Racing tracks are complex engineering and architectural complexes, where the stands are the most important structure that ensures a comfortable and safe stay for spectators during the competition. The spatial planning and architectural solutions of the stands require a special approach, which differs significantly from the design of spectator seats in stadiums or other sports facilities. The article presents the result of an analysis of analogous objects of race tracks, which identifies four key principles of the placement of grandstands on sections of race tracks and suggests a classification of grandstands according to their spatial and functional characteristics. This analysis can be useful in the design of modern race tracks and the organization of spectator infrastructure on them.

The relevance of this study stems from the need to unlock the potential of clubs as key platforms for the development of creative industries in Novosibirsk and Siberia as a whole. This article examines the modernization of traditional club spaces into modern creative hubs. The article examines the possibilities for the functional and spatial transformation of club buildings, their potential for developing creative industries, and the creation of flexible, multifunctional spaces. Recommendations for the effective organization of space are formulated, focusing on rational functional zoning of the building, modularity, the use of modern technologies, and the development of a creative community.

The article examines dynamic light–color contrasts as a tool for adaptive navigation in the urban spatial environment. It demonstrates that the interplay of light and color, changing over time or depending on external factors, ensures stable legibility and cognitive coherence of pedestrian routes under variable lighting, weather conditions, and seasonal dynamics. The study analyzes natural-climatic and sociocultural factors influencing the perception of navigational signals and the formation of visual landmarks. An adaptive model of light–color navigation is proposed, integrating the principles of visual perception, the spatial structure of the city, and algorithms for adjusting light and color parameters. The paper defines methods of landmark adaptation, including the sequence of visual plane perception, the hierarchy of contrasts, and the correction of perceptual contours according to time of day and visibility conditions. Testing of the proposed model in the city of Novosibirsk confirmed the effectiveness of dynamic light–color contrasts in improving route legibility, cognitive comfort, and emotional perception of the urban environment. The obtained results can be applied in the development of urban design codes, lighting and navigation systems, and visual–communication regulations for cities located in climatically contrasting regions of Russia.

This work is devoted to the study of the entire territory of Kamchatka Krai as the basis for the development of recreational tourism. The study analyzed the natural and recreational resources of the region, climatic conditions and attractions, and identified the most favorable areas for tourism. The study examines in detail: the climatic features of Kamchatka, due to its relief and geographical location. Also, the natural and recreational resources of Kamchatka Krai are studied, where special attention is paid to the development of maps of geothermal sources, which allow more efficient use of these resources for tourism. Thus, the work of the potential of great potential for the development of economic tourism in Kamchatka Krai requires the need for its more active use for the socio-economic development of the region. The article also identifies the areas of the peninsula that are most successful for the development of tourism.

This article explores the conflict between globalization and ethnocultural identity in the education of graphic designers in Abkhazia. It analyzes the dominance of the international style and commercial territorial branding, which hinder the development of an authentic visual language. As a solution, a pedagogical methodology based on a deep semiotic analysis of traditional artifacts is proposed. The central hypothesis is the assertion of the identical nature of the processes of creating modern graphic signs and ancient ornaments. The methods involve working with museum collections and subsequent transformation of cultural codes into relevant design solutions. The goal is to form a scientific foundation for the development of a national design school capable of synthesizing tradition and innovation.

As an art form originating in the West, oil painting has developed distinctive aesthetic systems within diverse cultural contexts. Despite their close geographical and historical ties, China and Russia exhibit distinct regional characteristics and cultural connotations in the evolution of their oil painting traditions. This paper examines the similarities and differences in cultural expression, artistic language, and developmental trajectories between Chinese and Russian oil painting through the lens of contemporary Chinese painter Chen Yifei's series “Echoes of Xunyang.” It aims to deepen understanding of the artistic essence in both nations and advance cross-cultural artistic dialogue and integration.

As an important part of my country's intangible cultural heritage, Northeast China's folk paper-cutting carries a rich regional culture and national spirit. This paper takes the paper-cutting art of Northeast China as the research object, sorting out its cultural origins, artistic characteristics, and its contemporary transformation and application. First, starting from the geographical environment, ethnic beliefs and folk customs of Northeast China, this paper analyzes the shamanic culture, multi-ethnic integration characteristics and philosophical implications contained in paper-cutting. Secondly, we summarize its unique artistic characteristics from the aspects of modeling language, composition, and expression techniques, explore the transformation path of paper-cutting language in contemporary art, design, and cultural and creative products, and analyze its practical cases in the fields of visual communication, spatial installation, digital media, etc. Finally, in light of the background of globalization and digitalization, the author proposes strategies and future development paths for the cross-cultural dissemination of Northeastern paper-cutting, aiming to promote the living inheritance and innovative development of traditional paper-cutting art, and provide theoretical reference and practical reference for the contemporary transformation of Chinese folk art.

In the context of China's deepening urbanization, public art is becoming a key tool in shaping the visual image and representing the spiritual identity of the city. This study aims to systematically analyze the internal relationship between the macro-positioning of Chinese cities (political, economic, and technological functions) and their artistic design, examining them from three perspectives: design concept, substantive connotation, and narrative strategy, in order to demonstrate the dialectical relationship between their functional characteristics and artistic design: the urban environment provides the "stage" and "script" for art, while art shapes and enhances the image and spiritual connotation of the city.

Insignificant amount of time separating modern times from the times of blossoming of USSR-China collaboration in the field of architecture and construction on the middle of the previous century is studying the approaches to the description and interpretation of this unique phenomenon in the traditions of classic historiography. The research approach that is based on the comparison of cross-cultural, trans-cultural and intercultural interactions of USSR and People's Republic of China that has been offered by the author has been worked out for the development of future collaboration between Russia and People's Republic of China in the field of architecture and preservation of historical heritage. The result of the research was seen as a different interpretation of the contribution to the detection of the main factors and ways of translating of Chinese architectural culture, which was contributed by a soviet architectural scientist Evgeniy Andreevich Ashepkov, who worked in Beijing in the beginning of the 1950s. A similar approach will contribute to the international value of modern Chinese architecture in collaboration with Russia.