Russian Architecture Research Articles

Архитектура храма на озере Сугомак в городе Кыштыме Челябинской области

This work aimed to develop a schematic design of an orthodox church, based on complex prior design studies, with improved surrounding grounds. The church should meet orthodox canons and require-ments of modern architecture at the level of a general layout and a single object. To achieve this goal, the following methods were used: an on-site survey using geoinformation systems of the future con-struction site at Lake Sugomak in Kyshtym, Chelyabinsk region; a study of regulatory documents; a comparative analysis of religious architecture in Russia and abroad to determine the canons of Ortho-dox architecture; selection of an optimal solution based on a multivariate design with environmental improvement and landscape gardening of the surrounding grounds. Local conditions were examined, the traffic management and climate characteristics of the territory were determined. Owing to the in-struments of modern architectural science, a unique design solution of a minimalist church was elabo-rated, following all urban and architectural requirements. With the erection of a temple complex, which blends seamlessly into the landscape, the designed territory will acquire a compositionally complete and contemporary appearance. The architectural solution presented can be used in designing Ortho-dox temples in other regions of Russia, as well as in near- and far-abroad countries.

Aspects of the concept of cyber-protected objects of a digital electrical network with elements of Zero Trust Architecture in Russia

Modern trends in the development of the electric power industry declare the widespread use of information and communication technologies and digital services to improve the operation of relay protection and automation (RPA) subsystems, Industrial Control Systems (ICS), commercial electricity metering systems, etc. However, it is associated with an increase in the number of cyber threats and risks of disrupting the stable functioning of electric power facilities due to destructive information influences. The report presents aspects of a holistic concept of building cyber-protected digital substations with elements of Zero Trust Architecture. Based on the results of the theoretical investigation the authors assume the possibility of technical testing of the proposed approaches to build a cyber-protected digital substation as a part of the emerging Research and Development (R&D) programs for the practical implementation of the zero-trust policy.

КЛАСТЕРНЫЙ АНАЛИЗ РЕЗНЫХ ТЕРРАСНЫХ ОКОН ВОТКИНСКА

Terraced windows, along with frames, are a unique element of Russian wooden architecture. But if in the major cities of the Pre-Urals, the old wooden quarters were demolished for serial building in the middle of the 20th century, the center of Votkinsk retained its almost original appearance of the mid-19th century. As a result, the carved terraced windows are no longer so massively represented in other cities of Udmurtia and the Urals. Nevertheless, due to economic activity, the private sector of Votkinsk is actively being built up, and the owners of wooden houses that are not architectural monuments everywhere are replacing carved terraced windows with plastic windows that are more comfortable in everyday life. As a result, it is likely that in a couple of decades such an expressive element of Russian wooden architecture as the Votkinsk carved terrace windows can be lost forever. Therefore, the objective of this work consisted, firstly, in photo fixing windows still available in Votkinsk, and secondly, in their cluster analysis to identify typical signs. Their definition is necessary, for example, if, with the improvement of the production technology of serial windows, it again becomes possible to return this element of architecture, then the starting point can be not only simple imitations of preserved monuments of wooden architecture, but the existing database in all its richness of forms. In 2013-2015 the authors surveyed 35 terrace windows of Votkinsk were surveyed, mainly central streets: Kirov, May 1 and Lenin, which are presented in the appendix. During cluster analysis, it was revealed that the most common type of window consists of three modules with an arched completion with the same width of modules. As a rule, the upper part of the window consists of three elements, divided by straight partitions. The ornament of the window itself, as a rule, has axial symmetry and consists of two parts. The presence of elements that are difficult to manufacture, including semicircular and parabolic ornament lines, testifies to the high production culture and craftsmanship of the workers who made the terrace windows, the production technology of which was possible only in the workshop or artel conditions. Undoubtedly, the influence on the windows of the neo-Gothic style, which could have been brought to Votkinsk by invited foreign experts. Local culture also had a great influence. But Udmurt motifs are extremely limited, as evidenced, for example, by the lack of asymmetric parts built on the principle of rotation. In addition, obviously Orthodox motifs have been found, for example, the use of the triptychiconostasis form, ornaments in the form of a “forked” cross superimposed on the silhouette of an Orthodox church cloth. In general, Votkinsk terrace windows can be considered as a unique cultural phenomenon on the territory of Udmurtia, which is so massively not found now.

Two Delegations of British Architects in the Soviet Union: Professional Contacts between British and Soviet Architects at the Beginning of the Khrushchev Thaw

The article is devoted to the history of professional contacts between British and Soviet architects at the beginning of the Khrushchev Thaw period. A great deal of work that has been carried out in recent decades in the field of studying the activities of the VOKS and Soviet cultural international politics, as well as a discussion about the features and the role of Soviet architectural practice in the 1930–1950s, prompt us to look at this subject with special attention. After all, the reasons, circumstances, and the very nature of professional communication between Russian architects and their foreign colleagues help us to take a fresh look at the peculiarities of the development of post-war architecture. Before World War II, some British architects, although they considered the possibility of travelling to the USSR in hope of getting an order, mostly came here out of curiosity. However, in the 1940s, the context of the perception of the Soviet art changed. The tasks of post-war reconstruction were common to both Great Britain and the USSR: the industrialization of the construction sector, mass housing, the redevelopment of cities, and the restoration of damaged historical monuments. Intensive communication between the VOKS architectural section and English architects already during the war years predetermined the mutual interest that flared up in the post-war period. The first trips, which took place in 1953 and 1955, as well as their results, have been reviewed in this study. The publication was prepared within the framework of the Academic Fund Program at HSE University in 2020–2021 (grant № 20-04-029).

Итальянская тема в архитектуре Владимира Щуко

Vladimir Shchuko (1878–1939) was one of the leading Russian architects of the first half of the 20th century. The article identifies all the buildings and projects of the master with Italian allusions, defines their prototypes, and studies their role in the general architectural context. Shchuko was the first architect who introduced the Palladian façade with the giant order into the Russian architecture (in his second house of Markov in St. Petersburg, 1910–1911). In the design of the Burtsev house (1911), Shchuko proposed an original interpretation of the Palazzo Tiene by Palladio. The architecture of the Moscow Bank in St. Petersburg (1915) was oriented at the Palazzo Massimo by Peruzzi. The three Schuko’s mansion projects of 1912, 1915, and 1916 published here for the first time reflect his interest in Palladian villas and Basilicas. The project of the State House of Abkhazia (1932) develops the theme of exedra façade from the Palazzo Colonna Barberini in Palestrina, which was used later in many Soviet sanatoria. The Ashgabat theatre (1934) is his most interesting orientalist project based on Venetian forms. The article also emphasizes the striking affinity of certain Shchuko’s buildings with the 1930s Italian architecture. The article concludes that Shchuko was the second Russian architect in terms of the frequency of references to Italian motifs, conceding only to famous Zholtovsky. However, he was the first one in terms of the variety of used prototypes. The study was carried out at the expense of the State Program of the Russian Federation “Development of Science and Technology” for 2013–2020 in the framework of the Plan of Basic Scientific Research of the Ministry of Construction of Russia and the RAASN, research project 1.2.10.

МИФОЛОГИЯ РУССКОГО ПРАВОСЛАВИЯ И АРХИТЕКТУРА ДЕРЕВЯННОГО ХРАМА

This research topic is the initial stage of new work. The influence of the mythopoetic worldview of Russians and Orthodoxy on the architectural structure and symbolism in the concept of wooden temple building in the northern and arctic territories is considered an integrative scientific field in the article. This is founding a confirmation in the organization of the cultural and sacred landscape, in historical traditions and legends about the choosing of a place for the building of a temple (chapel). As well as the special status of «sacred» and «roadside» groves of trees, the selection of these trees for construction in a sacred meaning and using of individual parts of these temples as a community center and place for ancient rituals. The lexis, connected with the folk architecture, indicates the anthropomorphic nature of the architectural space of the temple. The construction, as it were, is assembled from «large», qualitatively significant components of the human body: head, neck, face, eyes, kokoshnik, forehead, rib, human bust, etc. This tradition is preserved and strengthened by the circumstance that since ancient times, the proportions of the human body acted as a tectonic (building) model of the entire architectural structure. The research substantiates an algorithm for the interactionof the mythopoetic worldview and the Orthodoxy on the architectural structure, and the significance of church architecture. The temple occupied a central place in the sacred space of the northern peasant world. The conducted research made it possible to convincingly prove that wooden churches are a symbolic heritage of the Russian North and the Arctic. The pinnacle of the development of wooden architecture, embodied in the northern temple architecture, was a natural result of ancient Russian architectural – constructional traditions and a reflection of the talent of the Russian people, which allows us to translate the concept of «Russian carpenter» into the category of «Russian architect».

ДОКУМЕНТЫ АРХИВОВ МОСКВЫ ОБ ИСТОРИИ СОЗДАНИЯ АРХИТЕКТУРНОГО КОМПЛЕКСА МАРФО-МАРИИНСКОЙ ОБИТЕЛИ МИЛОСЕРДИЯ

The article describes the documents on the architectural and artistic design of the buildings of the Martha and Mary Convent of Mercy and Labor during the rule as prioress of Grand Duchess Elizabeth Feodorovna Romanova. The search for sources on the creation history of the creation of the architectural complex of the Abode is significantly difficult due to the fact that the Abode fund did not survive as a whole collection in the archives. As part of the work on the reconstruction of the historical and documentary heritage of the Martha and Mary Convent, the author makes an attempt to systematize documents reflecting the history of the construction and arrangement of the Abode on the basis of a historiographic analysis of works devoted to the history of the Abode, published and unpublished sources. The author notes that in recent years, research interest in the history of the Martha and Mary Convent, and, in particular, its architectural ensemble, has noticeably increased, which was caused by the solemn events in honor of the centenary of the Convent’s foundation celebrated in 2009. However, Russian historiography mainly focuses on the study of the architectural and artistic design of the Church of the Intercession of the Most Holy Theotokos – an outstanding creation of the Russian architect A.V. Shchusev. The presented review of archival documents supplements the already known information about the entire complex of buildings of the Martha and Mary Convent and gives an idea of the information potential of the Moscow archives on the topic presented.

Zgrada Državne arhive (1925-1928) u Beogradu, ostvarenje ruskog akademika Nikolaja Petroviča Krasnova

The building of the State Archives (1925-1928) in Belgrade is one of the most significant achievements of the famous Russian architect Nikolay Petrovich Krasnov, whose late period works were primarily realized in the Kingdom of Serbs, Croats and Slovenes (from 1929 the Kingdom of Yugoslavia). In order to fully understand and recognize the multiple layers of significance of this important state building, alongside the design process (from the initial idea, through construction, to final materialization), it is necessary to shed light on its role within the interwar architecture of Belgrade, while also paying attention to the ideological-political and cultural connotations of this important public building.

National Tendency in Church Building in the South of Russia from the Middle of the 19<sup>th</sup> to the Beginning of the 20<sup>th</sup> Centuries

The study is dedicated to the church architecture of South of Russia in the 19th and early 20th centuries. South Russia represents one of the most multi-ethnic and culturally and religiously complex regions of Russia. National character thus occupies a central tendency of its church architecture. Through exploring the evolution of Orthodox church construction in the 19th to early 20th centuries, the study presents evidence of how the national expression in church architecture of South Russia developed. Both preserved and lost churches within the administrative boundaries of the Southern Federal District are considered in the study. The study builds on the theoretical basis of in-depth research on the topic, including in articles and monographs by: Borisova E. A., Kirichenko E. I., Prutsyn O. I., Slavina T. A., Shenkov A. S., Lisovsky V. The study expands existing scholarship through a detailed description of religious objects and focuses on "style" and influences. The investigation of influences on the national tendency of the church architecture of South Russia in the chosen period contributes additional material to the understanding of a difficult period in the history of Russian architecture. The question of national tendencies in architecture has received renewed interest from architects, primarily from those who work in the domain of church architecture. This makes the study’s contribution timely. Research methodology included the analysis of theoretical works and archival material. The study includes historical and contemporary illustrations collected by the author during field trips around the region

Living tradition: ancient Russian architecture in the creation of Konstantin Yuon

Living tradition: ancient Russian architecture in the creation of Konstantin Yuon

К творческой биографии Льва Петровича Шишко (инженера, архитектора, ученого, педагога)

On the eve of the 190th anniversary of the Institute of Civil Engineers, it is necessary to bethink of its graduates who significantly contributed to the development of Russian architecture, engineering art, engineering and technology in the late 19th–early 20th centuries. A versatile specialist in the field of architecture, construction and engineering, L.P. Shishko is one of them, and his creative biography is discussed in this article. The research was based on evaluating archival sources, the bibliographic her-itage of the architect. Designed and erected by L.P. Shishko, the buildings were analysed, and the basic principles of their space-planning, engineering and technological solutions were revealed. A prominent representative of a galaxy of architects, civil engineer Lev Petrovich Shishko was ready to solve new problems of architecture and civil engineering: developing new solutions for structural sys-tems, increasing the efficiency of construction operations and the quality of construction, engineering systems and production equipment. The project-building activities of L.P. Shishko included the erec-tion of the Nikolaevsk railway, religious institutions, schools and other general educational institutions, revenue and private houses, industrial facilities in various Russian cities. Architect, engineer, technol-ogist, scientist and teacher, L.P. Shishko had various professions in the field of civil engineering. Through the example of his career, one can see how fundamentally civil engineer L.P. Shishko ap-proached each architectural and technological task.

Brumfield , William Craft Journeys through the Russian Empire: The Photographic Legacy of Sergey Prokudin-Gorsky (review)

REVIEWS 183 Brumfield, William Craft. Journeys through the Russian Empire: The Photographic Legacy of Sergey Prokudin-Gorsky. Duke University Press, Durham, NC and London, 2020. xi + 518 pp. Maps. Illustrations. Notes. Index. $49.95: £43.00. The photographs taken by Sergei Prokudin-Gorskii in the decade before the 1917 Revolution, held since the 1940s in the Library of Congress, provide one of the richest sources of material evidence available to scholars of late imperial Russia. During the years after 1905, Prokudin-Gorskii undertook a series of expeditions across large swathes of the Russian Empire, typically with the active support of the tsarist authorities, photographing both the traditional architecture of provincial cities and the industrial paraphernalia of factories and railways that were rapidly transforming the country. The striking colour images, made possible by Prokudin-Gorskii’s long experiments with photography, were part of an ambitious project to create a visual portrait that would acknowledge the diversity of the Russian provinces while celebrating the way they formed part of a single empire. The semi-official character of his work, and its underlying commitment to using photography to create patterns of knowledge that fostered a sense of the unity of the empire, naturally lends itself to a set of discourses about such topics as ‘the imperial gaze’ and the ‘orientalist imagination’. And yet, while the interpretation of all historical photographs requires a lively sense of the context in which they were produced, the importance of Prokudin-Gorskii’s work extends far beyond its contribution to an imperial discourse that celebrated the unknown while subtly embedding it within a framework of the familiar. William Craft Brumfield has produced a work that combines text and illustrations in a way that illuminates the contemporary interest of Prokudin-Gorskii’s work both for scholars and a wider public. Brumfield, one of the foremost Western experts on the history of Russian architecture, has over the past fifty years himself photographed many of the sites visited by Prokudin-Gorskii, ranging from the ‘Ancient Heartland’ through to more far-flung areas such as the Urals and Central Asia. Much of Journeys through the Russian Empire is devoted to comparing Brumfield’s own photographs with those of his illustrious predecessor. This is a modus operandi that could easily become tiresome, but such a prospect is avoided in the book, both because Brumfield’s own photographs are of exceptional quality, and because there is something enthralling for the reader about comparing pictures of a building or set of buildings taken many years apart. Since Brumfield was not able, by definition, to photograph buildings destroyed in the Soviet period, a careless reading of the book might run the risk of giving the impression that the architectural fabric of Russia — and especially its churches and monasteries SEER, 99, 1, JANUARY 2021 184 — has changed surprisingly little despite decades of chaos and destruction. The author’s beautifully crafted text is, however, adept at informing the reader about what has been lost — through war, revolution and the depredations of time — as well as what has been preserved. Brumfield is well-aware that Prokudin-Gorskii’s vivid illustrations can easily fuel an ill-informed nostalgia for a lost Russia. His discussion of the history of the churches and cathedrals that form the subject of most photographs is erudite and informative without providing unnecessary detail. The same is true of the chapter dealing with the Islamic architecture of Central Asia (in particular Bukhara and Samarkand). Brumfield’s introductory and concluding essays provide a thoughtful insight into the history of the Prokudin-Gorskii collection, artfully showing how it can cast light both on the history of Russian architecture and the preoccupations of pre-revolutionary Russia, while representing something more than a simple representation of the appearance of the provinces on the eve of revolution. Any criticisms of this excellent book cannot begin to dent its achievements. The photographs focus on ecclesiastical architecture, as is to be expected given Brumfield’s own interests and personal photographic odyssey, with the result that the anthropological value of the Prokudin-Gorskii collection is only touched on quite briefly in the photographs and written text. And, while Brumfield talks a good deal in his...

The problem of form in modern architecture

The problems of architectural shaping and thinking evolution in the context of the modern society development are considered in the article. The most important issue is the preservation of cultural-historical and ethnonational codes of collective social experience architectural expression in modern Russia. Distinctive features of Russian architecture development on the background of changes in the Western world and consciousness in the globalization era are marked. The contradictions and challenges of establishing a new architectural language in the context of different vectors of the reception of historical heritage and renewal of the cultural layer of Russian society are characterized.

Творческое наследие архитектора В.П. Стасова как отражение основных тенденций развития русской архитектуры конца XVIII – середины XIX века

The article presents carried-out research work on the artistic heritage of Vasily Stasov (the buildings that identify to the greatest degree the architect’s stylistic techniques) as determining the main trends in the development of Russian architecture from the end of the 18th to the mid-19th century, namely, the “High Classicist” style, which was predominant during this period, and the sources of historicism. In order to minimize subjectivity when analyzing the evolution of Russian architecture following the main buildings designed by Vasily Stasov, the principle of this assessment was formed. Within the framework of the creative heritage of Vasily Stasov, research was made of: a complex of shopping malls, the interior of a palace (using the example of a ceremonial office), triumphal arches (gates) (four examples), a complex of stables (two examples), food warehouses (two examples), a complex of barracks, restoration work (by the example of a cathedral in an architectural ensemble), cathedrals (two examples) and a church, a tenement house, and a palace ensemble.

Церковь Спаса на Берестове между киевской и полоцкой архитектурными традициями конца XI–XII века

The article considers the Church of Our Saviour in Berestovo (Kiev) in terms of its place in the early Russian architecture of the premongol period. Several outstanding architectural features point us to the architecture of Polotsk, namely the cross-shaped layout arranged with porticoes, the trefoil shape of the portico vaulting, and the recessed brickwork without applying the rubble stone courses. The degree of innovation embodied in these features however is defined by the dating of the church, which differs much in the recent literature, from 1060s to 1120s. The new observations on the brick features and foundations technology made on the base of the field documentation of the excavations of 1914, 1989–1991, and 2003 expand the characteristic of the building methods used for the construction of the church and lead to the conclusion that only approximate dating (late 11th — early 12th century) is possible. This dating has an importance in defining the chronology of the architecture of Polotsk. This research has been completed with the support of the Russian Foundation of Basic Research, project № 19-012-00311 “St. Sophia cathedral in Polotsk. The building, its history and architecture. Materials of archaeological exploration, 1970–1980-ies”.

A masterpiece of the avant-garde era in Russia - melnikov's house

Examining the content of the article, the article provides information about the original architectural and artistic image of the masterpiece of the twentieth century while Russian architecture achieved significant success in the 1920s and 1930s the leading figure of Russian (Soviet) constructivism-the Melnikov House, who before moved on to designing very topical buildings of a new, partly revolutionary type and purpose-workers' clubs began with the construction of Russian pavilions at International Exhibitions in the style of traditional wooden architecture, thanks to which he gained international fame. Six out of ten projects of workers' clubs implemented in Moscow and the region belong to Melnikov.

Reconstruction and restoration of monuments of white stone architecture on the example of the church of the Image of Edessa in Abramtsevo

The article deals with the topic of preserving the historical appearance of objects during the reconstruction and restoration of architectural masterpieces. The analysis of the historical experience of recreating samples of ancient Russian architecture with elements of sculptural white stone reliefs is carried out on the example of the group method of work of members of the Abramtsevo art circle, imitating the activities of the national art collective. Based on the analysis of historical experience in the framework of the Abramtsevo Art Circle and their own research, the authors have established the basic principles of reconstruction and restoration of architectural monuments. When conveying of white stone works as masterpieces of ancient Russian architecture, technological techniques must be based on the ideological basis of creating an emotional and artistic atmosphere of collective creativity of folk masters. During the reconstruction and restoration of white stone architecture, it is also necessary to reproduce the natural irregularities of the walls themselves as a stylistic and functional feature of the historical time, designed to give originality to ancient buildings, taking into account the specifics of the perception of the relief of the walls of the monument as a similarity to the terrain.

Painting as a prayer of the spirit

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.

Rotunda churches of the Urals as an integral part of the world architectural heritage

The article deals with rotunda churches of the Urals geographical region (Russia) identified during a comprehensive study of the rotunda church architecture in the history of world and Russian architecture. It gives information on the time, geography, historical context, and project owners for the construction of the Ural rotunda churches. It analyses space-planning and compositional solutions of the rotunda churches of the Urals by their types in the context of the author’s typology. The article considers monuments of the rotunda church architecture of Russia, which are analogous to the Ural rotunda churches. It reveals the features of the Ural rotunda churches linked with the regional traditions of church architecture and the identity of construction project owners. It solves the problem of attributing the Ural rotunda churches based on the analysis of the collected graphic and factual material. Possible authorship is determined by the stylistic analysis method. The master’s handwriting is revealed by comparison with several other already known buildings. In the absence of direct analogues, we determine a circle of architects whose projects could be used in the construction of the Ural rotunda churches.

THE ARTISTRY OF THE OLD BUILDING OF BARNAUL RAILWAY STATION

The article considers the artistry in the architecture of the first railway station building in Barnaul (1914-1915). Typologically, it is a special purpose building in the emerging railway style. This is a listed architectural heritage building of Siberia dating back to the early 20th century. It is important to ensure description and conservation of this heritage building in connection with the program of railway station modernization being implemented in Russia. The architectural features of the building are considered in relation to the processes occurring in the architecture of Russia and railway design, and to the regional architectural environment and the author's intent. An art-historical analysis of the station building's architecture is performed. The stylistic appurtenance and originality of the project are summarized. It is to be hoped that the unique building will be preserved and the research findings will be used in the modernization of Barnaul’s railway station forecourt.