Experimental Trends in the Design of the Architectural Environment of Ukraine in the Second Half of the 20th Century

The aim of the article is to analyse the experimental trends and theoretical concepts in the architectural environment design of the second half of the twentieth century that reflected changes in the political, social, and cultural spheres. Results. The study analyses the experimental trends in the design of the architectural environment that emerged in Ukraine in the second half of the twentieth century. It is noted that some of these trends manifested themselves in the design of new buildings, cities, and architectural complexes. The significance of the experiment and its implementation in the architecture and design of the specified period are explored. The focus is placed on such experimental areas as the rethinking of geometric spatial perceptions and spatial concepts in design theory and practice; the application of geometry in the formative practice of design and architecture; the development of kinetic form generation practices; the spread of experimental design; and the development of bionics in experimental creativity and research in the 1960s – 1980s. It is argued that the processes of architectural and design development in Ukraine during the second half of the twentieth century were closely linked to global trends of that time. A comparison is made with the work of famous international designers such as R. Fuller, E. Piñero, and D. Hambidge. The scientific novelty lies in identifying the historical patterns of architectural and design development of the second half of the twentieth century, highlighting the experimental design trends of that period, and in establishing their connection to global trends in artistic and design activities. Conclusions. The analysis of the development of architectural design in Ukraine during the second half of the twentieth century is conducted through the prism of the concept of “experiment”. Experiment has always been an integral aspect of human activity in all its forms. It is revealed that in circumstances where the creative process is not influenced by external factors, particularly ideological and political ones, the experiment becomes an organic component of the architectural and design system of form generation. It is argued that the diverse search movement that took place in the creative environment of the Soviet era was interconnected. The creative and conceptual achievements of the experimental search were on par with global achievements in similar directions. However, the “experimental and search laboratory” of the Soviet period was too detached from real life, focusing on formal foundations, ideas, and principles of things rather than specific objects or their projects in a complete form. The research shows that the technology of form generation and the formal and aesthetic language of architecture and design have inexhaustible reserves for external enrichment. The active cross-cutting search, which continued for a relatively short period, demonstrated this potential. One of the main consequences of the Soviet “experimental research laboratory” was the confirmed need to implement certain functions under constraints characteristic of the “live” process of forming the subject-spatial environment. It is revealed that experimental trends in the design of the architectural environment in Ukraine in the second half of the twentieth century reflected a wide range of changes in society, culture, and politics. They influenced the development of the architectural environment, creating new innovative approaches to design and construction, and also reflected the national identity and cultural heritage of Ukrainians