Museum architecture is essential for preserving cultural heritage. Understanding the spatio-temporal evolution of visitor preferences, image perceptions, and driving factors is vital for promoting cultural development. However, traditional methods such as questionnaires and interviews face challenges in elucidating how exhibition layouts, environmental facilities, and service quality affect visitor experience and satisfaction. In this study, 30 museums in 6 categories were selected as samples, and over 64,000 public online reviews from Dianping and Ctrip were selected as data sets. Kernel density and standard deviational ellipse methods revealed the spatio-temporal evolution of museum space preferences (2016–2024). TF-IDF and LDA algorithms identified key image perception themes. Visitor satisfaction was then evaluated with SnowNLP sentiment analysis to examine the dynamic correlation between the perception themes and satisfaction. The findings showed: 1) Museum visitors were highly concentrated in eastern coastal regions, with spatial distribution evolving from single-core to multi-core clusters, gradually expanding into central areas (e.g., Henan, Hubei, Shaanxi). 2) Museum image perception has shifted from object-centered to more human-centered experiences, with significant differences across the various categories. 3) Over 75% of visitors reported positive experiences, with ethnography museums showing the highest satisfaction in 2024 (Pro = 0.922), whereas history museums consistently had the lowest. 4) Satisfaction drivers were dynamic, with 85.26% of perception themes significantly correlated with satisfaction (p < 0.01), with rich collections, distinctive features, immersive experiences, and diverse visitation forms identified as the primary contributors to positive visitor experiences. Based on the comprehensive perspective of typology and spatio-temporal dynamic evolution, this study not only provides empirical support for museum space optimization, but also provides new ideas and strategies for functional research and methodological insights of public spaces.

The article considers the following aspects of organization of self-education using the information and communication technologies (ICTs): what information resources can be the basis for self-education; how to organize the education; how to solidify the acquired knowledge and create necessary social connections. The information resources which can be used for self-education and their classification depending on the needs of the individual – for personal enrichment or for scientific search, – are determined; the most significant among them are electronic libraries and bibliographic and abstract databases. The ways of organization of self-education are analyzed, namely: massive online courses, educational applications for PCs and mobile phones, individual classes (webinars), consistent self-development of separate topics, etc. ICTs that promote the creation of social connections and communications with like-minded people and specialists with narrow focus (social networks, scientists’ identification systems, forums and blogs) are considered. The examples of information recourses, aimed at obtaining professionally important information by fashion designers, are provided. Among them are blogs about art, fashion and design, virtual museum sites, resources for fashion industry leaders, sites of exhibitions, contests, popular and scientific journals, designers and brands. The possibilities of assessing the reliability of scientific information using the bibliographic and abstract databases, social networks and individual profiles of scientists in the systems of identification are determined. In order to identify the specifics of ICTs use, a questionnaire survey has been conducted that has outlined the main informational resources used in the search for the necessary information (encyclopedias and databases, social networks, YouTube channels and blogs in Twitter, LifeJournal, etc.), and peculiarities of perception of such information. It is found that ICTs are the main source for searching and receiving information.

The Purpose of the article is to examine key trends in contemporary Chinese jewelry design across Mainland China, Hong Kong, and Taiwan. It explores how designers balance tradition and innovation, develop diverse typologies, adopt new materials and technologies, and embed cultural meaning into their works. The goal is to understand how these practices shape a distinctive global identity rooted in Chinese heritage. Methodology. Adopting a qualitative approach, this research combines literature review, visual content analysis, case studies, and regional comparison. It analyzes representative works by Chinese designers, focusing on materials, themes, techniques, and symbolic expression. Results. The findings show that contemporary Chinese jewelry design is characterized by multi-dimensional creativity expressed through narrative-driven themes, hybrid aesthetic languages, and typological expansion. Designers merge classical Chinese symbols, such as dragons, gourds, ruyi locks, and lotus flowers, with contemporary minimalism and global design vocabularies. Technical innovations, including the use of titanium, 3D printing, and new gemstone-setting techniques, have redefined the structural possibilities of jewelry. Symbolism plays a central role in design expression, and many works embed emotional, philosophical, or mythological content rooted in Chinese traditions. Moreover, designers across regions demonstrate strong cross-disciplinary tendencies, often blurring boundaries between jewelry, sculpture, fashion, and body art. While Hong Kong designers emphasize refinement and East- West luxury fusion, and Taiwanese designers show poetic sensitivity and artisanal craft, Mainland Chinese designers lead in experimental expressions and assertive cultural representation. Despite regional distinctions, a converging design ethos has emerged, forming a recognizable Contemporary Chinese Jewelry Design identity. Scientific novelty. This article presents an in-depth, cross-regional synthesis of Chinese jewelry design. It integrates conceptual, material, and aesthetic perspectives into a coherent analytical framework, contributing to global design scholarship. Practical relevance. The findings offer guidance for designers, curators, and educators seeking to engage with Chinese jewelry design. The study emphasizes the role of heritage, sustainability, and cross-media practices in shaping creative outcomes. It identifies actionable trends such as new traditionalism and digital craft as future directions for both design education and industry innovation. Мета статті – дослідити ключові тенденції сучасного дизайну китайських ювелірних виробів у материковому Китаї, Гонконзі та Тайвані. Досліджено як дизайнери поєднують традиції та інновації в своїй творчості, розробляють різноманітні типології, впроваджують нові матеріали та технології, а також вкладають культурний сенс у свої роботи. Завданням статті є продемонструвати як ці практики формують самобутню глобальну ідентичність, що коріниться в китайській спадщині. Методологія. Застосовуючи якісний підхід, дослідження поєднує огляд літератури, аналіз візуального контенту, тематичні дослідження та регіональне порівняння. Проаналізовано репрезентативні роботи китайських дизайнерів, зосереджуючись на матеріалах, темах, техніках та символічному вираженні. Результати. Результати дослідження показали, що сучасний дизайн китайських ювелірних виробів характеризується багатовимірною креативністю, вираженою через наративні теми, гібридні естетичні мови та типологічне розширення. Дизайнери поєднують класичні китайські символи, такі як дракони, гарбузи, замки жуйі та квіти лотоса, із сучасним мінімалізмом та глобальною дизайнерською лексикою. Технічні інновації, включаючи використання титану, 3D-друк та нові техніки оправлення коштовного каміння, переосмислили структурні можливості ювелірних виробів. Символізм відіграє центральну роль у дизайнерському вираженні, і багато робіт містять емоційний, філософський або міфологічний зміст, що корениться в китайських традиціях. Більше того, дизайнери з різних регіонів демонструють сильні міждисциплінарні тенденції, часто розмиваючи межі між ювелірними виробами, скульптурою, модою та боді-артом. У той час як гонконгські дизайнери наголошують на вишуканості та поєднанні розкоші Сходу та Заходу, а тайванські дизайнери демонструють поетичну чутливість та ремесло, дизайнери материкового...