The main goal of carrying out research work, the methodological results of which are presented in this article, is to determine the grounds and formulate recommendations for the placement of free-standing advertising structures in the city of Novosibirsk in order to reduce the level of “visual noise” by streamlining the placement of advertising structures and ensuring visual permeability of spaces. To achieve this goal, the features of visual perception of advertising structures in the urban environment were identified, a methodology for measuring and assessing the amount of “visual noise” created by advertising structures was first developed and tested, and scientific and methodological grounds were formed for a differentiated approach to the placement of advertising structures in Novosibirsk.

The article discusses approaches to the design and construction of architecture to help homeless pets in foreign and domestic experience. An analysis of experimental research was carried out, architectural projects implemented and unrealized, and features of existing architecture to help pets were considered. As a result, the principles necessary to incorporate the information obtained into the development and design of architecture to help homeless pets were identified. Conclusions were drawn based on the results obtained: positive and negative aspects were identified. Environmental, architectural-design and functional-planning principles for design are proposed and, on their basis, a creative approach is proposed in the design of architecture to help homeless pets.

In the modern world, advertising has become an integral part of our lives, as well as art, which gives us freedom of expression. This article examines the question of whether advertising can be considered a work of modern art. To solve the problem, the author proposes to introduce a system of criteria for evaluation and conducts a sociological survey in Russia comparing advertising art with street art and introduces a new definition of “advertising art”.

The study explores the impact of traditional painting techniques on contemporary digital design. A review of various methods and styles of painting, including oil painting and watercolor, and their contribution to the development of art is conducted. It then discusses how painting methods have been adapted and integrated into digital design, with a focus on areas such as graphic design, web design, and digital illustration. The influence of these techniques on the creative process is examined, as well as how modern designers use digital tools to create works that go beyond traditional painting.

As part of traditional Chinese art, ink art has a special artistic concept and form of expression that can bring unique cultural connotations to immersive stage design. Thanks to digital media, traditional ink art can be combined with modern technology to create an immersive effect, and the artistic concept and emotions contained in ink art can be combined with immersive technology to evoke a deeper emotional resonance and artistic experience in the audience. Creating a more innovative and promising immersive experience, that is, inheriting and developing traditional art, can also give viewers deep artistic experiences, expand aesthetic expression and creative space, and promote cultural exchange and dissemination of information. It has great value and significance. This cross-border fusion of art forms will bring new opportunities and vitality to artistic and cultural exchange.

The article is devoted to the study of the prospects for a new cross-cultural understanding of the artistic features and philosophical meaning of the painting of Chinese writers in order to preserve and popularize the cultural value of its heritage. The results of the analysis of the means of expressiveness of Chinese landscape painting are interpreted in a philosophical context, through the introduction into scientific circulation of the dichotomy of “real and imaginary” as the most important specifiers of the creative method of this unique phenomenon of world artistic culture. In conclusion, the author's hypothesis of four-dimensional communication is presented as a theoretical model of cross-cultural perception of visual imagery and comprehension of the philosophical concept of Taoism in the painting of Chinese writers.

The main focus of the article is on the study of the history of Chinese artistic textiles and the analysis of the process of its evolution from hand weaving to modern high-tech production. This article examines the technological progress and changing styles of silk, cotton and linen products, as well as various types of embroidery in Ancient China. The author emphasizes their role in the development of cultural exchanges between China and other countries, social life and aesthetic concepts. The article shows the impact of the modern industrial revolution on traditional textile crafts, discussing strategies for the protection, preservation and innovative development of traditional craftsmanship in a modern context. Based on the analysis of various historical stages, the author strives to comprehensively demonstrate the rich historical and cultural significance of Chinese artistic textiles and its diverse significance for modern society.