CIRCULARITY
ON THE EDGE 
Venice 
Biennale ‘25 Our studio contributed to Circularity on the Edge, an installation curated by Kateryna Lopatiuk, exploring AI’s potential to analyze, document, and repurpose building debris. The work addresses sustainable approaches to reconstruction during and after the war and provides a platform to communicate the realities of Russia’s agression against Ukraine on the international stage of the Biennale.

We worked on 3D scanning, preparing the space, and assembling the exhibition in Kyiv, as well as preparing it for transport to Venice. Together with Orest Yaremchuk and Andriy Hazin, we also developed the supporting video narrative. The project combines physical and audiovisual layers to reveal destruction, explain AI methodology, and immerse visitors in the material’s textures. Collaboration among the team is an important part that made the work multilayered and conceptually rich.
Together with: Kateryna Lopatiuk, Herman Mitish, Yana Buchatska, Oleksandr Sirous, Orest Yaremchuk, Roman Puchko, Nastia Lopatiuk, Roman Sakh, Kostyantyn Kuchabskiy, Andriy Hazhin, Olena Vakhnina, Pavlo Sirko, Dmytro Tentiuk, Oleksandr Dyvnych, Ivanna Lipych

Kyiv & Venice / 2025

BLACK FACTORY 
GENERATIVE
VISUAL   As one of the visual artists at Black Factory Festival, I created audio-reactive graphics for electronic music performances with fast rhythms. Our approach emphasized three-dimensional, spatial graphics with architectural qualities, exploring geometric forms such as sine waves and gyroid structures, as well as fractals and rich textures. High detail was achieved thanks to the large LED screen, offering superior contrast compared to projectors. Together with: BlckB0x, Emil Asadov
Kyiv / 2025

 

SVITLYCHNYK 
FESTIVAL ‘25 The identity for this year’s Svitlychnyk festival built on commemorative and research-driven themes, now realized with animated, generative graphics. Three motifs reflected the festival’s three days. The first day, an open-air event in a modernist rotunda, featured a 3D model of the rotunda with the music program’s logo 19 rotating and shimmering with the sound.

The second day, on Umanska Street, used a point-cloud simulation of Svitlychnyi’s house and nearby garages, dynamically evolving to reflect on memory erosion. The final day, on the Ostriv platform, showed an octagonal form pulsating between a sharp star—evoking Svitlychnyi’s nickname — and a flower, symbolizing the sixties generation; its lattice structure highlighted connections among sixties intellectuals and contemporary audiences. Together with: Olena Vakhnina, 
Svitlana Dovhan
Kyiv / 2025

 

BRAVE! FACTORY
AUDIO-REACTIVE     
VISUALS   For the cinema-stage program at Brave! Factory Festival, I created audio-reactive visuals for three musical performances, each with a distinct aesthetic logic. Mariana Klochko’s set featured generative liquid formations—flowing chrome become frozen asphalt textures or drifting clouds — responding subtly to sound. Kateryna Gryvul’s visuals used point-cloud simulations, including 3D scans of festival locations, with points exploding and reforming to echo themes of memory and erosion. Hanna Bryzhata’s footage of the sea and landscapes was enhanced with glitches and distortions, creating a dynamic, responsive visual narrative. Together with: BlckB0x 
Kyiv / 2025

 

LINOLEUM 
FESTIVAL
AWARDS For this year’s LINOLEUM festival awards, we refreshed the aesthetic while preserving continuity with the previous design. The signature O-shaped frame with nomination titles on its prismatic sides remained, but the visual language became more tactile and expressive.

Inspired by the idea of plasticity from clay and chewing gum to the adaptable nature of animation we introduced unique 3D-printed elements generated algorithmically, ensuring no two are alike. Their soft, irregular forms contrast with the precise anodized aluminum profile, creating a dialogue between craft-like flexibility and technological clarity. Together, these elements reflect the festival’s spirit: experimental, dynamic, and constantly reshaping itself. Together with: LINOLEUM Festival 
Photo: Olena Vakhnina
Kyiv / 2025

CHOCOLOCAL 
DOJO  Chocolocal is an annual architectural and urban summer school in Kyiv; the 2024 theme, Dojo, focused on learning as a continuous path. The identity is built on generative abstract graphics—lines that flow, split, and fold into shifting digital landscapes, conveying movement, color, and the energy of a 10-day program where 100 participants work in teams on urban projects.

A related generative animation of continually reconfiguring beams became the T-shirt print. We also designed a participant kit: branded stainless-steel bowls, cups, and spoons on carabiners, plus a compact guidebook with maps and local information, enabling an ecological, fully on-site daily routine. Together with: Archilife, KNUCA, GIZ
Artem Vykhrystenko
Kyiv / 2025

 

AN T  R   O
VASES & 
PLATES ANTRO is a set of geomorphic decorative vases and plates, derives from Anthropocene, the current geological era, where human activity significantly impacts Earth's ecosystem. Our 3D-printed objects use recycled plastic from refrigerator panels, reflecting a circular approach and raising awareness of environmental issues.

The visible spiral threads in the prints symbolize historical development and geological layers. The designs, based on mathematical 3D graphics, start as ideal forms (Start state) but evolve through every time special deformation, represented in the Noise and Decay models. This transformation mirrors both historical shifts and plastic's lifecycle, from useful material to environmental pollutant. Together with: 
Bohdan Skoblia, Vadym Khudobets
Kyiv / 2024

SVITLYCHNYK ‘24    
FESTIVAL IDENTITY    The identity grew from the project’s commemorative and research-driven context. We based it on two symbols directly tied to Ivan Svitlychnyi: Halyna Sevruk’s concrete Tree of Life—a public artwork destroyed by the Soviet regime — and Svitlychnyi’s Vesna tape recorder, used to record Ukrainian poets such as Symonenko, Vingranovskyi, and Lina Kostenko.

Both objects were recreated as 3D models and transformed into contemporary digital animations, allowing historically charged artifacts to reappear in today’s visual language. The identity spans posters, social media graphics, and hand-printed T-shirts. Typography builds on Robit, a Ukrainian typeface that subtly nods to typewriter while keeping the overall system technological and modern. Together with: Svitlana Dovhan
Kyiv / 2024

 

CIVIL DEFENSE
SHELTERS 
plus During Russia’s full-scale invasion, access to reliable and comfortable shelters remains a critical issue. Formografia believes that effective, sustainable shelters can be built quickly and with limited resources. This selection presents different shelter projects, including a remote collaboration in Reshetylivka, Poltava region and also space for internally displaced persons in Stryi.

Our approach encourages bottom-up initiatives, making shelters not only for air alerts but also as third spaces for social activity. A key feature is a library of easily implemented design solutions, particularly for furniture, using both original and open-source designs, including those by Enzo Mari.
Together with: GIZ, Tolocar, KNUBA
Kyiv, Stryi, Reshetylivka / 2022-2024

TOLOCAR
PLAYBOOK
COVER For the Tolocar Playbook, a book about mobile makerspaces supporting communities across Ukraine, we designed the cover illustration. The goal was to capture the project's spirit and collaborative nature. Inspired by barn-raising imagery, we depicted people assembling an open-source laser cutter instead of a barn—highlighting the tool used in the project. Other illustrated tools and machines were also based on real equipment used by the Tolocar team. The illustration was first created in 3D for accurate isometric geometry. The Tolocar logo integrates into the composition, using the book’s brand colors. A final detail—the 3D printing-inspired "tree of support"—symbolizes the project's overall mission of providing aid and knowlege.Together with: HIWW
Kyiv / 2023
 

VELOLINK
PUBLIC SPACE
Our studio designed cyclist and pedestrian infrastructure in Chernihiv for Glovo and NGO Eco Misto. The project on Levka Lukyanenko Avenue includes a cycle path, bicycle crossing, service pavilion, parking posts, road markings, a recreation area, and container landscaping.

Key design goals were to connect two previously separated bike routes, establish a bike repair station as the focal point of the public space, and create durable, comfortable urban furniture using oak beams—all to promote an active, eco-friendly lifestyle.
Together with: Eco Misto, Chernihivska Politechnica, Glovo
Chernihiv / 2023-2024

LONGSLEEVE
CHOCOLOCAL 
STILL
This longsleeve is both a utilitarian item and a reflection of its origin. The limited edition Chocolocal Still documents elements of Chokolovka, the neighborhood where Ostriv is located. It features 3D scans capturing man-made and natural artifacts from the area, complemented by generative graphics tied to Ostriv's identity and an AI-generated poetic text about Chokolovka. The print forms a mental map, assembling local symbols to document a specific time and place. The connection to Chokolovka is not just symbolic—both sewing and printing occurred locally. Together with: Olena Vakhnina, Oksana Popova
Kyiv / 2023

DEFENDERS OF
INDEPENDENCE
EXHIBITION
Organized by the Strategic Communications Department of the Armed Forces of Ukraine in partnership with the Ukrainian Association of Professional Photographers, the exhibition showcased over 100 photographs documenting the transformation of the Ukrainian army and society.

Key themes included the early days of the invasion, new military units, tactical medicine, aerial reconnaissance, international cooperation, and humanitarian efforts by the Armed Forces. Formografia studio designed the exhibition stands and prepared the photo layouts for printing.
Together with: AFU StratCom, 
Oleksander Mykhed
Kyiv / 2023

EMERGENCY
POSTERS
This poster series began after the tactical medicine and first aid training conducted by the Cadus organization on the Ostriv platform. Despite the abundance of emergency materials online, few are minimalistic and easy to understand. We developed a unified visual language for the posters, capturing key points from the training.

With the ongoing war in Ukraine, the demand for such materials is high. The posters are currently placed in civic shelters we design, offering essential life-saving tips for people to read and memorize during air alerts. Together with: Cadus
Kyiv / 2023

 

GENERATIVE
GRAPHICS Generative Graphics is a studio side project exploring geometry-based algorithms to create images. This series, generated in Rhino Grasshopper using a voxel-based algorithm, involves complex computations, including the removal of invisible vector splines and swarm simulation to trace lines through the volume. The graphics are plotted in layers with rapidographs and alcohol markers (600×450 mm). The project extended into a limited edition of silkscreen-printed t-shirts. Kyiv / 2023

 

© Formografia Research & Design 2025