Spalah's character is talented and daring, allowing himself to do something beyond the ordinary, his usual environment, eventually changing it. So in my search for an identity concept, I came up with the idea of making the city, where cultural explosions are born and rumble, an important protagonist of the project.

Le Corbusier said, "A hundred times I thought New York was a disaster, and half a hundred times, 'It's a beautiful disaster". I would like to repeat the same about Kiev. The mixture of epochs and styles in the capital of Ukraine sometimes strikes the imagination. But especially interesting as the background of the cultural revolutions of the era of independence is the Soviet architectural modernism.

Soviet architectural modernism is a curious phenomenon, not only in the cultural but also in the social context. Its beginning is considered the decision of the CPSU Central Committee of 1957 on the elimination of excesses in the design and construction. By "excesses" were understood any embellishments beyond the strict necessity of providing a cheap and functional housing for the Soviet man. This forced measure coincided with the young architects' thirst for change, with the need to build not imperial palaces, but living and public spaces for a new community in keeping with the spirit of the times.

Creative courage does not come easily in an environment that is not the most comfortable or safe. With the independence of our country 30 years ago, artists gained the freedom of expression, which architects of the post-war era could only dream of. The source of this powerful creative process was the freedom not so much political as internal, which can be obtained through struggle. But in order for that to happen, it took a series of terrible social upheavals that our society has undergone over the past 30 years.

These upheavals were the very flashes the project describes. The phenomenon of "flashes" lies in the fact that difficult circumstances and tragic events that occurred during the years of independence (economic crisis after the collapse of the Soviet Union, revolutions, the Russian-Ukrainian war) became a catalyst for a sharp, rapid rise in culture. This was made possible by the inexhaustible energy of freedom contained in the Ukrainian national character. This energy also lives on in the beautiful examples of Soviet modernism, because it cannot be quenched by any political pressure. Not surprisingly, the people who chose freedom have been shaped by the aesthetics of this unique architectural environment, which is still fascinating to urbanists the world over.

All these reflections led me to the idea of looking for inspiration for inscriptions not in typographical references, but in architectural ones. Strictly speaking, this idea lay on the surface because typography has always been linked to urban planning. Both of these spheres have always very accurately reflected the cultural and aesthetic code of the era as they worked to meet the immediate needs of society. Buildings provided security, and fonts enabled information to be stored and transmitted.

The geometry of the font design for the logo is based on the aesthetic of architectural modernism. The logo is the basic module for the corporate identity.

The contrasting black-red-white color scheme is traditional for symbols of the Ukrainian struggle for independence. The ornamental nature of the design creates textural contrasts.

Elements of the identity are integrated into the urban and cultural environment through street art and light installations.