Vladimir E. Karpenko and Nikolay I. Shchepetkov
Light Forms in Urban Environment

Marina A. Sokolova, Natalya V. Bystryantseva,and Marina A. Silkina
Experience of Design and Plastic Light Environment Modelling. Part 1: Space and Light, Urban Environment

Alexei V. Krasheninnikov and Alexander A. Lebedev
Artificial Lighting of Micro-Spaces in Urban Centers

Galina A. Ptichnikova and Kira K. Kartashova
Media Screens and Media Facades in the Space of Russian Cities: Problems of Integration into the Urban Environment

Andrei V. Efimov , Sergei V. Klimenko, Natalya G. Panova, and Nikolay I. Shchepetkov
Coloured Light as a Tool for Working with Architectural Form in the Night Environment of the City

Oleg G. Maksimov and Olga Yu. Zaripova
Light Design of Small Towns’ Coastal Areas

Vladimir E. Karpenko and Nikolay I. Shchepetkov
Light Forms in Urban Environment

Marina A. Sokolova, Natalya V. Bystryantseva,and Marina A. Silkina
Experience of Design and Plastic Light Environment Modelling. Part 1: Space and Light, Urban Environment

Alexei V. Krasheninnikov and Alexander A. Lebedev
Artificial Lighting of Micro-Spaces in Urban Centers

Galina A. Ptichnikova and Kira K. Kartashova
Media Screens and Media Facades in the Space of Russian Cities: Problems of Integration into the Urban Environment

Andrei V. Efimov , Sergei V. Klimenko, Natalya G. Panova, and Nikolay I. Shchepetkov
Coloured Light as a Tool for Working with Architectural Form in the Night Environment of the City

Oleg G. Maksimov and Olga Yu. Zaripova
Light Design of Small Towns’ Coastal Areas

The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.

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The paper is devoted to the history of cooperation between the Department of Architectural Environment Design of the Moscow Architectural Institute and the ITMO University international educational program “Lighting Design”. It reveals the experience of inclusion into the educational process of the ITMO University international educational program “Lighting Design” of a lecture-practical unit dedicated to the modern principles concerning the lighting instruments operation in urban spaces of various sizes and purposes, as well as familiarizing with the basics of urban planning and urban development, types of open public spaces cities and components of urban fabric.
The paper discusses a technique for modelling the compositional interaction between light and an urban tissue fragment, taking into account the peculiarities on the light instruments work in urban space characterized by various scales and typology, urban environment of various nature and compositional arrangement. In the process of work, students gained experience in identifying the structure and geometry of public spaces in the urban tissue, creating light routes and scenarios, and forming a system of light dominants.
Conclusions are made about the significance of the design-plastic light modelling results and their influence on the design concept formation; the need to correlate the light-composition design search and the urban lighting components of various levels, as well as the meaning of lighting parameters such as the distribution of brightness and direction of luminance flux, the features of diffused and directional light and other components that affect human perception in order to create a multimodal design solution.

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Night lighting must be taken into account when designing urban public spaces. In urban studies, the urban environment is the support of social processes, and social processes form the requirements for lighting and spatial parameters of the scene. The behaviour of people, their cognitive state and the intensity of communication are the important factors to consider for light design. The key signs of a cognitive state of a person are the number of people around and personal activity mobility. The most characteristic micro-spaces can be selected for various types of environmental behaviour. The paper proposes to use the concept of environmental complexes of micro-, meso-, and macro-spaces for the artificial lighting of a flexible, diverse, but at the same time integral urban environment. Micro-space is perceived as a sphere of personal communication, the so-called “bubble” of social space, and at the same time, micro-space has physical characteristics, including lighting. The basic principles of the light design of the micro-space include such spatial parameters as the size of the “light spot”, the height of the “light ceiling”. Artificial lighting of public spaces reveals the social scenario of using a common space, emphasizes places of communication, meetings, paths of movement, allows you to create a cosy, humane environment.

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For the past decades the light environment of the evening city has become a critical component of the architectural and administrative activities. Today, the lighting systems not only allow making an object or an entire street ‘visible’ in the evening, but also provide for the development of their new architectural image. The opportunities offered by the white artificial light were appreciated to work with the illuminated polychrome objects long ago. The white light with various spectral properties is capable sometimes to influence dramatically the perception of the architectural form, as with its high intensity under the darkness adaptation conditions it has the capability to ‘absorb’ (turn off) the ‘object’ colour of the illuminated facade surface. In particular, the specifics creates an ‘evening’ object image different from the daily one, where the colour scheme used in the material object is often not critical. In contrast, the chromatic light under certain conditions allows not only maintaining the colouristic nature of the environment existing under the natural lighting conditions, but also developing and unifying it in a unique manner, creating a new colour palette. The description of the main areas of the evening environment arrangement with the chromatic light is provided. A significant work experience has been already accumulated in this field by the light design experts. The colour light opportunities and, even more so, the technologies of dealing with it have not been appreciated and adopted by architects to the full extent yet. The article considers the application specifics of the colour light as a fully functional instrument for dealing with the object form under the night urban conditions. The results of an experiment to study the interaction between the colour of material objects and the colour light based on the analysis of Moscow polychrome, which was carried out in the laboratory of the Moscow Architectural Institute (State Academy), are presented. Visual observations enabled to determine the impact of light with the colour light filters selected for the experiment on the colour samples typical for a number of historical periods in the Moscow architecture. The colour samples typical for the facades of buildings erected in a number of historical periods in the capital architecture were illuminated in the darkness with the light of slide projectors with IL and R, G, B glass light filters, and changes in their visual perception were assessed using the NCS atlas, then the identified colour shifts were determined with the use of E. Rabkin’s atlas by three parameters (λ, P, L). A hypothesis was expressed about the possible use of the results of such studies not only in the architectural colour lighting of the modern urban environment, but also in such a new application area as restoration, preservation and interactive integration of the historical and architectural heritage sites into the programmable image-bearing environment.

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The paper analyses the original works in the field of architectural light and engineering belonging to the most prominent representatives of the domestic kinetic art of the 1960s (F. Infante, V.F. Koleichuk, L.N. Nusberg, as well as A. Lanin and B.M. Galeev). The conceptual basis of these works is revealed including a special attitude to light as a unique physical phenomenon and, at the same time, the most important component of a new architectural and artistic language. The practical value of the projects of special dynamic lighting of art objects, interiors of exhibition spaces, individual architectural objects and the urban environment as a whole, proposed by these authors and partly implemented by them, is revealed. It is shown in what way and for what purpose this type of synthetic art was formed at the intersection of architecture, design and engineering, which made a significant contribution to the development of both the theory and practice of architectural light engineering. In conclusion, the idea is expressed about the importance of using the considered historical experience at the present time, when every year new technical possibilities appear for creating an expressive light-colour environment, but deep content, philosophical and theoretical foundations for its design, which inspired the masters who stood at the origins of this the most important architectural and artistic direction, are lost.

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13. Bystryantseva Natalya V. Criteria for Comprehensive Evaluation of the Quality of a City’s Artificial Light Medium // Light & Engineering, 2015, Vol. 23, # 2, pp. 34–42.

Ensuring normal natural illuminance of dwellings and their sufficient insolation is today an urgent problem around the world. The main provisions and requirements for illuminance of dwellings and insolation of residential areas were formulated in domestic practice in the first decades of the twentieth century. The paper shows that the search for calculation methods was intensively carried out in the Soviet Union in the second half of the 1920s – early 1930s, with the development of both municipal and cooperative construction. The course towards the country’s industrialization, associated with the dominating industrial development interests, influenced the rapid formation of such a branch of science as light and engineering. The approach to housing construction as a specific “household production” has led to the interest of architects and light engineers in the selection of the optimal shape and area of window openings. Drawing attention to the artistic aspects of civil engineering and the “development of heritage” since the mid 1930s led to work in the field of the particular perception of complex architectural forms under different lighting conditions, which sometimes was to the detriment of designing the residential premise illuminance. At the end of the 1930s, along with the tasks of increasing the volume of housing construction according to standard projects, research was resumed to determine the optimal shape, area and location of window openings, taking into account the orientation and various shading factors. During this period, insolation issues were directly associated with housing architecture (let’s remember Le Corbusier and the Athens Charter). On the basis of laboratory examinations and field experiments, daylight coefficient values for living quarters were established and the basic requirements for insolation were determined. However, today, when calls are heard everywhere for the formation of a sustainable living environment, a conscious approach to resource consumption, and an improvement in the quality of life of the population, the provisions scientifically proven 80 years ago, unfortunately, are being revised in domestic practice towards their clear deterioration.

1. Darula S., Christoffersen J., Malikova M. Sunlight and insolation of building interiors // Energy Procedia, 2015, # 78, pp. 1245–1250. URL: https://www.researchgate.net/publication/291284929_Sunlight_and_insolation_of _building_interiors (Access date: 15.03.2021).
2. Serebryakova М. Foreign experience of design of buildings subject to the requirements of insolation and sun protection // Bulletin of Belgorod state technological university named after V.G. Shukhov, 2019, Vol. 4, # 9. URL: https://bulletinbstu.editorum.ru/en/nauka/article/28955/ view (Access date: 16.03.2021).
3. Lee J.W., Jung H.J., Park J.Y., Lee J.B. Optimization of building window system in Asian regions by analysing solar heat gain and daylighting elements // Renewable Energy, 2013, Vol. 50, pp. 522–531. DOI: 10.1016/j. renene.2012.07.029.
4. Gritsienko Denis G., Kasiyanov Vitaly F. Light Guide Use and Facade Light Reflection for Improved Insolation and Increased Daylight Factor as Part of the Reconstruction of City Housing Systems // Light & Engineering, 2015, Vol. 23, # 3, pp. 24–28.
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8. Draft regulations on sanitary requirements for dwellings [Proyekt polozheniya o sanitarnykh trebovaniyakh dlya zhilishch] // Zodchiy (Architect), 1911, #39, pp. 403–410.
9. Baranovsky G. The fate of the Russian construction legislation. History of revisions of the building code. Part III. [Sud’by russkogo stroitel’nogo zakonodatel’stva. Istoriya peresmotrov stroitel’nogo ustava. Chast’ III.] // Zodchiy (Architect), 1917, #16, pp. 109–116.
10. Nikolaev I.S. Reasons for choosing a rational skylight [Osnovaniya k vyboru ratsional’nogo svetovogo proyema] // Sovremennaya arkhitektura (Modern architecture), 1929, # 2, pp. 46–50.
11. Gershun A. Method for calculating of natural lighting [Metod rascheta yestestvennogo osveshcheniya] // Modern architecture [Sovremennaya arkhitektura], 1929, # 2, pp. 56–57.
12. Nikolsky A.S. Natural lighting of the interior [Yestestvennoye osveshcheniye vnutrennikh pomeshcheniy] // Modern architecture [Sovremennaya arkhitektura], 1929, # 2, p. 57.
13. Barshch M., Vladimirov V. The shape of living room windows [Forma okna zhilogo pomeshcheniya] // Modern architecture [Sovremennaya arkhitektura], 1929, # 2, pp. 41–43.
14. Gusev N.M., Dzhus K.I. Against horizontal glazing [Protiv gorizontal’nogo ostekleniya] // Construction of Moscow [Stroitel’stvo Moskvy], 1930, #10, pp. 26–29.
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16. Meshkov V.V. Smelyansky Z.B. Hygiene of lighting (a guide for students of sanitary and hygienic faculties and for industrial sanitary doctors [Gigiyena osveshcheniya (rukovodstvo dlya studentov sanitarno-gigiyenicheskikh fakul’tetov i dlya promyshlenno-sanitarnykh vrachey] / Moscow – Leningrad: State Medical Publishing House [M.-L.: Gosudarstvennoye meditsinskoye izdatel’stvo], 1934.
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The paper examines modern trends and techniques for the use of light and colour in architecture. The variety of existing approaches and technical capabilities in the light-colour organization of various types of spaces is systematized and presented in four areas: umbra (lat., illusion), spectrum (lat., spectrum), nuntius (lat., message), affectio (lat., mood). Each of those directions is characterized and illustrated with examples of actual and educational projects. The experience of Russia, Europe, and America since the mid-1980s is highlighted (the main examples are after 2000). Among the projects under consideration, there are objects demonstrated at international exhibitions (Expo 2015 in Milan, 58th Biennale of Contemporary Art in Venice 2019), large cultural centres (Louvre and the Musical Seine complex in Paris, Zaryadye Concert Hall in Moscow), virtual installations by the American bureau «Diller + Scofidio» for a number of public buildings, a competition project for the reconstruction of the Sukharev tower in Moscow, and diploma projects for the renovation of industrial territories - the former «Znamya Truda» plant in Moscow and the central part of the Moscow region town of Pavlovsky Posad. Simultaneously with the allocation of these four areas, a conclusion is made about the impossibility of their isolated existence. We are talking about the priority or emphasis of one of the directions (approaches) in a specific project, depending on environmental factors and the architect’s intention. A review of world experience allows us to conclude that lighting design and its artistic use turn space into an event, fill it with special dynamics and expressiveness, implement the communicative function of architecture, sharpening the emotionality of perception.

1. Schielke, T. The Language of Lighting: Applying Semiotics in the Evaluation of Lighting Design // LEUKOS. 2019, Vol. 15, #2–3, pp. 227-248.
2. Frolova, N. Solar sail / N. Frolova. - Published on Aug 28. 2017 - Text: electronic // archi.ru: [official site], Shigeru Ban: the island of music on the Seine. URL: https://www.interior.ru/architecture/1474-shigeru-banostrov-muzyki-na-sene.html (access date: 20.03.2021).
3. Saber, A. M. The Night Lighting Dynamics and its Influence in Reviving the Architectural Building Identty // World Heritage and Legacy : XVII International Forum Naples 6 – Capri 7/8 June 2019.
4. Ilyevskaya, M. Interrelation of Architectural Concepts and Principles of Artificial Lighting in the Moscow Concert Hall Zaryadye // Light & Engineering. 2019, Vol. 27, #3, pp. 4-13.
5. Ilyevskaya, M.M. Interrelation of architectural solutions and principles of artificial lighting in the building of the Moscow concert hall “Zaryadye” // Lighting engineering. 2019, #2, pp. 6-13.
6. Fedorov, O. P. Media facades in architecture. Their role and place in the information society // Bulletin of civil engineers. 2018, #3 (68), pp. 40-46.
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8. LeCuyer, A. W., Carter, B. All American: Innovation in American Architecture // United Kingdom: Thames & Hudson, 2002. – 256 p. – Text: unmediated.
9. Vorontsova, Yu.S. Virtual architecture of public buildings of megacities // Urban planning and architecture. 2017, Vol. 7, #4 (29), pp. 106-109.
10. Shchepetkov, N.I. Lighting of Engineering Structures and Industrial Facilities: New Aspects of the Topic // Light&Engineering, 2018, #3, pp. 29-36.
11. Shchepetkov, N.I. Lighting of engineering structures and industrial facilities. New aspects of the topic t // Lighting engineering. 2017, #6, pp. 32-39.
12. Kudryashova, A. Yu. Interactive anthropogenic environment in the formation of orientation and navigation of users in space // REDS: Telecommunication devices and systems. 2020, Vol. 10, #2, pp. 49-54.
13. Jiang, Y. Globalisation, National Identity and the Transformation and Renovation of Museums in France and Mainland China // KnE Social Sciences. 2019, Vol. 3, #27, pp. 14–25.
14. Schielke, T. The Evolution of Light in IM Pei’s Museums, from Dark Concrete Voids to Luminous Glass Pyramids // Archdaily: [official website].
15. Ukhabotova, A. The Louvre glass pyramid is 30 years old: the history of creation and optical illusion. Posted on Apr 1. 2019 // AD: [official website of the journal].
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Using the example of a number of cultural traditions, the author considers a construction of the temple structure along a rising sun ray. There are two main types of temples built according to the rising sun ray: the temples oriented towards the sunrise by their sanctuaries, and the temples oriented towards the sunrise by the entrance portal. Examples of such a construction are given for the temples of Ancient Egypt, Ancient Greece, Orthodox and Catholic Christianity, Hinduism and Shintoism.
The first type of temple in Ancient Egypt is shown to represent the birth of the sun in its sanctuary. In Christianity, this type of temple represents a ray of the sun entering the temple from an apse window – from the God depicted there. The second type of temples in Ancient Egypt represents the revival of image of the pharaoh-god located in his sanctuary, with the rising sun ray. In the ancient tradition, this type of temple represents the meeting of the rising sun over the large pre-temple altar, along with a statue of a deity in the depths of the sanctuary. It is shown that the main cathedral of Catholic Christianity, St. Peter’s Cathedral in Rome, is oriented towards sunrise not according to Christian, but according to ancient tradition. In the Hindu Shaiva tradition, the meeting of the rising sun in front of the temple portal is associated with penetration of its ray into the sanctuary and the highlighting of the statue or the main attribute of the god. In the Shinto tradition, the ascendant is presented in a special portal. The welcoming sacrifice takes place on the pre-temple altar. In general, the paper deals with the semantic, spatial, decorative, and ritual aspects of the construction performed of both types of temples.

Semantic and spatial changes in the options for using daylight compared to tradition are presented, based on the analysis of the architectural solutions applied in a number of modern Christian churches. According to popular belief, sunlight is used in most modern temples only as an architectural technique proving the skill of an architect, and as a means of interior decoration. The study showed that behind the abstract modern methods of illumination a temple, there is a deep connection with the earlier cultural tradition.
Sunlight was one of the key means used for decorating interiors of Christian churches. The light pouring from windows of the dome drum or cutting through the twilight of the extended naves, highlighting an apse with the altar, or emphasizing the beauty of the sculpture, was the conductor of the Divine on earth. The quintessence of the presentation of “divine light” in architecture, which clearly shows the connection between God and man, are the Gothic monuments.
From the end of the 19th – the beginning of the 20th century, temple architecture was rapidly changing. Renowned innovator architects of the 20th century offered their own vision of a modern temple. The extreme degree of individualization of the new objects of cult was based on a common principle: the rejection of the symbolic language traditional for Christianity. The architects were not tied to metaphors and images of biblical subjects. They boldly changed both the external appearance of a temple and the construction of its internal space, hence, its system of daylighting.
Traditionally, sunlight was the semantic filling of the temple space. As a result of the present study, it has been shown that in the newest Christian churches, daylighting techniques, in their essence, replace the pictorial filling of the temple space with religious content. At the same time, the same techniques function as a modern interpretation for a number of traditional architectural methods used for lighting design of the temple space.
By the examples of the works by Studio Zermani e Associati, Mark Cavagnero Associates, Vicens + Ramos, Königs architekten, modern interpretation versions for the themes of retablo, glowing cross, highlighting the altar space, and illumination of gilded surfaces are shown, and the upper and side illumination features of the newest temples are revealed.

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A design aspect of a three-dimensional workspace for an upcoming deployment stage of a new-generation manned space station with crews of several dozen people is considered. It is assumed that in the new closed layout of the station, the spatial core is its courtyard, which ensures productive and safe human activity not only in pressurized living and working modules, but also in an airless space.
The aim of the work is to develop the concept for architectural illumination of the surface and the entire working space in the courtyard of the new-generation orbital station. The original layout diagram of the orbital station is presented. Its illumination is investigated by the method of computer geometric modelling.
The most common orthogonal structures implemented in the MIR and ISS projects were chosen as the starting point for constructing the spatial structure of the orbital station.
The illumination system is proposed that implements the operational and control functions of the crew members, as well as their orientation and positioning both in the spatial structure of the station itself and in the surrounding space. To implement these functions, two basic techniques for setting up remotely controlled stationary and mobile luminaires are proposed.
The importance of highlighting the central axial structure of the station as a coordinate system for constant orientation is shown when people are located both in the inner space of the station and in the space of its yard. It is concluded that the illumination of the three-axis coordinate structure projected onto the outer space in relation to the station space, will give its perception a feeling of familiar stability.

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A window is, first, an element of daylighting and visual comfort, but, in addition, the window can be an element of an air-conditioning system. In a building with natural ventilation, the outside air inflow is conducted, as a rule, through leaks in the fillings of window openings or through window elements – vents, transoms. The window is also an element of the building’s thermal protection. It gets special significance in buildings built in the climatic conditions of the Russian Far North. This region is characterized by a very short duration or even complete absence of solar time in winter (in the polar night conditions). In these conditions, the role of the window as an element of daylighting and visual comfort is turned off. The task of increasing the heat-shielding characteristics of windows becomes essential. In the Far North, a window can have the same thermal protection as a wall with proper design solutions. In temperate climate conditions, it is possible to increase the thermal protection of windows in public buildings during the period when the building is not in use: at night, on weekends and holidays.
The paper provides an overview of new technologies for changing the optical properties and heat-shielding characteristics of windows, depending on changes in climatic conditions, time of day and people’s preferences, and discusses the possibilities of increasing the energy efficiency of buildings in the Far North conditions using windows with variable heat protection, as well as new designs of “smart windows”.

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