The article describes and analyzes the possibility of using the method of writing a cinematic script in the design of park space, and it is a test of the method for teaching park design by the method of screenplay and generalization of the results. The authors analyze the possibility of applying this method in the actual design of the existing architectural environment of the city and compare the results with the results of their colleagues from another educational institution of architectural profile in performing similar tasks. The article proves that the cinematographic script, not the theatrical one, is the most suitable for the analysis of the architectural environment and writing the script of its perception. Sid Field's film paradigm, based on Sid Field's film paradigm, is based on the slogan "Every moment the spectator should be interested in what will happen next?" modern city life. According to the screenplay, which has its own structural units, the territory of the park is also divided into several functional zones, each of which corresponds to the cinematic elements. As in the movie, each part of the park evokes certain emotions, which are programmed by the designers in advance. This can be done by manipulating space and its boundaries. The authors suggest that this method of cinematic scenario can be used in the design of the architectural environment of the city, as a new part of it (urban quarter, neighborhood, and district) and in adjusting the existing historical environment.

Abstract: The article suggests algorithms for filling mosaic surfaces. Today, there are a number of algorithms that use the software design environment to automate the creation of images that correspond to mosaic compositions based on raster images. However, they do not allow realizing the principles of the classical construction of mosaic works, which guide professional mosaics. proposed the construction of the topology of classical mosaics using vector guides. When forming the algorithm, vector guide lines or "power lines" are taken as a basis, on which mosaic elements (tesserae) are subsequently placed. Variants of using existing algorithms at each stage of the solution of the problem are proposed. Algorithms and results of filling a mosaic panel with a line-by-line and equidistant method are presented. This technology will allow not only creating mosaic surfaces, but also using it as a tool for creating real art projects for implementation in design and art. The possibility of using existing technologies in this technique is commented. In this case, the main task is the problem of optimizing the filling of space from a mathematical point of view. From the point of view of the artist, this is not the main problem, moreover, the distance between the parts of the mosaic can vary, act as an artistic element. Much more important is the organization of the structure of the mosaic surface. This article is dedicated to this problem. The sequence of actions is given -algorithms that allow the artist to achieve the desired effect and gain full control when filling mosaic surfaces. These algorithms allow you to create mosaic fillings based on linear patterns without color and tonal design, which is impossible for existing algorithms. The authors

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