Supergraphics in the city design is considered as a special form of artistic synthesis of graphic design and architecture in the process of organizing the built environment of the city at various levels (urban ensemble, architectural object, subject forms). The main stages in the formation and development of a supergraphic approach in the city design are revealed: atectonic color-graphic compositions in the architectural environment (until the middle of the 20th century), architectural supergraphics (the second half of the 20th century), anamorphic three-dimensional images in the pedestrian zones of cities (21th century.), Autonomous dynamic color and light composition in the architecture and subject-spatial environment of the city (modern time). Current trends in the field of artistic synthesis and the foundations of the formation of a supergraphic approach in the design of a city based on the philosophy of traditional architectural supergraphics and the use of the latest technologies of the information society are outlined.

The concept of “city design” is revealed as a special type of design and art synthesis of architecture, monumental and decorative art, urban planning and landscape design at the level of individual forms, urban spaces and ensembles, as well as the city as a whole. Using a multilinear approach to presenting the history of design, the authors of this article pay special attention to factors affecting the form-finding in design that actively influence it both at the designing stage and also allow us to consider the evolution of design objects in interrelation with political, economic and cultural events in the world. The main stages of the historical development of the design of the city of the industrial and post-industrial periods are considered on the basis of a multilinear approach in the presentation of the historical process, which meets the new concepts and ideals of the post-industrial society with a holistic picture of the worldview. They show the complexity and multidimensionality of the task of representing the history of city design and the need for special studies of this relatively new phenomenon in the general design and art culture of the XX-XXI centuries.

The article analyzes the results of the implementation of numerical methods of architectural form finding in educational design in the second year of study developed at the design department of KSUAE as part of the undergraduate course. The original method of form finding is a combination of tabular methods for setting the geometric parameters of architectural forms in Revit Architecture and visual programming tools such Grasshopper and Dynamo. This experiment in the field of “design of the architectural environment” (DAS) with extensive use of BIM-technologies and digital modeling in the educational process, has been conducted for more than 3 years and gives positive results, the main of which is the intensification of the educational process and the variability of complex geometric shapes based on the use of advanced numerical methods. According to this approach, the entire course consists of 4 stages, which students consistently perform during the second year of study, work on one architectural topic, which covers four coursework projects: “Composite design of an architectural form” (structural “skeleton”), “Design of an architectural facade” (“architectural skin”), “Design of the internal space “(interior), “Design of the external space” (exterior). They represent four parts of one general topic, each of which should demonstrate the influence of different subsystems of the structure on the overall volumetric and planning solution. In the process of work at each stage (course project), there is a constant resolution of the contradictions that arise during the design process between the various subsystems by regenerating the general architectural model as part of the Revit Architecture parametric modeling program, which plays an important role in the formation of students’ professional skills.

The article discusses the method of algorithmic construction of Islamic ornaments, which can be used as a decorative element in architectural design. Two necessary stages are highlighted in the generation of an ornamental motif by means of algorithmic design – the first includes operations on a base mesh consisting of a combination of regular or semiregular cells, for example, drawing rays from the centers of the edges of the original lattice or rotating figures relative to its nodes; the second stage involves the creation of a basic pattern of the ornamental design that fits into a regular or semi-regular polygon, and the decorative motif in the figure is made up of a primitive that is symmetrically reflected relative to any lines, usually rays, emanating from opposite corners of the polygon. The paper analyses the traditional patterns of Islamic ornaments, on the basis of which new designs were built, using visual programming tools (Rhino and Grasshopper).

The article presents the corporate style as the leading project method in design in XXth century and its use in the design of the urban environment in the form of a local architectural and artistic style of the ensemble. It has become widespread in the organization of pedestrian streets in urban centers as a means of stylistic harmonization of diverse buildings and increasing the artistic expressiveness of the spatial ensemble. The striking example is the reconstruction of the Nikolayviertel in Berlin and his development into a territorial brand. At the same time, the graphic, artistic and stylistic accompaniment of the territorial brand became a logical continuation and development of its local architectural and artistic style, embedded in the architectural context, enhancing its imaginative component and the general artistic «positive». The modern post-industrial society brings with it changes that have affected the artistic and aesthetic qualities of the environment. Instead of an «open-air museum» with a clearly organized historical and architectural exposition, the visitor is offered a «settled» and a little shabby in the «shabby chic» style urban environment with picturesque green corners of cafes and restaurants.