In his interview, Rychard Smolski, Rector of the Belarusian Academy of Arts, called Belarusian design ‘Young and dynamic’ (p. 2). 
Krystsina Strykeleva, Dean of the Faculty of Design and Decorative and Applied Arts, discusses the necessity for implementing achievements of Belarusian culture in designers’ findings (To Create a Designer Image of Our Country, p.). She also talks about the work of the computer design research laboratory (A Tool for the Professional, p. 27).
Various aspects of design were considered during the round-table discussion arranged and conducted at the magazine’s editorial office by Natallia Sharangovich (The Space of Design: Mass Production or Creation of Artefacts?, p. 6).
In the next block of materials, airing their views are the workers and graduates of all the departments of the Design Faculty of the Academy of Arts. Decorative and Applied Arts Department is represented by Mikhail Kazarog (Valuable and Enduring Objects, p. 14), Liudmila Tsierakh (The Delight of Spiritual Collaboration, p. 15); Interior and Furniture Department -- by Mikhail Shykaw (Decor as Architectural Ornament, p. 18), Yulia Arutiunian (From Play to a ‘Crack of the Whip’, p. 19); Graphic Design Department -- by Alesia Bieliaviets (Profession in Progress, p. 20), Viachaslaw Siemianko (Search of New Synthesis, p. 46); Industrial Design Department -- by Aliaksander Dlatowski (It Is Contemplation and Not Observation That Yields Fruit, p. 22), Ales Famienka (From Robots to Kettles, p.23); Design Theory and History Department -- by Valiantsin Kalamiyets (On the Borderline Between Science, Technology and Aesthetics..., p. 26); Drawing, Painting and Sculpture Department -- by Kanstantsin Sharangovich (And in the Very Beginning Is a Drawing, p. 28); Fashion Design and Weaving Department -- by Valiantsina Bartlava (In Demand at Home and Worldwide, p. 30); Costume and Textile Department -- by Aksana Vasilyeva (The Art of Working with Fabric, p. 31), Pavel Bondar (From the Life of Lines, Spots and Shapes, p. 32).
The peculiarities of teaching the course of colouring are revealed by Lenina Mironava (The Chaos and Cosmos of Contemporary Colouring, p. 16); Nadzieya Karotkina discusses the heuristic methods of searching for new ideas (Inspiration to Order, p. 24).
The guest of the Figure rubric is Viktar Gawrylaw, a well known designer, master of decorative and applied arts, inventor and educator. He is interviewed by Natallia Sharangovich (Beauty Must Be Seen, p. 34).
Galina Miashkova talks about several generations of Belarusian fashion designers -- graduates of the Academy of Arts (From Folk Costume to Prêt-à-porter, p. 39).
The achievements and problems of Belarusian industrial design are in the focus of attention of Aliaksander Dlatowski, whose own way in this profession has been 44 years long (Thrice the Same Blunder..., p. 42).
The rubric At the Studio introduces Yury Tareyew, a young lecturer of the Graphic Design Department, his students and teachers. The host is Alesia Bieliaviets (In Design There Is Joy and Fulfilment, p. 47).
Vital Bogush reflects on the role of design in the creation of the country’s image (Brand Works, p. 52).
Yakaw Lensu analyzes the ways of using ancient traditions in modern designer projects (The National Character of Things, p. 54). In conclusion, the Art Object rubric presents the work of the painters Uladzimir Tsesler and Siargey Voichanka (p. 56).