this area through an artistic image. According to N.I. Barsukova, environmental design is based on an "artistic method of thinking" ^[17]. It is not only a form of activity for the creation of works of art, but also a way to explore the world around us ^[18]. In artistic thinking, it is important to focus on emotions, sensuality, which ensures the realization and understanding of an artistic image ^[19], with which it is possible to create a single environmental space for a specific project. In other words, the content of a particular environmental design project is the image itself. It links together the conceptual and functional components of the project. Now let's turn to the diagram below.

Fig. 1. Purpose, content, method of environmental design

According to the scheme, the purpose of environmental design is to explore the process of coordinating relationships that arise during the design process. The goal is to establish a "dialogue" between the objects of the creative process, in particular, between the author and the "reader" of the project within the framework of the projected environment, that is, through the content of the project and the way it is implemented. The content of the project or its content is transmitted through various means or channels of communication. As mentioned above, the content in the design process consists in analyzing a specific image. This analysis is carried out using techniques from various fields, depending on the project itself and the environment in which it is being created. That is why the method of environmental design is based on the concept of integration of disciplines. The purpose, content and method form the principle of environmental design or design solution.

The purpose of the project, which consists in the process of coordinating relationships, and the transmission of content or content through the means of communication constantly form an interdependence, intersect, directing mental activity on the issue of design. At the same time, the distribution of content should correspond to different levels and stages of the goal of environmental design. For example, when designing, we often use video as a means of communication. As soon as we start using video as a source for describing the directions of mental activity, we should focus more on impulse and creativity, the plot and ideological "clues" in it, details and accents in visualization. This way it will be possible to fill the content with feeling, artistry, and individuality. And if we present a project through a video, then we need to refer to the drawings, make them part of the video content, pay attention to the description of functions and values, ways and means, style and language of the project. It is necessary to transfer the content objectively, accurately, and carefully.

Despite the fact that one communication channel can be used, it often resorts to different ideological directions when transmitting content. It is necessary to avoid repetitions in terms of content in order to create a clear, logical, continuous communication link between the author (the one who distributes the content) and the consumer (the "reader"/"viewer"/"observer" - the one who receives the content).

The terms that we use when describing the purpose of the project can be characterized as key areas of creative thought and communication tools. Such directions and tools are:

1. motivation, where attention is focused on the person and his personality;
2. the plot embodies the creativity of the author as the "power" of the creative message and competitiveness;
3. a language that almost invisibly influences the concept of the project;
4. social values as a source of image creation;
5. tools that meet the basic needs of the "readers" and "users" of the project being created;
6. elements of the creative process that guarantees and implements the self-expression of the author.

3. Context as motivation for the creation of the project "Stone. Inversion. The vessel"

At the beginning of the process of conceptual study of the project, it was assumed that it could reflect the characteristic features of the modern era in terms of the logic of the creative process. In the course of the work, it was necessary to demonstrate the characteristics of design and aesthetics, the humanistic shade of design, as well as the fact that environmental design and technology reveal a strong relationship. Also, the task was to study the question of what will be the degree of implementation of the sphere of environmental design, if we focus on the "media" (information lever) in relation to the implementation of the project. It is this question that directly relates to the problem of positioning works of environmental design. In other words, on the one hand, the task of balancing aesthetics and functionality in the creative process directly affects the direction of practical activity, the features of the designer's self-expression, and, on the other hand, is able to reflect the nature of society's perception of design aesthetics and its awareness of the features of this area.

Creative work "Stone. Inversion. The vessel was presented at the tenth Chinese national exhibition of environmental design "Design for China", which was organized by the Chinese Association of Artists. The exhibition was held in November 2022 at the Xiamen Art Center (Fuzzian Province). Scientific forums and lectures within the framework of the same event were held simultaneously with the exhibition.

Fig. 2. The illustration on the left is the poster of the exhibition; the illustration on the right is the poster of the scientific conference

The exhibition "Design for China" is held every two years and receives the attention of all educational institutions of fine arts of the People's Republic of China. This is the most authoritative professional competition with a high level of scientific and practical training and organized by the Chinese Union of Artists for environmental designers from all over the country.

The 2022 exhibition, based on the concept of "Design for China", drew attention to China's national characteristics and social development in general. The theme of the exhibition was as follows: "A "stone" building of environmental design." The "stone" is presented here as part of the context of traditional Chinese culture and at the same time – the natural environment. It should be noted that one of the key aspects of the exhibition were: the harmonious development of nature and man, as well as the study of various possibilities for integration and development of the features of traditional and modern life.

The environmental design exhibition, dedicated to the theme of the "stone" building of environmental design, used the method of "integration of disciplines", according to which environmental design, relying on the "breadth" of the concept of "environment", combines the functionality and methods of various scientific fields, depending on the concept of a particular work ^[20]. Thus, the exhibition presented the following items: environmental design of the exterior spheres (including elements of landscape design, design of small architectural forms); interior (spatial design, design of the museum exposition, art design); furniture design; public art.

All the works that participated in the exhibition had to be correlated with the theme "made of stone", but at the same time, the authors could choose the name and direction independently. The use of "image"/ "imagery" was encouraged as one of the main means of presenting ideas.

The works of the exhibition focused on the artistic image, creativity, as well as on the differences between environmental design and other related fields, including its scientific, artistic value and social significance. In addition, emphasis was placed on the innovation of concepts, the use of a variety of expressive means with rich content from the point of view of design, for example: video art, authenticity of interior design items, mounted installations, models, VR and AR technologies (virtual reality and augmented reality ^[21]), etc.

Fig. 3. The venue of the exhibition

4. The theme, the ideological direction, the plot of the project "Stone. Inversion. The vessel"

The name of the project speaks for itself: a stone can turn into a vessel as a result of certain manipulations. The project became a kind of response to the social changes that took place around the world after the outbreak of the coronavirus pandemic. In 2020-2022, quarantines became commonplace. The author of the project, being a university teacher (Beijing Institute of Petrochemical Technologies, Beijing Institute of Petrochemical Technology), drew attention to the fact that self-isolation led to the fact that, in particular, feelings of closeness and unwillingness to contact others spread among students. In this regard, the author's goal, in addition to specific conceptual points in the design, was to involve several students in the creation of products. It can be said that the ideological direction was revealed in the goal of developing social contacts and in creating a project that is directly related to the natural environment.

The theme of the exhibition "Stone building of environmental design" was reflected in the ideological direction of the author's project, which carries a natural aspect. The stone in everyday consciousness symbolizes "strength", "stability", which correlates with the idea of strengthening social contacts. In addition, the limiting point of the exhibition was the need to correlate the content of the project with the following points: the development of traditional Chinese culture, harmony of man and the environment, improvement of living conditions. How to overcome this limitation and find a balance between correlating the project theme with the proposed aspects? And at the same time, how to create your own innovative idea in product design? This could only be done by identifying associations between culture and the form of expression in the project.

In the traditional Chinese view, the "stone" acts as a symbol of nature. In Chinese culture, images of a stone washed by a mountain river are significant, and then piles of stones turning into an entire mountain. Turning to the traditional art of China, which was based on the observation of nature, one can immediately recall its classic representative – traditional Chinese landscape painting (Shang Shui, literally "mountains and rivers"). There are many idioms (Chengyu, 成)) in Chinese that describe mountains and rivers and allow you to forget about the hustle and bustle for a minute and dispel longing, for example: 锦绣山川 (Jinxiu Shan Shui, graceful mountains and rivers)(Shan Shui Zhu Hua, mountains and rivers like a painting)(Shanqing Shuixiu, the mountains are clear and the water is beautiful)(Qingshan Liushui, green mountains and emerald waters)(Cengluan Songcui, ridges of mountain peaks surrounded by emerald greenery).

So, the blue-green color (emerald, dark green, turquoise shades, blue), which has been used in Chinese painting since ancient times, was chosen as the color solution of the project. He represents life itself. The author correlated the traditional idea of this color with the feeling of joy and admiration that arises in a person admiring Chinese landscape painting, and which I would like to convey in the project. The appeal to the elements of Shan Shui art suited the positioning of the project within the framework of the exhibition. In addition, the use of traditional elements in the design process is a unique opportunity to turn a planar image of mountains and rivers into a three–dimensional one. So, we positioned the project as an interior product within the framework of environmental design.

In Chinese traditional painting, natural stones, such as azurite and malachite, have been used since ancient times to create paints of green, blue, and dark green shades. With the help of such paints, it was possible to paint pictures of a blue-green landscape (Qingliu Shan-shui) in bright and muted shades (the so-called Da qingliu, dosl. "thick blue-green"; Xiao Qingliu, dosl. "faint blue-green"). In the landscapes of the first variant (大青，，，da qingliu) there are a lot of hooked curls, a small amount of hatching with an obliquely placed brush, a high density of paint application, due to which the decorative effect of paintings of this plan is strong. For landscapes where muted shades of blue-green prevail (Xiao Qingliu), there is a great pallor, the colors are poorly applied, but at the same time emphasis is placed on the depth of the author's idea.

In the book "The Study of the art of Chinese blue-green landscapes" (the Zhongguo Qingliu Shan-shui Ishu Yanjiu), the process of creating this type of paintings is comprehended. Modern blue-green landscapes are a kind of modification of the painting language of their classical variants. They meaningfully enrich the classical versions of painting, thereby developing them. Preserving the rhythm of the pen and the richness of the technique of hatching with a tick and an obliquely placed brush, modern Shan Shui radically changed the monotonous outdated structure of paintings, increased the variety of shades and literally "breathed life" into landscapes ^{[22, p. 132]}.

According to research, the Chinese art of blue-green landscapes (Qinglui Shanshui) was formed in the era of Wei, Jin, Southern and Northern dynasties (a general term for the historical period 220-589). The instability of society, the internecine strife of the eight princes of Western Jin (the War of the Eight Princes, 291-306), the invasion of five tribes from the northwest (Xiongnu, Xianbi, Jie, di, Qiang) ^{[23, C. 26-27]} to the territory of China, the division of the country into northern and southern parts led to an imbalance in the life of the people, the suffering and the hungry could be found everywhere. In addition, new ideological trends appeared, cultural trends arose, including ancient Indian Buddhism came to China, Buddhism from the regions of modern Xinjiang and the regions of Central Asia bordering China today. Buddhism had a profound influence on the cultural foundations of China, and opened up completely new semantic horizons in creativity for Chinese artists. The art of blue-green landscapes has absorbed all the changes in culture. Thus, the Taoist ideas of "non-action" and "detachment", as well as worship of nature ^[24], were most manifested in Qingliu shan Shui.

Blue-green painting is a way of expressing freedom and individuality by artists of ancient China. It can also cause the observer to simultaneously feel greatness and inner peace and, moreover, aesthetic pleasure from the visual perception of leisurely drawn lush mountain and river landscapes. Shan Shui fascinates the reader of paintings to penetrate into the context of landscapes filled with the fragrant smell of paints, to begin communication with the author, to feel and comprehend the feeling of detachment from the worldly bustle, characteristic of ancient people of high education. Landscapes with their "wandering" manner of writing in the drawing of the intermountain mountains fill the reader with a feeling of intoxication.

The process of development of blue-green landscapes is characterized by consistency with the cultural realities of society and compliance with progressive ideological trends. It also reflects the philosophical idea of the Taoists about the peculiarities of being: "To consider nature as the root cause, innate data as a source of respect, to act according to the will of heaven, and not on the basis of personal aspirations." Taoists use the term Wuwei, non-action, to express the idea that nothing needs to be done. In other words, according to the Taoists, it is necessary to realize one's deeds, relying on the "tao", to act in accordance with the laws of nature. In fact, the concept of "non-action" in its essence implies action, but consists in not wasting oneself. It helps a person to become more sincere, more natural, not to do bad things. Taoists, as it is commonly believed, do not really entrust their lives to natural power, do not submit to fate. They urge us not to spoil the natural character of everything around us, not to feel attachment to the material world, but to perceive nature as a source for action. All this is an important argument in favor of why the project decided to choose the type of Shan Shui art to convey the features and rethink the form of expression of modern environmental design.

Fig. 4. Fragment of the painting "Mountains and waters for a thousand li", Wang Ximeng (c. 1096 — c. 1119), Dean. Northern Song (960-1127)

5. Design style and language

Comparing Chinese monochromatic painting (ink) with blue-green landscapes of both bright and muted shades (Da Qingliu, dosl. "thick blue-green"; Xiao Qingliu, dosl. "weak blue-green"), the author found that the second type of pictorial art, respectively, pays more attention to the expressiveness of color forms. The colors of azurite and malachite stand out against the background of pale shades of paintings, and the application of paints in layers enhances the contrast and color saturation of landscapes. In addition, writing out the contour of mountain peaks and rocks together with the use of oblique free–style hatching when creating a drawing of the intermountain, simple, honed strokes of the external outlines of natural hills - all this created a unique image of mountain ranges of blue-green landscapes. The conciseness of the creative language, the original color of the emerald shade have become a kind of symbol of blue-green landscapes, immortalized in the Chinese cultural tradition.

Fig. 5. The painting on the left is made in the technique of monochromatic painting, title: "Autumn. The Icy River" (a metaphor about morality and purity of mental thoughts), authored by contemporary artist Xu Hongtao; the painting on the right was created in the technique of a blue-green landscape, authored by contemporary artist Liu Zimo.

In addition to using the color solutions typical of Chinese classical blue-green painting, other elements of the painting were used in the project. The minimalist features of Shan Shui painting, which are welcomed by the modern younger generation, were used by the author when creating images of mountain ranges and so-called clouds that portend happiness (祥云, xianyun). So, in the project, the planar image of classical landscapes is displayed in three–dimensional, three-dimensional forms, the painting has become a vessel - a work of environmental design, and traditional art has found application in modern times.

Being in a sense a follower of the artists of the past, the author sought at the same time to reflect the nature of innovation, innovative ideas, as well as to show the beauty of China's nature. In addition, the project combines the possibilities of paintings that cause aesthetic pleasure in visual terms, and interior design works that can be moved by implementing various spatial combinations. This project creates an interactive environment that focuses on the imagination and sensory perception of the observer and allows him to walk between the mountain peaks, but indoors.

6. The form, functions and value of the project

The Stone project. Inversion. The vessel", according to the author's idea, is an interior piece of the intelligentsia and symbolizes the idea of spirituality, which is characteristic of poetry and painting, and also demonstrates the aesthetic appeal of mountain peaks rising up and falling down. Since the vessels are hollow, they can be used for various purposes and scenarios of everyday life: as glasses for drinks, cups for tea, wine, in case of a friendly meeting; as flower pots of different sizes.

In the project, the author sought to reflect the combination of aesthetic and practical values, ideas of antiquity and modernity, the transformation of the plane into a three-dimensional work. From the point of view of interactivity, the project allows the user, at the moment of using the vessels, to turn to the aesthetics of the blue-green landscape and, as it were, imagine himself as an artist. In terms of practical functionality, vessels can be used during meetings, tea ceremonies and thus be part of communication. And if you are alone, then using vessels as flower pots will allow you to relax mentally and physically by growing flowers of different sizes, which reflects the values of a humanistic approach, referring in this particular project to the traditions of Chinese etiquette.

In the future, it is planned to create two platforms for students to interact with each other when using the subjects of the presented project: the first is a public account on the Chinese social network "Wichat", the second is an offline environment for direct communication and the implementation of the interactive part of the project. For example, in the online mode, you can analyze paintings. In addition, in the offline space, the project allows researchers of blue-green landscapes to unite, based on the commonality of their tastes and interests, to give them the opportunity to actually use objects created using a 3D printer, which reflects the communicative, social, and economic value of the proposed creative work.

7. Methods and means used in the creative process

To create the project, the author used a 3D printing technique, where blue and green materials were used to visualize mountain peaks, and transparent ones were used to form clouds ("clouds foreshadowing happiness", 祥云, xianyun). Additionally, the video was presented as an addition to the ideological message, the plot component, and the elements of the project.

To create the project, it was decided to create its image through communication with the natural environment, as if returning to the mountains and rivers of blue-green landscapes. The author sought to ensure that the whole life of many living beings was hidden in the depths of the content of the project. To do this, he spent a whole week in the mountainous area of Beijing's Yanqing County, watching the movement of an ant. A short film was made based on the observations.

The author told the story of how an ant, running onto a stone at dawn, stops in order to dream that it is possible, looking around the slope, to comprehend the unknown world. He crossed wild steppes, steep landscapes, rushing mountain streams, got caught in a hurricane wind and a downpour, fulfilled his desire to cross the mountains. After overcoming difficulties, he realized that there are more mountains beyond the mountains – beyond the good there is the best. There is a metaphor in this story that refers to us, people: when faced with various life circumstances, natural conditions, discovering new objects and phenomena, we must be brave in search of new things, and in our soul – filled with a modest desire for self-improvement.

At the end of the short film, as soon as our hero crawled back into the anthill in the glow of the evening dawn, the author created visual accents – took a frame with a stone propping up the anthill, and then turned the camera over, shooting the situation from top to bottom. So the author, on the one hand, reflected the theme of inversion – the transformation of a stone into a vessel. On the other hand, a blurry spot with an ant crawling back and forth was intentionally left on the screen. The author wanted the audience to instinctively make a kind of association – rethink their everyday lives filled with work worries.

Fig. 7. Screenshots from the film about the project "Stone. Inversion. The vessel"

Through the design of the work "Stone. Inversion. Vessel" the author sought to ensure that:

1. through a humanistic approach in environmental design, to explore current topics (the embodiment of tradition in modernity, the coexistence of technology and tradition, etc.);
2. to create a product that meets modern trends in the aesthetic perception of students;
3. to provide students with the opportunity for direct communication at the same time as the implementation of practical activities;
4. to create an associative series in terms of implementing the culture of antiquity in modern times is a kind of dialogue with past generations;
5. and on the basis of this appeal to the patriotic feelings of young students;
6. to point out the possibility of getting rid of feelings of social detachment, depression, anxiety that arose during a period of severe self-isolation, and at the same time obtaining peace of mind through crop production, where vessels from the proposed project can serve as a means.

So, "The Stone. Inversion. A vessel is an item that can be used in different life circumstances. This is a project about ideals, aspirations and self-improvement. A project that builds a dialogue between friends of student years, between nature and the spiritual world of man.

8. Conclusion

This project reflects two key concepts of environmental design: imagery on the one hand and communicative consciousness as an incentive for the development of creative ideas on the other. The image itself can become the foundation of communication between the author and the "reader" of the work, people among themselves, man and nature, which is reflected, for example, in the technique of blue-green landscapes, which have become a significant part of Chinese traditional art.

The image is the basis for environmental design. An image is the physical embodiment of a person's perception and needs in any kind of spatial design. In a sense, the creative process of environmental design, combining the real spiritual and material needs of a person, creates a world that arouses interest, it can be comprehended, there is an opportunity to touch it. It is through this synthesis of spiritual and material, the preservation of order in the creative process, the use of the principle of coordination of relations (communication) and the integration of disciplines through the prism of the image that environmental design explores how design affects human activity and his spiritual development.

Here it is worth paying attention to the role of communication tools in creating an image in an environmental design project. The content of the image, on the one hand, should satisfy specific functional needs, on the other hand, it should contribute to the establishment of communication in culture and the business environment. Communication implies the transfer of social information. And if we are talking about the exhibited object, then the value of its content is manifested precisely through the directed functioning of the means of communication.

So, the proposed article shows how in the project the author, through the image of Shan Shui, that is, "mountains and rivers", since ancient times praised by Chinese artists, was able to create a channel of communication between the designer and the "observer" of the subject of the product. On the one hand, this communication is based on the traditional aesthetic ideas of Chinese culture about the harmony of nature and man. On the other hand, a product made with the help of modern technologies has a certain functionality and can be used in different everyday contexts. The proposed article analyzes how three tasks were implemented through the process of creating an environmental design product:

1. It was noted that 3D modeling technologies can be perfectly combined with traditional concepts. The author selected the necessary shape and color of the product so that the ancient, archetypal symbolism of the planar image received a new life in the three-dimensional forms of the project, which is the scientific novelty of the study.
2. When analyzing the context of the project and the conditions of its creation, the author paid special attention to the peculiarities of the development of environmental design in the modern era, which has changed dramatically as a result of the pandemic, which entailed global social changes. Students of the Beijing Institute of Petrochemical Technologies were involved in the creation of the project, which is especially important in the context of online communication and closeness relevant to modern Chinese society. The author thus managed to establish direct communication between the participants of the creative process in order to make it more productive.
3. Through 3D models embodying the shapes and forms of blue-green landscapes, a possible functional component of communication between the "viewer" and the author of the project is presented. In addition to the exposition component, the product can be used in various household circumstances, which demonstrates the practical significance of the presented research.

In the process of creating the project "Stone. Inversion. Vessel" we found that with the improvement of the material standard of living in China, the nature of consumption of the population has also changed. Now people pay more attention to the cultural context of the design project, and not only to its functional component. First of all, of course, those works that reflect the cultural and technological aspirations of the masses or individual representatives are popular, which provides designers with a wider and freer space for creative development. Of course, such social trends influence the formation of higher professional requirements for representatives of relevant fields. Now the designer needs not only to master the basics of aesthetics, but also to constantly expand his knowledge, on the one hand, in terms of cultural development of society and, on the other hand, from the point of view of science and the latest technologies, in order to follow the trends of the time.