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913 SUPERGRAPHICS AND VIDEO ECOLOGY Е.Е.Nemtchinova1

Abstract: The objective of this research with the artistic techniques of modern was to conduct a study of supergraphics supergraphics is outlined. The article in the architecture and design of the provides new materials and innovative visual urban environment in terms of technologies. The provisions of the video ecology. The article examined the article reveal the inextricable connection specifics of supergraphics, its of today's trends in supergraphics with relationship with the concepts of graffiti our modern life. The materials of the and street art. The study also focuses on article contribute to further the specifics of new materials, developments in the methodological innovative technologies for the material on this topic, help in the implementation of supergraphics, in formulation of design tasks, as well as in particular on the example of the subway. the evaluation of the work in The variety of artistic techniques of supergraphics. supergraphics and its influence on the harmonization of the surrounding Keywords: supergraphics, video subject-spatial environment are ecology, visual environment, metro, revealed. The demand for supergraphics harmonization, graffiti, street art, in modern conditions requires its deep innovative technologies. analysis. The specifics of supergraphic tools are related to the requirements of 1. INTRODUCTION creating an effective communicative Supergraphics is a tool for human environment and solving a creating and forming a visual specific problem to improve the video environment. The graphic language of ecology of the urban environment. The supergraphics complements, enriches differences in the concepts of graffiti and the world around us. The modern street art are analyzed, their connection problem is the transformation of an

1 Russian State University of Tourism and Service, email: [email protected], https://orcid.org/0000- 0001-5293-468X

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914 unfavorable environment from the point Supergraphics is considered as of view of visual perception into a an object of research. The subject of the human-friendly environment. This research is the factors of the negative article explores the effect of visual environment. supergraphics on the harmonization of The materials for review were our subject-spatial environment. The network resources, albums, books on study also focuses on the specifics of design, and magazines. new materials, innovative technologies for translating supergraphics into the 2. METHODS metro. The author used the following The relevance of the study research methods: analysis, synthesis, consists in the systematization of the extrapolation, bibliographic methods. A relevant material, in the further study of a variety of sources of application of scientific ideas about the information on the topic of the article. supergraphics in methodological Such areas as graffiti, street art, applications - for setting design tasks, supergraphics were considered. The and for evaluating work, for developing methods of analysis, synthesis, educational material. extrapolation helped identify their main The objective of art history characteristic features on the research research is supergraphics, as a means of topic. Modern materials related to the improving the video ecology of the urban latest technologies in supergraphics were environment. reviewed. To achieve this goal, it is Supergraphics in the necessary to solve the following tasks: architecture and design of the visual 1. analyze examples of urban environment was studied from the supergraphics point of view of video ecology. The 2. analyze the factors of comparison method were applied and, as negative visual environment a consequence, a conclusion was made 3. establish the positive on the continuity of street art. The effect of supergraphics on the negative synthesis method was applied, which visual environment helped to get a general idea of the subject being studied. The research methods are

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915 abstractive and generalized in nature. product of our time. The experiment They help to systematize the collected clearly showed that graphic noise is material for its successful study. becoming a significant environmental Scientific data indicate that a problem. constant visual environment, its Video ecology is a scientific saturation with visual elements, has a field dealing with the ecology of the strong effect on a person’s condition, visual environment and beauty. Video especially on his organ of vision. That is, ecology science was developed in Russia it acts like any other environmental on the basis of a long-term study of the factor that makes up the human mechanisms of visual perception by environment. In 2005, two artists – V.A. Filin [15]. He was the first to Christoph Steinbrener and Rainer Dempf examine and describe the visible changed enormously Neubaugasse environment surrounding us as an (project - Delete!) – one of the streets of environmental factor. In fact, video Austrian Vienna. In 2 weeks they ecology is the science of human covered all street advertising in the city interaction with the visual environment. with yellow monochrome fluorescent What is the visual environment made up foil - film and packed all three- of? The first is nature. The second is dimensional objects (letters, for architecture, man-made objects. example) in plastic. All signs identifying Universal urbanization creates a consumption, such as advertising signs, negative visual environment: straight signs, pictograms, company names and lines and corners, dark colors, concrete. logos, disappeared from the street. The Large planes of the same type of result impressed everyone. It windows. Fields, consisting of many immediately became evident how much identical elements, uniformly the streets are polluted with advertising distributed, create aggressive visual garbage. fields on a certain surface, from which a Advertising not only spoils the person gets tired. A homogeneous visual look of the city, but also subconsciously environment with a lack or absence of affects its residents [4]. The disregarded visual elements is also bad for a person. and unnoticed information and Unnatural visible environment, violating advertising component of the city is a

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916 the laws of visual perception, leads to fields are created by an ordinary simple mental disorders [3]. multi-storey residential building with a The problem of a large number of windows. Already nine comprehensive assessment of the repeating identical elements are environmental friendliness of the visual considered an aggressive environment urban environment is long overdue. for the eye. Homogeneous visible fields Unfortunately, the science of video create the ends of buildings, industrial ecology has not yet developed regulatory zones. The human eye does not like a documents on the formation of a visual large number of right angles and edges, environment. There are no requirements an abundance of large empty planes. The for the permissible sizes of more curved lines, the rich color gamut homogeneous and aggressive fields in the surrounding space has, the closer it is the architecture of the city. Time is so to the natural environment and, rapidly changing the visual urban therefore, the better the visual environment and, accordingly, all this environment is. exacerbates the contradiction with the The term “supergraphics" in the possibilities of human vision. The 70s of the XX century was introduced by current task is to stop the trend of the American architect Charles Moore. deterioration of the visual environment The traditional concept of monumental in human habitats. A characteristic trend painting has been replaced by a new of design and architecture is the desire to concept of supergraphics. A sign of design not individual elements, but supergraphics is the obligatory integral in form visual urban complexes, interaction with the three-dimensional coincides with the formation of a spatial form. Despite the independence harmonious visual environment. of composition and its own The visual field created by the colorographics, an image that is located old building is visually pleasing. Long directly on a three-dimensional object concrete fences, huge planes of glass, changes this object and presents in a new rows of identical buildings, equally way [17]. painted houses cause negative It is necessary to distinguish consequences, large glass surfaces are between graffiti, street art and super- especially aggressive. Aggressive visual graphics. Graffiti is a global subculture

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917 and a way of communication within Today, when describing images youth groups [7]. Graffiti is a crony applied to walls, floors, ceilings, asphalt, graphic, besides it has an illegal basis. It or other external surfaces of buildings almost always violates the law and is a and structures, people often call them challenge to society. Writers (artists) do graffiti. And the concepts begin to merge not care whether the townspeople will gradually. understand them; they express their own The art of supergraphics has a self, their position, their attitude to the great history. Madonnari, street artists, world. Graffiti, as a direction, has its appeared in Italy more than five hundred roots deep in history. The very word years ago. They wandered from one city "graffiti" originated in the XIX century to another from holiday to holiday and from the Italian term graffito; it was decorated streets and squares with associated with drawings found during biblical motifs. excavations of Pompeii left there on the In the early XX century, in walls. Graffiti, as a rule, was a personal Mexican culture, strong revolutionary signature of the author. Graffiti artists works were performed by such artists as draw their tag everywhere. In the 60s J.C. Orozco, D. Rivera, D. Siqueiros. In America, criminal gangs thus marked the XX century, supergraphics owes its their controlled territories and painted formation to various creative directions the New York subway. Today graffiti is in painting, design, architecture. It was brightly flashy drawings made most influenced by the De Stil group, K. often with spray paint. Malevich’s Suprematism, the Street art represents non- development of optical art (op-art), and commercial drawings, installations kinetic art. In the last quarter of the XX understandable to the general public century, graffiti becomes part of avant- [11]. Street art artists are often unknown garde. In the 70s, supergraphics was a to anyone and popularize the idea of free method of constructing the visual space expression or action. This is also not of a city. A holistic color image of new quite legal art. Having arisen in the areas was created due to their color morning, a street-art object can already integration into the spatial, semantic and be cleaned in the evening by city aesthetic environment of the city, a authorities. change in the structural and

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918 morphological basis of architectural whole complex of buildings, a fragment forms. One of the brightest street art of the city [14]. projects – “Artrium” was launched in Supergraphics is a kind of 2018. The walls of the Atrium shopping applied graphics that uses visual center have turned into a new Mecca of techniques that turn a person’s static street art on the Garden Ring, thanks to space or a three-dimensional object into eleven authors of world street art who an active and dynamic principle, visually have arrived in Moscow. Among the transforming it [13,16]. Today, most significant names on a global scale supergraphics is a fusion of monumental are Shepard Fairey, Felipe Pantone, painting, graphic design and an Tristan Eaton, Ben Eine, PichiAvo, architectural approach to solving space Okuda San Miguel, Pokras Lampas, [18]. Graphic design uses not only color Faith47, WK Interact, Faust, Haculla. motifs, but also geometric patterns to They provided Moscow with a worthy create a dynamic and spatially complex place on the world map of the art of object. The compilation of a colored urban space. Supergraphics is a solution geometric ornament and the complex by graphic means of objects of design structure of an object is a well-known and architecture, a new visual phenomenon in the field of culture. In the embodiment and a special way of twentieth century, this principle received enriching the surrounding environmental a new development. During this period, structures, as demonstrated by the the color scheme in painting, art, authors of the project [5]. architecture sounded new, finding a new Supergraphics can greatly visual embodiment and a special way to change the nature of the form, up to the enrich the surrounding environmental loss of its volume, by visual destruction structures - supergraphics [6]. If we talk of the real geometry of the forms, about the thematic content of complete visual destruction. She can supergraphic works, there are no visually transform an object. But she, as restrictions in the given styles and an artistic tool, creates a new directions. These are classicism, avant- compositional integrity. Gives the object garde, post-and meta-modern, re- a new meaning. Supergraphics can modernism, neoplasticism and visually transform a single object, and a

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919 neoclassicism, graphic art or Digital of supergraphics, is one of the interesting Art... spaces of the urban environment. Metro Creative design and artistic is the most visited place in the city, with manifestation is possible both in abstract huge audience coverage. New and in non-objective art, since nothing technological materials provide new should impede the possibilities for the bright, unusual opportunities for the author's design [1, 2]. development of supergraphics. The authors try using their Today, digital art is vitally works to interact with the viewer, necessary. It is certain materials for immerse themselves in the objects supergraphics in the metro space, where depicted, and go through emotional traditional painting is sometimes not experience [10]. appropriate. Traditional genres today are One of the most beautiful and inferior to digital art. Digital painting, original metro in the world is considered digital technologies in photo processing the Swedish metro. Stockholm Metro is are used in solving works of called "the longest art gallery in the supergraphics. Of course, it doesn’t world”. Such a romantic definition is due matter with what help the artist today to the fact that since the 70s of thr XX solves the tasks with a brush or mouse century, the walls of the metro during the cursor [12]. The processing of digital construction ceased to align in order to photographs becomes a powerful tool for save money. The stations are cut down in implementing the most complex author’s rock and, in addition to performing a design, helping the author to convey a transport function, are a huge art gallery. subjective awareness of the surrounding Sculptures, supergraphic walls and reality. ceilings serve as decoration. The T- Supergraphics, the source of Centralen station is one of the most which is graffiti and street-art in the form visited in Sweden. It is cut down in a of graffiti, is believed to originate in the rock, the arches are not finished, New York Metro, and today it is actively branches are depicted on them. The role being introduced again into the of supergraphics in space design is underground spaces. Currently, the mazing. At the Solna-Centrum station in metro, as a place for the implementation Stockholm, it feels like you are inside a

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920 cave with an arch formed by a frozen imagination and creative thinking. volcanic lava. All this is created Picturesque or graphic works artificially and makes a strong demonstrate both bright personality and impression. originality of the author. Naples metro Not far from the University of station is a vivid example. It is important Naples, the academic and multicultural that the author was entrusted not only component of this area of the city of with a wall panel in the recreation of the Naples, the metro station, called room, but with a completely general "University" ("Università”) was open. solution to the entire station. This is a To develop the architectural concept of fragment of a certain reality, considered the metro station, a famous designer, in its entirety, gradually, forcing one to architect Karim Rashid, was invited. get into another world, out of touch with Bright, applicative, dynamic, vibrant, the entire usual perimeter of perception... multicolor, very different from This is an illusory world, born of the free everyone, the new metro station has will of the artist. Supergraphics will become a phenomenon in the life of the preserve the real spirit of the time at city, and perhaps in world design. The metro stations, present to the public the technical surface of the wall cladding is perception and interpretation of the made of DuPont™ Corian®. Live present day by the authors. For graphics in the style of "pop" on the floor passengers, the usual space of metro and walls are complemented by decor stations is a place from which you want from sculptures, installations and to quickly get out and run on business. modern artwork both inside and outside. The aggressive visual environment of the A multi-level station is a multi-color, metro space with the help of modern bright and vibrant interior with graphics turns into a place quite functional spaces. The flowing forms comfortable for a person. and symbols of Karim Rashid, wall- The first metro stations were mounted super-graphics create a built as underground palaces [4,8,9]. The dynamic space, reflect the strict spatial heyday of totalitarian architecture, the identity of the eminent author. The entire first Soviet years went big and with interior design of the station turns luxury. The old stations of the capital passengers to knowledge and encourages metro have mainly stucco, gilding and

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921 richly decorated interior, which descending from the sky, equestrian corresponds to a positive visual athletes and drifting sailboats. Images environment, modern stations have were applied to aluminum panels using nothing of the kind. The problem is computer color printing. CSKA station solved with the help of decorative was designed in “army colors” - red and surfaces, lighting effects, decor and blue, emphasizing the corporate colors of elements of supergraphics. the sports club. The material used for modern Famous artist Ivan Lubennikov metro supergraphics, including drawings took part in the design of the northern made with concrete printing technology, entrance hall of the Mayakovskaya is also used in the design of station halls metro station. He performed sky-styled with perforated panels with a pattern mosaics of the vault of the cash register applied to them. The space of the metro, hall. Mosaics on the ceiling can hardly be its aggressive environment with a huge called simply mosaics, since they are flow of passengers requires non-standard united by a single yellow background, materials. It is possible to use along the similar to a notebook quad sheet with the side walls - shock-resistant glass panels, lines from poems by Vladimir as was used at the Spartak station of the Mayakovsky recorded. The result is a Moscow Metro. Given the emotions of generalized supergraphic composition. the fans, the design of the station was The geometry of the lines, the neutral, sports themes were used in the color expression of constructivism, the design of the station. Supergraphics of texture and volumetric vision in the two- glass panels is quite consistent in color dimensional ceiling space above the and composition, given its location in the escalator of the Polezhaevskaya metro direct line of sight of passengers. station of the Moscow Metro captivates CSKA station was opened in the viewer. In addition, the dynamics of 2018. The station is located on the movement along the escalator either territory of the former Central Airfield. brings the object closer, or remotes it, M.V. Frunze. The unusual supergraphics constantly changing its appearance. of the ceiling depicts various sports of Constant contests for the design the Central Army Sports Club. The topic of new metro stations, where designers of football is diluted by paratroopers offer a modern bright interesting design,

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922 help solve, including the problem of the art of street art at the intersection of aggressive visual environment of the modernism and modern graffiti by local metro. Examples of the interest of artists was to form the basis of architects and designers in supergraphics supergraphics of the hall and other in the Moscow Meropolitene can be seen vertical surfaces. in the examples of contests for the design Based on the foregoing, of stations. For the first time, an supergraphics changes our space. It architectural competition for the best makes it brighter, more interesting. It design of metro stations in Moscow was reflects the spirit of the times, striving to held in 2014. Architects developed the bring dynamism, speed, energy of the design of the Solntsevo and future into our lives, to make us think Novoperedelkino stations of the Kalinin- about the present, decorates our life, Solntsevo line of the Moscow metro. The makes it aesthetically a little more tradition has been continued. attractive. Changes the space, ennobling The competition for the best and harmonizing it. architectural and artistic design of the “Nizhny Mnevniki” and “Terekhovo” 3. CONCLUSION Moscow metro stations showed the wide The attitude to street art is possibilities of applying supergraphics to changing today, various platforms for the these objects. The Terekhovo station development of art are being formed. project of the Moscow IND Architects The change in the appearance of urban studio is a combination of drawings with spaces is being implemented in a number “naive graphics” on the walls with bright of production and exhibition projects. yellow spots of lamps and benches. In This article analyzes the the project, the black and white futurism specifics of supergraphics, its of the paintings on the walls is relationship with the concepts of graffiti complemented by a series of modern and street art. Examples of new sculptures inspired by the work of the materials, innovative technologies for French artist Xavier Vejn. In the Street the implementation of supergraphics on Art project of Frontarchitecture Bureau the example of the metro are considered. of Architecture, it was proposed to The variety of artistic techniques of introduce street graphics into design: the supergraphics and its influence on the

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923 harmonization of the surrounding Viacheslav Glazychev. Design as is – subject-spatial environment are М.: Evropa publishing house, 2013.— revealed. We can conclude that 318 p.: illustrated. supergraphics successfully solves the Steinbach H.E., Elenskii V.I. problem of video ecology of the urban Psychology of living space — St.P.: environment. The practical significance Rech Publishing house, 2004. — 239p. of the work lies in the fact that the article Zinoviev A.N. Stalin metro: [historical will contribute to further developments guide]. M., 2011. - 235 p. in the methodological material on this Igor Ponosov. Russian Urban Art: topic, will help in the formulation of History and Conflicts — St.P.: Streer project tasks, and to evaluate the work on Art Museum, 2018. — 96 p. the supergraphics. Igor Ponosov: Objects 3 Russian Street In many countries of the world, Art — М.: Iupiter-Impeks, 2008. — 320 one of the main directions of state policy p. in relation to the city is the active 7.Cedar Lewison. Street Art: Graffiti refinement of its space. Supergraphics is Revolution. — New-York: Harry N. being introduced into the city space Abrams, 2008. — 160 p. playing it up interestingly and in a new 8.Egor Larichev, Anastasiia Uglik. way. The visual solution, Moscow metro — М.: Knigi WAM, “superimposed” on an independently 2007. — 168 p. existing three-dimensional object, 9. Maria Valdes Odriosola. History of introduces into the urban environment Russian advertising. Moscow metro as a depleted of architectural elements the cultural phenomenon — М.: Lenand, necessary video-ecological series that 2017. — 152 p. the modern resident of the megalopolis 10. Petr Ianshin Psychosemantics of hardly lacks. color. — St.P.: Rech, 2006. — 368 p. 11. Simon Armstrong. Street art. — М.: REFERENCES Ad Marginem Press, 2019. — 176 p. Aleksei Partola Parts of the walls. Art 12. Steven Heller, Mirko Ilich. Anatomy album.. — М.: OS Publishing house , of Design — М.: Astrek, АSТ, 2008.— 2014. — 168 p. 104 p.: illustrated.

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924 13. Sean Adams. A real guide to supergraphics. Graphic design in an urban environment.. — М.: KoLibri, 2019. — 384 p. 14. Encyclopedia of Russian street art ARTMOSSFERA creative association. — М.: ARTMOSSFERA, 2019. — 316p. 15. V. Filin. Video ecology. What is good and what is bad for the eye? М.: TASS-reklama 2001. - 309 p. 16. Carlo McCormick, Marc Schiller, Sara Schiller Trespass: A History of Uncommissioned Urban Art. — Cologne: Taschen, 2010. — 320 p. 17. Martha Cooper, Henry Chalfant. Subway Art — М.: IMA-press, 1988. — 128 p. 18. Patrick Nguyen, Stuart Mackenzie. Beyond the Street: The 100 Leading Figures in Urban Art . — Berlin: Gestalten, 2010. — 399 p