Sungir: The Upper Paleolithic
in the Center of the Russian Plain
City:
Year:
Location:
Team:
Architect: Ekaterina Yurchenko
Developer: Krasny Kvadrat
Graph. designer: Natalia Dorogina
Equipment: ALEDO
Electrical work: Denis Kolesov
It is dedicated to the archaeological site discovered on the outskirts of Vladimir in 1955 — an ancient human settlement with burials, ornaments, and tools.
Over nearly 30 years of excavation, more than 70,000 artifacts were unearthed. The exhibition offers an immersive experience of the prehistoric era, and lighting plays a key role in shaping this atmosphere — acting as a kind of guide into the past.
In our lighting concept, we used techniques to help visitors navigate the space and highlight the most significant objects.
Each of the four exhibition halls — differing in content and theme — was given its own distinct lighting scenario.
The first hall focuses on the flora and fauna of the period. At its center lie large stones, a mammoth tusk, bones, teeth, and casts of animal tracks. The lighting concept was inspired by illustrations from prehistoric encyclopedias, particularly images of dawn skies. Inside circular vitrines, the combination of warm (2400K) and cool (4000K) light created a soft gradient reminiscent of sunrise.
The second hall is dedicated to the excavation process. Visitors hear bird songs and walk past displays of sand, shovels, and a large central screen showing footage of the burial discovery. Archival photos, maps, sketches, and personal items of archaeologist Otto Bader — his bag, camp pot, and entrenching tool — are displayed at the entrance to a tent-like structure.
The lighting here evokes the atmosphere of a Soviet archaeological camp: soft grazing light (2700K) along the perimeter brings out texture and warmth, adding a romantic tone to the setting. Incandescent bulbs strung overhead add a cinematic touch. The ceiling was completely draped in canvas, which posed a technical challenge — we developed a concealed lighting system mounted above the fabric, keeping the fixtures invisible while fully functional.
The third hall presents key archaeological findings. At its center — the famous double burial of two boys laid head-to-head, surrounded by spears, carved discs, beads, and the iconic Sungir horse, which visitors will encounter again at the end of the exhibition.
The installation is framed by red threads and stones, pierced by beams of light. Ancient clothing and jewelry are displayed immersed in a half-light, creating a feel of a sacred space. Accent, almost invisible lighting creates depth and layers within the space. Warm light glows from beneath the burial display, enhancing its symbolic presence.
Finally, in the fourth hall, the narrative shifts to the scientific study of the finds. A large white table stands at the center, covered with artifacts, microscopes, and research tools that allow visitors to feel like scientists themselves. The room is filled with soft, diffused light evoking a Soviet-era lab. A rhythmic composition of tubular fixtures guides the eye toward a key display.
The exhibition’s most unique object is the Sungir horse — a subject of academic study for generations. It offers evidence that the base-5 counting system may have existed as far back as 30,000 years ago. To draw maximum focus to this object, we used a strong contrast of color and light: the horse is displayed in a red vitrine that appears to glow from within, thanks to a fully concealed lighting system.
