Olexander Zvir’s blown glass lamps in the architectural environment of Ukraine (1983–2011): artistic and technological features

This article examines the authorial blown glass lamps created by Oleksandr Zvir and his collaborators between 1983 and 2011 for public interiors and private residences in Ukraine, positioning them as an important yet underexplored segment of decorative art. The study outlines the artist’s comprehensive approach, as well as the specificities of the design and realization of the lamps. It analyzes 19 architectural sites for which Zvir developed ensembles of chandeliers and wall sconces.

The aim of the article is to define the artistic and technological characteristics of Oleksandr Zvir’s authorial lamps and to reveal the historical and sociocultural influences that shaped changing trends in architecture, which led to the emergence of new monumental lighting forms and constructions.

Methodology. Due to the lack of prior research in this area, the study applies a descriptive method. Formal analysis was employed to examine the artistic features of the lamps, along with a comparative method to identify common and distinctive traits of works created in different periods. Additionally, an interview was conducted with the artist, and archival materials of Zvir were systematically reviewed.

Relevance and Scientific Novelty. Oleksandr Zvir is a leading Ukrainian artist in the field of blown glass and a follower of the international studio glass movement. He is known for his non-trivial creative approach and outstanding ideas embodied in sculptural solutions. His works have been presented at international exhibitions and highly praised by art critics. However, a significant part of Zvir’s oeuvre remains in the shadows and has not been thoroughly studied, because his lighting designs display a fundamentally different artistic and expressive nature, diverging from his well-recognized style. Thus, there is an urgent need to shed light on this aspect of his artistic experimentation as an essential component of his professional identity and a contribution to the development of the Lviv School of Glass Art.

Unfortunately, many of the lighting objects were not visually documented, resulting in a fragmented art historical analysis of this unique body of work within the broader context of cultural heritage. Many pieces have been lost or destroyed. Therefore, this article focuses primarily on works preserved in photographic documentation. At the same time, it includes all available information about other objects to encourage further research and the potential identification of materials in archival collections. As a result, the topic of Zvir’s lamps has been thoroughly investigated, and this study presents, for the first time, photographic materials of the objects and the artist’s sketches. The article also outlines the artistic and technological features of Zvir’s lighting works.