1. Introduction

In 2022, Ukrainian culture, in particular its architectural branch, suffered significant losses, which is connected with Russian aggression on the territory of the Ukrainian state. However, in the scientific space, there is an increase in interest in the study of Ukrainian culture as a phenomenon through the prism of modern events and great attention to the Ukrainian issue in the world mass media. It is important to understand that the need to study the spatial design of artistic events that take place during martial law on the territory of Ukraine is, to a large extent, a necessity, because the study and analysis of the creation of a safe and, at the same time, modern creative space for Ukrainian society is a necessary component for healthy functioning a nation that has a request for cultural development, despite the war. Numerous American and Ukrainian scientists were engaged in the study of the development of spatial design. So, for example, K. ^{Halskov et al. (2021}) ⁽¹⁾ studied the construction of the design space and drew attention to the fact that the previous experience of the designer allows him to create new projects in the framework of design work. In addition to their own experience, designers should gather insights from their colleagues, customer feedback, and visitor impressions. The results of the author's research include the development of a descriptive language for characterising the design space and the use of filtering and combinations of aspect parameter sets to explore connections and gaps in existing examples.

O. ^{Heath et al. (2021}) ⁽²⁾ studied the creation of positive spaces and noted that the sense of community among visitors to the space of art events is an important aspect in creating the design of the space. It is worth noting that in order to improve the space, it is important to take into account the requests of visitors and their needs. Highlighting visitor needs and requests reflects user-centred design principles and participatory design approaches. A creative approach to the creation of a venue for artistic events in Ukraine in 2022, where the war continues, is an important task for specialists in the design industry. The Ukraine example surfaces important practical considerations about flexible design, safety, representing local culture/values, and addressing trauma. It connects to research on design activism and social impact. In the study of G. ^{Richards (2020}) ⁽³⁾ on the design of creative places, the creative component and strategies for taking into account the context of the venue and general design strategies are studied. However, in the realities of war, it is important to consider not only the chosen place where the events take place but also the context of the security of visitors and artists. Key findings are that engaging stakeholders, giving meaning to resources, applying creativity, and linking local to global is important in harnessing tourism for community benefit.

Ukrainian researcher Y.S. ^{Lazareva (2022}) ⁽⁴⁾ studied the interior design of the exhibition space, focusing on environmental friendliness and creating harmony not only with the internal but also with the external environment. In view of the author's research, it is worth noting the relevance of taking into account not only harmony with nature and taking into account the development of ecological strategies for the creation of design projects but also taking into account security issues, which is an important aspect in the territory of Ukraine today. The author draws attention to the shift away from outdated Soviet-era design towards a more environmentally conscious aesthetic that is linked to culture. Creating a spatial layout that provides multifunctionality and psychological comfort. In turn, researcher K.O. ^{Chverkalyuk (2021}) ⁽⁵⁾ in its own work studying the design of art spaces draws attention to the issue of free self-expression of design specialists who create a multifunctional space. The study provides important insights into transforming public spaces into vibrant hubs for creative engagement and community building. However, it is worth noting that in addition to the fact that designers have to create a project of a universal place, it is important to study the views of visitors to art space events in order to create a complete picture of the anamnesis of the spatial design of art events. The discovery of uniqueness and reflection of identity modifies the Ukrainian artistic environment, which creates a connection between the audience and the artist, which entails a change in cultural codes.

The purpose of the research work is to study the real state of spatial design of art events in Ukraine for 2022. It is also important to analyse the needs of visitors to such events and develop alternative approaches to creating design projects that meet modern conditions and challenges.

2. Materials and Methods

The following methods of scientific knowledge were used in the study of the crisis state of the spatial design of Ukrainian art events: the method of analysis, the descriptive method, as well as the survey. Using the analysis method in the study of spatial design, the general theoretical principles were studied, which is an important part of the scientific work, and, in turn, the collection and analysis of the thematic literature on the research topic was performed. Using the descriptive method of scientific research, the basic characteristics of the Ukrainian spatial design of art events, which were relevant during the war in Ukraine, were depicted. The survey method, in research work, was used to collect responses from visitors to art events, to take into account respondents' requests in planning the spatial design of Ukrainian art events during martial law on the territory of the state.

The study of the crisis state of spatial design of artistic events during the war in Ukraine was carried out successively in several stages. At the first stage of the scientific research, the results of previous research by international and Ukrainian experts in the field of spatial design were analysed. In the second stage of the study of the crisis of spatial design during the war, a survey of respondents who attended art events in the city of Vinnytsia was carried out. At the third stage of the research, the results of the research work were summarized and the results of the survey were analysed, followed by a description of the optimal space for artistic events in Ukrainian cities during military operations.

Studying the spatial design, a survey was conducted, and its results were analysed, which contributed to the formation of the results of the study of the spatial design of the art project on the territory of Ukraine during the war. The group of respondents included 60 people aged between 20 and 55 who attended art events of various natures and directions that took place in the “Blue Cactus” art space in the Vinnytsia region. Each of the three events included the presentation of visual arts (painting exhibition), poetry (meetings of the poetry club), and a themed art event-lecture.

The first art event was held on October 8. 2022 and had the nature of a poetic event “Birthday of the Literary Club "Osiaiannia" 20 visitors-listeners who agreed to take the survey were interviewed. According to the agreed survey, the respondents answered several questions about the level of comfortable light, sounds, location, smells, and other nuances of a general nature. At the second event on October 22, 2022, where Svebara's painting exhibition “Міі Izium” was held with a charity sale of the artist's presented paintings in “Blue Cactus”, respondents were re-surveyed on the same questions. The third event took place 6 days later at the base of the “Blue Cactus” space in Vinnytsia on October 28, 2022, where a coffee event called “Lectorium. Calibration. Tasting”, a part of the received funds from which was transferred to the Armed Forces of Ukraine. At the coffee event, a survey of 20 respondents was conducted for the third time. At the end of three surveys of the scientific research, an evaluation of the results was carried out and the general results of the survey were analysed, followed by a description of the practical and actual space for conducting artistic events in Ukraine during the war. Vinnytsia was chosen for the study as a typical Ukrainian city where artistic life took place during the war, which made it possible to study the actual issues of adapting spatial design to the needs of society. This city has a sufficient number of artistic institutions and an active audience, which allows conducting surveys among a representative sample of visitors to various events.

3. Results

The understanding of space and the development of a person's spatial imagination is a unique phenomenon of an individual's inner world, which is connected with locomotion in the environment. The space and its structure, in turn, are the stimulus of this environment and its primary basis, which gives rise to the sense of aesthetics of the one who is in it. The structure of the space consists of the following elements: spatial, artistic compositional and visual (^{Merye, 2019}) ⁽⁶⁾.

It is important to remember that in the process of creating the necessary creative atmosphere by a specialist in the interior design of an artistic event, a number of physical aspects must be taken into account (Table 1).

When considering the volume-spatial structure of art centres, it is important to pay attention to the organization of space, where the idea and ideological-artistic concept of the author play an important role. A common idea in the organization of spatial design is the creation of the so-called “universal space”, which is a mobile option for solving the issue of the functionality of the room, and, in accordance with the set tasks of the exposition, is able to change and transform over time. Thus, a multifunctional object can meet the requirements of various concepts, while leaving a reflection on internal structures and groups of premises (Figure 1).

Fig. 1 Structure of the premises Source: (^{Bulhakova et al. 2017}) ⁽⁸⁾ . 

Spatial design is perceived as an ontological structure, however, it is worth understanding that design is only one element of a whole series of spatial design structures. In view of this, it is important to pay attention to the requests of users of the space, which involve communications in the field of design, in order to create a successful project. The experience of involving space users in the joint creation of its design in global practice shows positive results. The process of creating ideas and their further implementation into reality captivate participants and stimulates visitors to actively contribute to the future project. Given the experience of colleagues from the scientific community, the following survey was conducted, which involved visitors to art events in Ukraine to create a spatial design of an art event based on their answers to the questions.

In accordance with the topic of the scientific work, a survey was conducted on the basis of Vinnytsia institutions, in which artistic events aimed at raising funds for the support of the Armed Forces took place. Thus, in one of Vinnytsia's institutions, “Blue Cactus”, located in the city centre, a number of artistic events took place, at which visitors were surveyed. 20 event visitors aged 20 to 55 took part in each survey. The first poll was held on October 8, 2022, at 5:00 p.m. on the poetic event “Birthday of the Literary Club "Osiaiannia". Visitors answered questions about comfortable light, sound level, location of the event, and smells within the art space (Table 2).

For the visitors of the Literary Club “Osiaiannia”, the most important aspect was the location of the venue, because the basement provided them with protection and peace during air raids, which was chosen by 70% of the visitors and only 30% were ready to join the event in the ground room as well. Scents and lighting were also important, prompting the majority of listeners to choose 85% dim light and 72% coffee aroma, which added atmosphere and cosiness. The presence of a carpeted floor added cosiness, so 80% of respondents were not against such a design decision and only 20% were in favour of a marble floor. Access to street noise was not critical, so 75% were not against hearing street sounds and only 25% were against extra noise. The decoration of the walls was not important, so here the opinions were divided equally by 50% for the relief and smooth walls of the art event premises. The second survey took place on October 22, 2022, at 5:00 p.m. at the exhibition of paintings by the artist Svebara “Міі Izium” with a charity sale of the author's paintings (Table 3).

For the visitors of the painting exhibition “Міі Izium”, as well as the Literary Club “Osiaiannia”, safety remained a more important factor, therefore, 64% of visitors chose the location of the event in the basement, and only 36% preferred the location on the ground. The issue of lighting was essential, which prompted us to choose 65% bright light and only 35% dim light because light was decisive for viewing pictures. The aroma of flowers was more appropriate for the audience in 68%, and the aroma of coffee was completely satisfactory in only 32%. 65% of visitors did not like street sounds, but 35% of respondents did not pay attention to them. The decoration of the walls was important, so in 80% of cases, the walls had to be without relief decoration so as not to distract attention from the paintings. The presence or absence of carpets did not concern visitors, so their opinions were divided 50% by 50%. The third poll took place on October 28, 2022, at 5:00 p.m. at a coffee event called “Lectorium. Calibration. Tasting”, where part of the funds received was transferred to the Armed Forces (Table 4).

Safety for visitors to the art event “Lectorium. Calibration. Tasting” was also important, as well as for the Literary Club “Osiaiannia” and the painting exhibition “Міі Izium”, so 78% chose the basement as opposed to 30%. 95% of respondents chose the aroma of coffee, and only 5% agreed with the aroma of fresh flowers. Wall decoration and lighting were also important, so the majority of respondents chose embossed wall decoration in 90% and dim light in 95%, which created a cosy atmosphere. 60% of the event attendees chose the carpet floor covering, and only 40% of the listeners chose the marble floor. Access to street noise was chosen 50% by 50%. As a result of surveys for three art events, the following results were obtained, which reproduce the vision of comfort and safety of visitors to art events in the city of Vinnytsia in 2022 (Table 5).

Thus, it can be concluded that 70.6% of visitors prefer basements, which allow them to stay there during an air raid, without worrying about their safety, and only 29.4% of visitors to art events expressed a desire to attend ground events. In turn, surveys on balance and kinaesthetics showed that the presence of carpets adds cosiness in 63.3% of cases, and in 36.7% it is not important and visitors wanted a marble floor surface. As for smells, 66.3% of event visitors believe that the aroma of coffee adds to the atmosphere of the event, and only 33.7% preferred the aroma of fresh flowers.

Tactile sensations for viewers and listeners are of great importance, but opinions are divided, so 53.3% of visitors like embossed wall decorations, and 46.7% voted for smooth walls. Sound insulation from street noise for guests of art events is important in 46.7% of cases, and in 53.3% it is not so important. An interesting picture emerged in the issue of light design during art events. Taking into account the fact that in the cases of the literary club and the coffee event - the light did not carry significant importance, it was endowed with importance at the exhibition of paintings. However, in general, in 28.3% of cases, visitors preferred bright room lighting, and in 71.7%, dim lighting. This dim lighting likely falls more on the warm end of the colour spectrum, with hues like yellow, orange and red. Warm lighting can evoke comfort and intimacy. The brighter lighting preferred by some may sit on the cooler end of the spectrum, with shades of blue and green. Cool lighting can promote focus and energy. Overall, the variations in light preferences and event types speak to the nuances of designing lighting to match both functional needs and desired atmospherics. Consideration of the light spectrum adds another layer of complexity and control to crafting the visitor experience.

The survey results reveal important insights into attendee priorities for art event spaces during wartime. Safety is the top concern, with 70.6% of respondents preferring basement locations that protect air raids. Atmospheric elements like lighting, smells, textures, and sounds are secondary to physical security. In summary, the survey indicates safety is paramount for art event attendees during wartime, while atmospheric details are important for providing comfort once security needs are addressed. Understanding these priorities allows designers to create spaces that meet visitor needs for protection and refuge, while also providing welcoming, inspiring environments conducive to artistic experiences. The results offer insights to inform spatial design decisions that align with attendee preferences under the unique constraints of war.

4. Discussion

The organization and design of a functional space require a specific structure, with the help of which the space acquires the desired shape. Based on research by M. ^{Bhatt et al. (2014}) ⁽⁹⁾, the concept of the structural form of space requires the use of means of spatial abstraction and, in turn, their calculation, which provides expanded thinking of spatial design specialists who are engaged in its creation. However, given the events of the war unfolding on the territory of Ukraine, masters of spatial design must take into account all key aspects, which produces the active use of digital programs by specialists. The means and principles of space transformation are means of co-creation with the digital world, which is an architectural phenomenon of the modern world.

According to A.M. ^{Salama (2016}) ⁽¹⁰⁾, future specialists in the field of design should receive a modern design education, which will become a cornerstone in their chosen profession. This important and correct statement finds support in the group of researchers Y. ^{Li et al. (2020}) ⁽¹¹⁾, who claim that with the help of 3D technologies, students who only acquire knowledge, skills, and design skills of spatial design contribute to the understanding of the geometric structure and characteristics of space by future specialists. However, both for students of art majors and for specialists in the field of design, it is important to find the uniqueness of each art space, its identification, and the idea that it carries to the masses of visitors.

In turn, N.B. ^{Latif et al. (2020}) ⁽¹²⁾ emphasize teaching students 3D design using the specific program Cabri 3D, which contributes to the improvement of the spatial abilities of students in the mentioned field. However, it is worth remembering that the training of future specialists in the field of spatial design depends on the development of many spheres of society at the same time, therefore, even after graduating from higher educational institutions, designers must continue to follow the latest developments and achievements of both the scientific field of design and related fields, which will allow the specialist to continue learning and developing. It is important to pay attention to the study of P. ^{Visconti et al. (2010}) ⁽¹³⁾, who refer to the planning process as a fundamental stage in the formation of new projects. It is important to remember that planning is one of the basic parts of the structure of creating a design space for artistic events. However, K. ^{Son and K. H. Hyun (2022}) ⁽¹⁴⁾ claim the effectiveness of using digital technologies at the design stage, as well as D.P.H. ^{Claessens et al. (2020}) ⁽¹⁵⁾, who note the possibility of using three-dimensional spatial zoning for the structural creation of projects.

Understanding the importance of the planning stage, researchers J. ^{Feng et al. (2022}) ⁽¹⁶⁾ note that, in addition to other nuances, an important role in the creation of space is played by the temperature balance of the air in the room, which should be designed even at the above-mentioned stage. It is worth agreeing that when planning, spatial design specialists should take into account all the key elements that collectively form the overall picture of the space for artistic events. Also, when planning the subject-spatial environment of an art event, it is worth paying attention to the volumes of internal objects and their volumes to find a harmonious combination of them both among themselves and with people (^{Dubinchyk et al., 2020}; ^{Khomyakov and Bessimbayev, 2017}) ^(17,18).

M. ^{Carmona (2019}) ⁽¹⁹⁾ claims that it is important to take into account the location of the space where the artistic event is to be held. According to the researcher, realism in the assessment of the place is one of the main features of the designer, because it is impossible to create a quiet vibe in the middle of a metropolis, or a noisy atmosphere in a sleeping area, therefore the expediency and relevance of the place must meet the requests of customers. It is worth noting that regardless of requests, specialists in the field of spatial design need to take into account nuances that cannot be noticed by a non-professional eye, therefore it is necessary to inform customers of the perspectives and limitations dictated by time and circumstances. However, it should be noted that with the help of technologies and techniques of graphics, sculpture, film, and fine arts, design solutions for the design of artistic space lead to the formation of actual architectural and spatial compositions that combine functionality with expressiveness (^{Smailov et al., 2023}; ^{Kabdoldina et al., 2022}) ^(20,21).

Among other things, it is important to pay attention to how the chosen place shapes the very process of creating an artistic event and influences design decisions. In the study of D. ^{Lynch and B. Quinn (2022}) ⁽²²⁾ emphasis is on artistic production, in the context of creating events and activities that are saturated with social, cultural and physical aspects of the chosen place of the event, thus the relationship between the event and the place of its implementation appears as the embodiment of the common idea of artists and designers. However, it is worth noting that in the realities of the 2022 war in Ukraine, several structural units that provide the basic needs of visitors to the art event and its creators come to the fore in the choice of venue, which is not always a reflection of ideological initiatives (^{Lavrukhina et al., 2023}) ⁽²³⁾.

According to I.S. ^{Artemyeva and T.V. Nikitina (2021}) ⁽²⁴⁾, Ukraine's integration into the global economic space requires rapid development of the design industry, and, in particular, specialists who possess the necessary knowledge, skills, and abilities that allow them to perform their professional activities at a high level. However, it is important that design skills should be formed from school age, so the harmonious development of schoolchildren who develop spatial imagination will be further reinforced in the process of obtaining higher education, where the formation of spatial thinking is carried out based on its initial level of development and provides an opportunity for future designers to become qualified specialists in the chosen field (^{Gilmanshina et al., 2020}; ^{Kornilova et al., 2023}) ^(25,26).

We will also pay attention to the active popularization of reconstruction and the involvement of traditional elements of Ukrainian life, clothing, and customs in various spheres of life and, in particular, artistic events that continue to take place during the war in Ukraine with Russian aggression. Thus, the traditional elements of the rural life of the Ukrainian people in the form of towels, embroidery, tableware, folk paintings, and dishes in the petrykivka style began to be actively used in authentic spaces that encouraged their visitors to touch their historical memory (^{Ostapenko et al., 2023}; ^{Schults et al., 2016}; ^{Shults et al., 2023}) ^(27-29). In this regard, N. ^{Studenets (2020}) ⁽³⁰⁾ draws attention to the museum and archival exhibits that embody the regional artistic features of Ukrainian artists, because textiles, wall paintings, and elements of the life of the people of Ukraine, according to the researcher, are a complete ornamental form of the space of the Ukrainian home, which again acquires value in the conscious Ukrainian people and world community. However, regardless of the value and relevance of folk motifs in the design of artistic events, it is necessary to take into account the expediency of using this or that element of Ukrainian culture. The study of the spatial design of art events in Ukraine is extremely relevant, as the full-scale war has dramatically changed the context of their organisation, putting forward new requirements for creating a safe space. Access to art is important for maintaining the cultural identity and psychological health of Ukrainians in times of war. Therefore, exploring ways to adapt the design to the extraordinary conditions of war is extremely timely and can help to better meet the current cultural needs of Ukrainians.

5. Conclusions

In Ukraine, as of 2022, the issue of the crisis situation of the spatial design of art events is open and requires clear solutions, taking into account all the features of wartime. Due to security issues, most Ukrainian artists work and hold art events in bomb shelters, however, due to the lack of adequate facilities, art events are organized in the basements of museums, theatres, and metro stations, which serve as a safe places, shelter, and creative platform. During the war in Ukraine, artists, actors, and other artistic figures also became active in terms of helping the military (organizing the sale of their works for donations) and supporting the morale of the Ukrainian people. However, it is worth noting that the creation of safe spaces for the submission of creative material still requires significant implementation, taking into account all aspects of war.

Therefore, in the study of spatial design as a phenomenon and a structural component of creating a safe and convenient creative environment for art events in Ukraine, direct familiarization with them during the study is a necessary aspect for both future specialists in the design industry and for current professionals. The originality and value of this research lies in the comprehensive study of the current and under-researched issues of adaptation of spatial design to the conditions of war in Ukraine.

The use of a combination of literature analysis, descriptive methods, and surveys has revealed unique data on the priorities and needs of visitors to art events. On their basis, specific recommendations for design that are of practical importance were formulated.

As a result of the scientific research, the phenomenon of spatial design of artistic events was studied and analysed, taking into account the state of war in Ukraine, which is a crisis period in all spheres of the country's activity, and also the focus of the movement in the design of spatial design was created with the help of a survey of respondents, regarding requests for actual space for artistic events in the realities of war. The construction of a three-dimensional composition, taking into account the individual wishes of the users of the artistic space, is one of the variable functional possibilities as of late, which creates additional ways of creating a comfortable, cosy and, most importantly, safe environment for Ukrainians. The study of the crisis of spatial design of art events during the martial law in Ukraine is the basis for further study of the issue.

This research has important practical implications for spatial designers and arts organizations in Ukraine. The data and recommendations provided can directly inform decisions about creating safe, comfortable, and inspiring spaces for art events under the unique constraints imposed by war. Understanding user priorities and adapting design strategies accordingly is key to meeting the current cultural and psychological needs of Ukrainian society. The specific guidelines formulated based on the survey results offer actionable steps event planners can take to align their spaces with attendee preferences. Moreover, the focus on security and refuge addresses a pressing real-world challenge facing the arts community amidst military aggression.