Original graphics of Robert Lisovsky: Genre range and features of the author's artistic language

The article highlights the work of the Ukrainian emigrant artist Robert Lisovsky (1893-1982), a representative of the Narbut school, a master of book, magazine and applied graphics. While the graphic works by Robert Lisovsky published in books, magazines, calendars and publishing stamps are relatively well-studied, his drawings and watercolors are remain lesser known. The analysis of these works could contribute in clarifying the features of the artist's creative method and author's language. Also, it will determine the stylistic and figurative as well as plot-content preferences of the artist. The article outlines the genre range of graphic works created by Robert Lisovsky, which included portraits, landscapes, urban motifs, floristics and still lifes. The authors consider Robert Lisovsky's graphics and make attempt to determine his plastic language are determined. They find out that Robert Lisovsky most often dealt with the landscapes, including the urban ones, as well as the motives of sacral architecture. A peculiar feature of the artistic language of Robert Lisovsky is a free realistic interpretation of nature with the use of rhythmic and generalization techniques. The sweeping expressive bar line and contrasting fillings used by Robert Lisovsky in the Lviv and Prague periods of his work are replaced by a light modeling line and fine hatching in Italian drawings. In the final London period of his work, the artist resorted to several approaches to the interpretation of nature and demonstrated the author's method of transforming a realistic fixation of nature into an artistic image. The article identifies the specifics of the artist's creative method, emphasizes the semantic and stylistic characteristics of his works.

Designing lightspace in contemporary architecture

Daylight has a significant impact on the perception of the building space. The term “lightspace” is introduced to determine phenomena of sensorial perception of architectural object’s indoor space and four different components of lightspace, such as functional, architectural and artistic, light-technical and visual, are considered. Further, three groups of architectural and artistic design techniques were estimated: based on space modeling (organisation of lightspaces in the building structure, organization of multi-light spaces, plasticity organization of lightspace, methods of natural light penetration through the shell of the building), light modeling (the distribution of light in space and its spectral composition), and time modeling (light dynamic, transformation of the building parts, movement of people in the place). Attention is drawn to relationship between diverse lightspace design techniques and architectural practice.

Educational complex of light-colored modeling of urban environment

Mechanisms, methodological tools and structure of a training complex of light-colored modeling of the urban environment are developed in this paper. The following results of the practical work of students are presented: light composition and installation, media facades, lighting of building facades, city streets and embankment. As a result of modeling, the structure of the light form is determined. Light-transmitting materials and causing characteristic optical illusions, light-visual and light-dynamic effects (video-dynamics and photostatics), basic compositional techniques of light form are revealed. The main elements of the light installation are studied, including a light projection, an electronic device, interactivity and relationality of the installation, and the mechanical device which becomes a part of the installation composition. The meaning of modern media facade technology is the transformation of external building structures and their facades into a changing information cover, into a media content translator using LED technology. Light tectonics and the light rhythm of the plastics of the architectural object are built up through point and local illumination, modeling of the urban ensemble assumes the structural interaction of several light building models with special light-composition techniques. When modeling the social and pedestrian environment, the lighting parameters depend on the scale of the chosen space and are adapted taking into account the visual perception of the pedestrian, and the atmospheric effects of comfort and safety of the environment are achieved with the help of special light compositional techniques. With the aim of realizing the tasks of light modeling, a methodology has been created, including the mechanisms of models, variability and complementarity. The perspectives of light modeling in the context of structural elements of the city, neuropsychology, wireless and bioluminescence technologies are proposed. Conclusions are given on the environment-forming and transforming significance of artificial light and light technologies in the space of modern city. Light-colored modeling identity is expressed in methodical and figurative-artistic continuity in the use of techniques of light composition and optical art. The use of light composition contributes to the expression of local identity by means and techniques of light composition in the context of the image, “genius loci” using the example of the Vladivostok seaside city. Identity in psychology is expressed in the personal selection of the techniques of light composition, which are used in light-colored modeling.