The study is devoted to the influence of Western and Eastern understanding of space and form on design. In the Russian design theory, design was linked with the space by O. I. Genisaretsky. Based on his ideas, the authors believe that, due to the fact that the result of design is form, form is a result of 'projectivity'. The purpose of the study is to identify the regional specifics of understanding space and form in Western (including Russian) and Eastern cultures (using China and Japan as an example) based on the reflection of architects and designers. Comparing different understandings of space and form in Western and Eastern countries, the authors trace their relationship and their specifics, transferring the above to the design. If the Western designers relied on a rational understanding of space, they scanned the environment like an X-ray, that was reflected in the perspective, as well as in the universal and "evolving" form, then the Russian design culture is characterized by bidirectionality - not only outward, but also inward, that was reflected in the desire of desiners to spiritually transform the real world. In this regard, in Russian form-making was not only the avant-garde, but also an artistic form that has an "image-face". The Chinese, relying on the Yin-Yang logic developed the need to constantly "turn the situation around", and - following the logic of inhalation and exhalation, began to perceive the surrounding world as a "body", as structural "force-forms". The Japanese were more interested in the state of the world before the division into Yin and Yang, in the generative emptiness, so space began to be perceived by them as layered, enveloping emptiness. Thus, an aesthetic emerged the principle of simplification "Shin-Gyo-So".
Tretyakova et al. (Thu,) studied this question.