To see the other types of publications on this topic, follow the link: Russian architecture.
Journal articles on the topic 'Russian architecture'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Russian architecture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Верховых, Елена Юрьевна. "MODEL OF INTERACTION BETWEEN CANON, TRADITION AND INNOVATION IN THE ARCHITECTURE OF AN ORTHODOX CHURCH." Академический вестник УралНИИпроект РААСН, no. 4(47) (December 29, 2020): 28–33. http://dx.doi.org/10.25628/uniip.2020.47.4.005.
Full textAbstract:
В статье рассмотрена проблема разрыва преемственности в традиции церковного зодчества в России. В качестве примера «непрерывающейся» традиции показана архитектура православных храмов русского зарубежья XX в., которая активно развивалась в отличие от православных храмов в России. Дано объяснение, почему архитектура современных российских храмов осталась глубоко исторична по своему облику. Этот факт рассмотрен на основании выявленных ранее автором неизменяемых принципов «архитектурного канона» и исследованных примеров новаторства в истории русского храмостроения. В результате предлагается архитектурно-теоретическая модель взаимодействия канона - традиции - новаторства в архитектуре православного храма. В ней показан механизм взаимодействия этих понятий и выявлен процесс обогащения и развития традиций русского церковного зодчества. The article deals with the problem of continuity gap in the tradition of Church architecture in Russia. As an example of a "continuous" tradition the architecture of Orthodox churches in the Russian Diaspora of the XX century, which was actively developed in contrast to Orthodox churches in Russia, is shown. An explanation is given for why the architecture of modern Russian churches has remained deeply historical in its appearance. This fact is considered on the basis of the previously identified by the author unchangeable principles of the "architectural Canon" and the studied examples of innovation in the history of Russian Church construction. As a result, an architectural and theoretical model of interaction between Canon - tradition - innovation in the architecture of an Orthodox Church is proposed. It shows the mechanism of interaction between these concepts and reveals the process of enrichment and development of traditions of Russian Church architecture.
2
Dymchenko, М. Е., М. F. Dakoro, and D. G. Dadiyan. "The problem of form in modern architecture." E3S Web of Conferences 281 (2021): 02026. http://dx.doi.org/10.1051/e3sconf/202128102026.
Full textAbstract:
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.
3
O'Connell, Lauren M. "A Rational, National Architecture: Viollet-le-Duc's Modest Proposal for Russia." Journal of the Society of Architectural Historians 52, no. 4 (December 1, 1993): 436–52. http://dx.doi.org/10.2307/990867.
Full textAbstract:
Viollet-le-Duc earned a privileged place in the annals of modern architecture by elaborating a general theory that could respond flexibly to a variety of local traditions, cultural practices, and material resources. In 1877 he undertook to test this theory by applying it to an unfamiliar case-the architecture of Russia. The first study of its type to appear in the West, L'Art russe chronicled Russia's architectural past and predicted its future. The book touched a nationalist nerve in the Russian audience and engendered a heated debate in Russia about the nation's ethnic identity and architectural destiny. Analysis of the text and its critical reception will demonstrate the political timeliness of Viollet-le-Duc's argument for the eminent rationality of allowing national traditions, tastes, and resources to inspire the architect's design choices.
4
Shvidkovsky, Dmitry O., and Yulia E. Revzina. "Tradition and contemporary architecture of Orthodox churches: Image and meaning." Issues of Theology 3, no. 4 (2021): 478–94. http://dx.doi.org/10.21638/spbu28.2021.402.
Full textAbstract:
The article is devoted to one of the most striking problems of contemporary church construction in Russia — the formation of artistic images of newly erected churches and determination of meaning in their architecture. Today, the mentality of architects, patrons and the parish is primarily determined by the traditional approaches to the creation of new churches. Simultaneously, many architects are longing to find innovative meaning and artistic structures, noting that only these attempts are able to express the present-day emotions of believers. It is also essential to define the features of the cultural code of modern architecture for the Russian Orthodox church. The church hierarchy, believers and scholars, including foreigners, proceed from the idea of Russian Orthodox architecture’s unique identity. The recognizable image of the churches is determined by the constant interest in late medieval decoration from the time of Tsar Alexei Mikhailovich as the main artistic source and its interpretation by masters of the Neo-Russian style of the 19th — beginning of 20th centuries. The article emphasizes that national identity in Russian Orthodox church architecture is not a combination of immanent features, but a historical process of treasuring artistic character and the formation of meaning over several centuries. At the current time, it is vital to turn to all the creative and meaningful wealth in the development of Russian Orthodox churches, and it is better to seek innovation from within traditional images and meanings, based on the sacred experience of our church. This will support the creation of new churches, which are comparable to the standards of the Russian Orthodox architectural heritage in its artistic variety and semantic profoundness.
5
Brumfield, William Craft. "Photographing Russian Architecture." Visual Resources 5, no. 4 (January 1989): 259–88. http://dx.doi.org/10.1080/01973762.1989.9659188.
Full text
6
Permilovskaya, Anna B. "Mythology of the russian orthodoxy and wooden church architecture." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 151–58. http://dx.doi.org/10.20323/1813-145x-2021-2-119-151-158.
Full textAbstract:
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».
7
Chechel', I. "MODERN DESIGN CONDITIONS AND COMPONENTS OF THE ARCHITECTURAL CONCEPT OF SECONDARY SCHOOLS." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 6, no. 7 (July 10, 2021): 73–88. http://dx.doi.org/10.34031/2071-7318-2021-6-7-73-88.
Full textAbstract:
Today, large-scale programs for the construction of general education facilities are being implement-ed in the country. The Russian architecture of general educational buildings is gradually moving away from the standard architectural solutions approved by practice. This is influenced by the condi-tions of the current stage in the development of the state and society, and the tasks for the formation of an individual and a new generation of citizens. An analysis of the works of modern Russian architects suggests that the country has begun and is steadily gaining momentum in the process of forming the architecture of a new generation of school buildings. According to the author, the process is under the influence of a number of objective conditions. They are: the need to provide cost-effective architectur-al solutions of the design documentation for the mass construction of an object of General education in Russia; the continuation of the traditions of the author's architectural design for the public sector in education and the growing influence of the architecture of the non-public (private) sector to create innovative school buildings of the new generation; the impact of the reform processes in the field of pedagogical technologies in the system of General education and in solving complex issues of security and anti-terrorist protection of the object of General education on the formation of architecture of the school building; the operation of the object of General education in Emergency situation ( pandemic) and transition to the information society in the era of digitalization,; the enforcement of Federal laws of the Russian Federation in the field of safety of object of General education. Based on the identified conditions, a new systematization of the components of the architectural concept is proposed and the principles necessary for the creation of a general education building that marks the end of time are formulated.
8
Slavina, T. "DESIGN DRAWING – A REVOLUTION IN RUSSIAN ARCHITECTURE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 8, no. 10 (August 28, 2023): 78–84. http://dx.doi.org/10.34031/2071-7318-2023-8-10-78-84.
Full textAbstract:
The art of design drawing dates back to canticism. Russian architecture did not know design drawings: the clergy of pre-Petrine Russia resisted design drawings; A different situation arose when the autocrat took the construction business into his own hands. Peter I became acquainted with design drawing in England during the Great Embassy. By royal power, he introduced design drawing into practice in Russia, along with the concepts of “architectural tour, plan, facade, proportion, scale, perspective,” as well as with the attributes of the profession - drawing paper, drawing board, compass, etc. Architect of a new formation began to draw and draw. The article examines the importance of a design drawing in the creative process: the separation of design and construction, the ability to clarify plans with a sketch, replication of a project (“model design”), etc. The design drawing had such a radical impact on the development of Russian architecture, that we have the right to regard its appearance as a historical turning point in the profession of “architect” and as the beginning of the profession of “urban planner”. Methods of architectural education have changed. The design drawing is especially important in urban planning: the general plan of the city made it possible to model its structure and composition and implement Peter’s idea of regularity.
9
Chen, Lei, Yan Li, Dong Xu Zhang, and Yu Chen. ""Russian Architecture Prototype” in the Role of Shaping the Form of Contemporary Architecture in Harbin." Applied Mechanics and Materials 174-177 (May 2012): 1682–87. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1682.
Full textAbstract:
The paper tries to use the idea of architecture typology basing on the theory of prototype to analyze the “Russian architecture prototype” wildly distributed in Harbin, which is representative by “Russian building”, and discuss the “Russian architecture prototype” in the role of shaping the form of contemporary architecture in Harbin. We wish to summarize the former experience and provide reference for architectural creation in Harbin in the future.
10
Farley, Brigit, and William Craft Brumfield. "Lost Russia: Photographing the Ruins of Russian Architecture." Slavic and East European Journal 42, no. 2 (1998): 332. http://dx.doi.org/10.2307/310027.
Full text
11
Shopina, E., M. Markova, and A. Blagireva. "ARCHITECTURAL APPEARANCE OF THE FORTRESSES OF THE RUSSIAN NORTH." Technical Aesthetics and Design Research 1, no. 2 (December 24, 2020): 36–44. http://dx.doi.org/10.34031/2687-0878-2019-1-2-36-44.
Full textAbstract:
Russian defense architecture, characterized by its uniqueness, is a heritage of Russian culture, includes images of towers and walls, and embodies the embodiment of progressive ideas of the Russian people, their traditional views, labor and heroic deeds. Elements of fortifications have their own distinctive features and are divided depending on them into types and types.
The object of the study is the features of structures, distinctive features, functionality and device of defense structures of the Russian North.
As a result of the study, the authors conclude that the historical role of fortifications in the Russian North lies in its influence on the architectural heritage of Russia. According to the authors, the influence of defense architecture found its distribution on other types of buildings and was directly dependent on the climatic conditions of the northern terrain. Fortifications played an important role in the defense of the Russian state and the formation of the outlines of the cities of the Russian North.
12
Belov, A. Yu. "Openness as a feature of the cultural code of Russian architecture: from ancient Russia to the Russian avant-garde." Bulletin of Kazakh Leading Academy of Architecture and Construction 80, no. 2 (June 29, 2021): 57–67. http://dx.doi.org/10.51488/1680-080x/2021.2-05.
Full textAbstract:
The article describes the cultural feature of the national character of the Russian people - openness. The manifestation of this feature in Russian medieval architecture is considered, and the influence and development of this feature in the architecture of the Russian avant-garde is traced. The author reached conclusion about the continuity and development of openness in Russian medieval architecture and the architecture of the Russian avant-garde.
13
Kondratenko, I. Yu. "The Publishing Project of the All-Union Academy of Architecture. V.P. Zubov’s Contribution to the Architectural Theory of the 1930s." Art & Culture Studies, no. 3 (August 2022): 140–67. http://dx.doi.org/10.51678/2226-0072-2022-3-140-167.
Full textAbstract:
The article is devoted to the publishing and research activities of the All-Union Academy of Architecture carried out in the 1930s, which consisted in the translation and commentary of architectural treatises of antiquity, the Italian Renaissance, and other texts on classical architectural theory. In just six to seven years, the Academy of Architecture prepared for publication translations of the most significant comprehensive western European works on the theory and history of architecture, most of which had never been translated into Russian before and had not been published in Russia. One of the main tasks of the project was to establish the original texts of the translated works, as well as to prepare commentary and notes explaining the complex, not always obvious meanings of ancient treatises on architectural theory. For several years, this work united the efforts of outstanding representatives of the Russian history of art. A special place among them belongs to the academic encyclopedist Vasily P. Zubov, who presented the most extensive and scientifically-based comments. Among them are comments on the treatise The Ten Books on Architecture by L.B. Alberti and notes to the essay by D. Barbaro Comment on the Ten Books on the Architecture by Vitruvius. Zubov’s works have been highly appreciated not only in Russia, but also abroad, and his translations and comments have advanced Russian art studies to anew research level. The publishing project of the Academy of Architecture has been repeatedly mentioned in the scientific literature, but no systematic information has been provided and the history of this project requires additional research. The attempt to fill in these gaps, which also introduces into scientific circulation the unpublished archival sources and little-known journal publications of the 1930s, determines the relevance and novelty of this article.
14
Permilovskaya, Anna B. "Rural Shrines: Votive Crosses of Mezen." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 81–99. http://dx.doi.org/10.37816/2073-9567-2024-71-81-99.
Full textAbstract:
Wooden architecture is a special, independent direction of The Russian traditional construction. Its unique quality and diversity are represented in Russia, which has always been a “forest, taiga” country. This truly is a national architecture, that had absorbed the mythopoetic and Christian worldview of the people. The history of Russian wooden architecture is largely the history of wooden architecture in the Russian North. The subject of this study is the peasant rural sacral objects: votive crosses of the Mezen`, one of the most severe regions of the Russian North. The author relies on several sources: field materials (architectural-ethnographic expeditions), with measurements, photographic recording, and the preparation of scientific passports. As well as work with informants: collecting local narratives and legends related to the history of specific crosses, the experience of practical museumification and setting up the votive cross and the village foundation pillar in the Mezen` sector of the Museum “Malye Korely”. The paper analyzes crosses as historical, ethnographic, stavrographic sources, works of wooden architecture and woodcarving, Pomors pilot signs. The aim of the study is to determine the meaning of the cross as one of the main symbols of the Orthodoxy in the cultural landscape of the Northern and Arctic territories.
15
Chernyy, Valentin D. "FOREIGNERS IN MUSCOVY OF THE LATE XV-XVI CENTURIES: PERCEPTION OF DEVELOPMENT AND ARCHITECTURE OF RUSSIAN CITIES." Articult, no. 4 (2020): 43–53. http://dx.doi.org/10.28995/2227-6165-2020-4-43-53.
Full textAbstract:
The article considers the peculiarities of foreigners' perception of Russian cities, their development, planning and architecture during the late XV-XVI centuries. The restoration of a single state, called Muscovy in Europe, has attracted the attention of many countries, communities, and individuals seeking to establish profitable political, commercial, and cultural ties with Russia. Russian cities, especially the capital, with unusual layout, buildings and architecture fall into the sphere of attention of foreigners. In their assessments of Russian realities, the authors proceeded from their own ideas and interests that developed in other historical and cultural conditions. For this reason, they often preferred European cities and buildings. As Russia's contacts with foreign countries develop, foreigners' knowledge of Russian cities becomes more accurate.
16
Fajar, Chairul, and Asep Kamaluddin Nashir. "Russian Military Intervention In The Middle East Security Architecture." Jurnal ICMES 3, no. 1 (June 29, 2019): 75–100. http://dx.doi.org/10.35748/jurnalicmes.v3i1.41.
Full textAbstract:
Fluctuations in liquid security polarity and the likelihood of the agenda of interests have created a power contestation followed by security uncertainty in the Middle East. The eruption of the Arab Spring followed by conflict in Syria posed a threat to Russia's national interests by the potential collapse of Syrian government authority. Military intervention later became a step for Russia to overcome the potential threat. It is strongly believed that the Russian military intervention has obtained a number of achievements as well as from the game changer of the course of the war in Syria as well as the value of strategic advantages in the scope of the Middle East security order. In this study using the theory of regional security complex and military intervention. The results of this study found that Russian military intervention in Syria had expanded Russia's role in Syria and the Middle East as one of the important players who created variations in the power map in the region while thwarting the design of the US version of the Middle East security.
17
Brumfield, William C. "(Re)presenting Russian Architecture." Visual Resources 26, no. 3 (September 2010): 322–30. http://dx.doi.org/10.1080/01973762.2010.499654.
Full text
18
Glebova, N. M., and M. Klamer. "Modern temple in urban structure as a symbol of cultural identity and public space." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost» 12, no. 2 (2022): 256–75. http://dx.doi.org/10.21285/2227-2917-2022-2-256-275.
Full textAbstract:
In this work, based on the analysis and classification of arranging modern Austrian churches within the urban structure, an analogy with Russian churches was drawn, the development of the modern architecture of the Russian Orthodox Church in the 21st century was forecasted, the location of contemporary sacral architecture in the current urban area of Irkutsk was considered, and a trend to reestablish traditional techniques was revealed. Over 100 modern churches of Austrian cities, including Vienna, Salzburg, Graz and their suburbs, were examined and photofiled; the scientific publications of Austrian architects and art historians in this field were studied. The reforms in the Catholic Church in the 20th century that influenced the siting, style and form of religious architecture were addressed, and the dynamic transformation of sacred architecture was analysed. Contemporary and reconstructed historical sacral buildings of Irkutsk were examined and analysed. The tendencies in their development were summarised in the light of newly erected buildings and conceptual student and professional architectural designs of churches. Due to the political turmoil of 1917 in Russia, the development of the Russian Orthodox Church has been halted for 70 years. Thus, at the end of the 20th century, the sacral architecture revived in the same state it was destroyed. However, as a symbol of culture and architectural identity, public space, touristic and urban attraction, it has been slowly renovated over the past 30 years; new architectural solutions and locations in the urban space are being modernised. The studies show that any architectural style, even the conservative religious architecture, responds to the social phenomena and its emerging needs, resulting in a gradual change of its status in the urban development, as well as spatial organisation, composition, form and architectural style, through its implementers, namely architects and customers.
19
Kiyanenko, Konstantin. "Environmental design research in Russian architecture." Archnet-IJAR: International Journal of Architectural Research 13, no. 2 (July 15, 2019): 260–75. http://dx.doi.org/10.1108/arch-03-2019-0048.
Full textAbstract:
Purpose The topics “environment,” “environmental design” and “environment and behavior studies” are important and promising in architectural discourse. The academic culture of the global west plays a unique role in the development of the knowledge within the field of environmental design research (EDR), from which these concepts originate. This paper examines the western names, works and ideas related to EDR that have spread into Russian architectural discourse. The purpose of this paper is to consider the status quo of Russian knowledge of EDR and its connection with the western EDR tradition. Design/methodology/approach The method of research in this paper is the analysis of references and keywords of architectural publications from the largest Russian academic online library – e-library.ru. Findings The origin, evolution and current state of environmental architectural knowledge in Russia are discussed. Its segmentation including the presence of several self-organized spheres within the EDR domain and the variety of “dialects” of environmental language are illustrated. The connections of each segment of Russian knowledge with western authors and sources are traced. Further, conclusions are drawn regarding the similarities and differences between Russian and western knowledge in the field of EDR. Originality/value The relationship of Russian architectural theory with western EDR knowledge has not previously been the subject of a comparative scientometric study.
20
Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.
Full textAbstract:
Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.
21
Semushina, Irina Sergeevna, and Mikhail Evgenevich Bazilevich. "Wooden buildings of Chita in the work of the first architects of the city." Урбанистика, no. 2 (February 2023): 67–75. http://dx.doi.org/10.7256/2310-8673.2023.2.41041.
Full textAbstract:
The article presents the results of a study conducted by the authors with the support of the Russian Science Foundation grant "Architects and engineers of the eastern outskirts of Russia (second half of the 19th - early 20th centuries)". The features of a significant layer of regional wooden architecture, preserved in the capital of the Trans-Baikal Territory - the city of Chita, are considered. Based on the materials of field surveys and the State Archives of the Trans-Baikal Territory, the preserved objects and original designs of a number of buildings and structures for various purposes were studied. The wooden architecture of the city is viewed through the prism of the activities of the first city architects and engineers, as well as other masters of the building art who received professional education in the leading architectural and engineering schools of central Russia, as well as specialists who did not have a specialized education, but received the right to carry out architectural and construction work after passing exams at the Ministry of Construction Affairs in St. Petersburg. As a result, a complete systematized picture of the historical evolution of the wooden architecture of Chita was compiled, which was formed under the influence of all-Russian architectural traditions, but at the same time had its own distinctive features associated with the specifics of the development of the region and the personal ideas of the masters of architectural and construction art, as well as customers of architecture of this type.
22
Babinovich, N. U., and E. V. Sitnikova. "MODEL CONSTRUCTION IN RUSSIAN CITIES AND TOMSK." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 22, no. 5 (October 31, 2020): 25–35. http://dx.doi.org/10.31675/1607-1859-2020-22-5-25-35.
Full textAbstract:
The article examines the general trends in design and construction in accordance with the model projects on classicism in Russia and the city of Tomsk. The development stages of design and construction in Russia late in the 18th and early 19th centuries are presented. Stand ard design ensures fast and high-quality construction throughout the country. This phenomenon covers almost and all design areas has a strong impact on the architecture of the Russian cities. The research concerns the preservation of historical buildings built in accordance with the model projects widespread in the Russian cities in the 18–19th centuries. Despite many works on classical architecture in the Russian cities, it has not been studied enough for Siberian cities and, in particular the city of Tomsk.The purpose of this work is to study the development stages of the model design, identify bjects built according to the model projects in Tomsk and other cities of Russia, and carry out the comparative analysis. The following methods are explored: the literature review, comparative architectural analysis and cross-sectional analysis of the data obtained.The novelty is the comparative analysis of classical buildings in Russia. This research involves previously unpublished archival materials and field studies.It is found that in the 18–19th centuries, the spontaneous construction was ceased in Russia.The streets took on clear geometric outlines and the houses met the given requirements accompanied by the model projects. In Tomsk and other Siberian cities, the model projects were based on wooden architecture that continued until the end of the 19th century. Buildings built during this period already had deviations from the classical style, namely the odd number of windows, symmetry breaking, and fillet decoration.
23
Tumanik, A. G. "ARCHITECTURE AND HISTORY OF ZHYTOMYR TRANSFIGURATION CATHEDRAL." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 74–84. http://dx.doi.org/10.31675/1607-1859-2019-21-1-74-84.
Full textAbstract:
This article in the historical and professional context reconstructs the process of creating, characterizes the architectural and artistic quality of the Orthodox Cathedral in the name of the Transfiguration of Christ in Zhytomyr, created in the second half of the 19th century and is currently one of the category of the rarest monuments of the historic Russian temple architecture, but exists outside the bounds of the cultural space of modern Russia.
24
Shafray, Ekaterina. "Recent trends on BIM in architectural design in Russia." E3S Web of Conferences 410 (2023): 04008. http://dx.doi.org/10.1051/e3sconf/202341004008.
Full textAbstract:
This paper presents an overview of the relevant normative framework related to BIM in architectural design in Russia. It focuses on the use of Russian software for BIM architectural design (in particular, it views Renga and NanoCAD) for education in architecture and architecture practice. It analyses several case studies for low-rise cottage, public buildings, school and museum buildings. The features of working with digital information models at various stages, project management are shown. Examples of the application of domestic software are considered. Together with other creative methods for architectural design, creating and working with digital building information models provides a wide range of opportunities for architectural education.
25
Ousterhout, Robert. "Eastern Medieval Architecture. Russia." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 10–27. http://dx.doi.org/10.36340/2071-6818-2021-17-2-10-27.
Full textAbstract:
We publish in this issue the continuation of the translation of the new book of the outstanding historian of the architecture of Byzantium professor of Penn University (USA) and professor honoris causa of the Moscow Institute for Architecture (State academy) “Eastern Medieval Architecture. The Building Traditions of Byzantium and Neibouring Lands (Oxford University Press, 2019). This part of the book of the scholar is devoted to the development of the Byzantine tradition in Russian postrenaissance architecture. The description of Robert Ousterhaut’s scholarly biography and his impact to the study of the history of architecture was published in the previous issue of this magazine in the article of Dmitry Shvidkovsky “Ousterhaut and the Byzantium”. Summary: It is impossible to overestimate the role of professor Robert Ousterhaut in the studies of the history of Byzantine art. At the present day he is the leader in the world studies of the architecture of Byzantium, the real heir of the great Rihard Krauthaimer and Slobodan Curcic, whom he had left behind in his works. His books are known very well in Russia. In his study of Russian architecture of the Middle Ages, the author analyses the artistic image and the design characteristics of church architecture. The author highlights the distinctive features of the largest centres of Moscow, Novgorod, Pskov, Chernigov, and other cities. Much attention is paid to the influence of Italian architecture on the development of Russian church construction, which is associated with the participation of Italian architects in the construction of the main churches in Moscow. The outstanding cathedrals of the Moscow Kremlin — the Assumption, the Annunciation, and the Archangel Michael cathedrals, created with the participation of Italian architects, are considered in detail The author considers St. Basil’s Cathedral, built by Ivan IV (the Terrible) in memory of his victory near Kazan in 1552, to be the most impressive building of this period. The church has a unique composition. It consists of nine adjoining chapels. In his research, the author also highlights one of the unresolved issues in the development of Russian architecture — the appearance of a characteristic onion dome. One of the assumptions put forward by the author is that the domes reflect the shape of the canopy over the Tomb of Christ. The influence of Islamic forms introduced into Russian architecture after the triumphant victory of the Russian troops in the Battle of Kazan, which brought significant territories of Mongolia under Russian control, is the author’s another hypothesis. The author cannot single out a priority version but rightly believes that whatever the initial meaning of domed forms in Russian architecture was, they quickly became popular and acquired their symbolism.
26
ChESNOKOVA, D. M. "FOREIGN AND RUSSIAN EARTHEN BUILDING EXPERIENCE." Urban construction and architecture 3, no. 1 (March 15, 2013): 38–44. http://dx.doi.org/10.17673/vestnik.2013.01.7.
Full textAbstract:
The objects of research are the earth and unfired clay as building materials used for architectural forming. The article shows the research regarding the traditional techniques of foreign and Russian Earthen Architecture, which offers a new development prospective of architecture of different times. The usage of those techniques allowed the construction of energy-efficient houses, which means that in spite of the weather conditions, the living standard in those houses is quite high and at the same time the use of heating and airconditioning systems is minimized. Building technologies and their historical development are viewed.
27
Khodakovsky, Evgeny V. "Wooden Church Architecture of the Russian North in the Russian Art History of the Early 21st Century." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 696–714. http://dx.doi.org/10.21638/spbu15.2021.407.
Full textAbstract:
The article represents a historiographical review of publications on the wooden architecture of the Russian North, published in 2000–2010s. In these years the main perspectives of the research of the wooden church architecture of the Russian North can be distinguished as follows: the regional studies in the framework of large-scale scientific projects; studying the construction history and analysing the architectural features of specific objects, including in connection with their restoration; “rehabilitation” of the late period (19th–20th centuries) in the history of church wooden church building, which is a fundamentally new approach to this segment of the architectural heritage of the North; attracting a wide range of archival sources and gradually moving away from the speculative nature of unsubstantiated theoretical conclusions. An analytical review of publications on wooden church architecture published over the past twenty years is important not only for summing up intermediate results, but also for indicating further prospects for creating a complete panorama of wooden church building in the Russian North, which still remains unconnected and fragmentary, that is, forming from the history of individual monuments in different regions. The interaction of researchers of Russian wooden architecture with each other in the framework of long-term scientific projects is the key to successful joint work on the identification and introduction into scientific circulation of archival documents of the early period (16th–18th centuries) and conducting field surveys of preserved objects. The subsequent integration of the obtained data on chronological, quantitative and typological indicators will allow us to obtain a new objective picture of the historical development and artistic diversity of the monuments of wooden architecture of the Russian North.
28
Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
Full textAbstract:
The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
29
Lichak, Dmitry, and Nataliya Lichak. "The Sacred Heritage of Pskov." Smart composite in construction 5, no. 1 (March 23, 2024): 59–70. http://dx.doi.org/10.52957/2782-1919-2024-5-1-59-70.
Full textAbstract:
Pskov is an ancient Russian city known for its unique architecture, rich historical and cultural heritage. It attracts many tourists annually. Pskov architecture is an integral part of Russian culture and art. The paper presents brief overview of the tourist walking route around Pskov. However, this route forms a kind of sacred ring, including the external band of stone walls of the Kroma stone. It is an example of a unique architectural school of military architecture, temple heritage, and fresco painting. Hence, Pskovites preserved sacred traditions from ancient times, and successfully involved the modern architectural decisions into national art development.
30
Gerstein, Linda, and William Craft Brumfield. "A History of Russian Architecture." American Historical Review 99, no. 4 (October 1994): 1360. http://dx.doi.org/10.2307/2168888.
Full text
31
Schmidt, Albert J., and William Craft Brumfield. "A History of Russian Architecture." Russian Review 54, no. 1 (January 1995): 133. http://dx.doi.org/10.2307/130792.
Full text
32
Trukhin, V. I., and B. P. Yarovoi. "Architectural and spatial data: revisiting the wall structure of the Albazino Ostrog." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost» 12, no. 3 (2022): 430–41. http://dx.doi.org/10.21285/2227-2917-2022-3-430-441.
Full textAbstract:
The Siberian fortifications of the 17–18th centuries represent an important part of Russian wooden architecture, significant both for world and local histories of the development of wooden architecture. The identification of specific architectural and construction approaches used to erect fortresses during the epoch of the accession of Siberia to Russia, namely the East Siberia and the Amur Region, is es-sential for studying the main principles of establishing ostrogs (fortresses) and settlements. The study is aimed at clarifying the meaning of such architectural and construction terms of Russian wooden for-tification architecture as “gorodnya” and “nagorodnya”, which are encountered in historical sources of the 17th century compiled by Russian explorers and fortress builders. The following research methods were used: systemic approach, analogic method and complex approach with the application of architec-tural 3D markers representing the units of specific historico-architectural and town-building infor-mation, which were preserved in the data about the studied object. Textual, graphic and archaeological materials were used. The main results included the widening of "gorodnya" and "nagorodnya" architec-tural and construction terms of the 17–18th centuries, as well as the graphic reconstruction of Albazino Ostrog walls in accordance with new scientific data. Despite the fact that options for the reconstruction of such fortress walls have been proposed previously, the clarifications in this work are more objec-tive. The obtained results can be used for a more precise organisation of historical, architectural, town-building and archaeological works, as well as in restoration and reconstruction processes.
33
Bondareva, Nadezhda Ivanovna, and Yulia Vasilievna Mamaeva. "Urban estates in Astrakhan of the late XVIII – early XX centuries: typological aspect." Философия и культура, no. 11 (November 2021): 11–25. http://dx.doi.org/10.7256/2454-0757.2021.11.37089.
Full textAbstract:
The subject of this research is the typological groups of urban estates in Astrakhan of the late XVIII – early XX centuries. The object is the peculiarities of urban estates in Russia of that time. The goal lies in studying the urban estates in Astrakhan of the late XVIII – early XX centuries from the perspective of their classification. The article touches upon the question of phenomenology of the Russian estate, the architecture and typology of urban estates in the Russian province, as well as the architecture of urban estates in Astrakhan. The research employs the general scientific method (analysis of the historical and logical), historical-architectural approach, and art history techniques for studying estates in urban environment and photographic evidence. The author also attracts historical references, archival and other documents on the topic. The theoretical framework is comprised of the works of M. B. Mikhaylova and E. I. Kirichenko on the estate construction in Russian cities; T. V. Vavilonskaya and G. G. Nugmanova on the classification of urban estates. The scientific novelty lies in outlining the typological groups of urban estates of Astrakhan from the perspective of their architectural and artistic characteristics, as well as social rank of the lords. It is established that the urban estates of Astrakhan are divided into wealthy estates of the merchants that are an artistic phenomena in the architectural image of the city; prosperous and middle-class of the merchants and officials oriented towards eclectic architecture; wooden estates of modest merchants and philistines that carry certain artistic value. The practical importance of this research consists in contribution to the creation of the holistic picture of the development of Astrakhan architecture.
34
Lapina, Darya Andreevna. "Social and political foundations of the formation of urban planning and architecture of the cities of Ancient Russia." Genesis: исторические исследования, no. 4 (April 2023): 116–24. http://dx.doi.org/10.25136/2409-868x.2023.4.37944.
Full textAbstract:
The subject of the study is the political and social aspect of the formation of town-planning scheme of ancient Russian cities. The object of the study is architecture, urban planning, street layout, urbanonims, social topography of cities such as Kiev, Novgorod, Vladimir, Ryazan. The author examines in detail the following aspects of the topic: the influence of the political situation on the architectural appearance of the city, the social and ethnic composition of the population of cities, the origin of ancient Russian urban toponyms. Particular attention is paid to architecture and urban planning as a source on social and political history, the process of evolution of urban development in the context of foreign policy relations, the influence of domestic political and social factors on it. The main conclusions of the study are that the following trends can be identified in the town-planning scheme of ancient Russian cities: chaotic development at the first stage of development and withdrawal to planning with the strengthening of political power, secondariness of streets in some cities of Ancient Russia, by means of urbanonims of ancient Novgorod, Vladimir and Kiev, it is possible to develop ideas about the social and ethnic composition of the city's population Ancient Russia, to trace the changes in its structure, in its political situation. A special contribution of the author to the study of the topic is the identification of a common architectural element between two religious buildings of different regions and different periods in the context of foreign policy contacts. This element is a promising portal in the Church of St. Paraskevi and in the church of Allenau in the village of Porechye, Kaliningrad region. The novelty of the research lies in the fact that urban planning and architecture of Ancient Russia can serve not only in the format of an art history discipline, but also as a visual illustration for political and social history. At the moment, the architecture and urban planning grid of ancient Russian cities is not considered as a serious source in research related to political power, international relations, and the history of social structures.
35
Верховых, Елена Юрьевна. "Architectural and stylistic phenotypes of classicism in Russian church architecture." Академический вестник УралНИИпроект РААСН, no. 2(53) (June 30, 2022): 39–45. http://dx.doi.org/10.25628/uniip.2022.53.2.006.
Full textAbstract:
Исследуются архитектурно-стилевые фенотипы классицизма в русском церковном зодчестве XVIII-XIX веков. Рассмотрен механизм их становления в зависимости от выявленных нами трех основных типов территориальных зон распространения стиля: «ядро», «центральное поле» и «периферия». Показаны особенности регионального архитектурно-стилевого фенотипа в «центральном поле» на примере храмов стиля классицизма Костромской области. Региональный архитектурно-стилевой фенотип на «периферии» показан на примере храмов Свердловской области и территории Русского Севера. Дана методика выявления регионального архитектурно-стилевого фенотипа с помощью анализа общего построения архитектурной композиции храма, выявления ее характерных особенностей и по критерию количественной концентрации таких храмов в регионе. The article examines the architectural and stylistic phenotypes of classicism in Russian church architecture of the XVIII-XIX centuries. The mechanism of their formation is considered depending on the three main types of territorial zones of style distribution identified by us: «core», «central field» and «periphery». The features of the regional architectural and stylistic phenotype in the «central field» are shown on the example of the temples of the classicism style of the Kostroma region. The regional architectural and stylistic phenotype on the «periphery» is shown by the example of temples of the Sverdlovsk region and the territory of the Russian North. The method of identifying the regional architectural and stylistic phenotype is given by analyzing the general construction of the architectural composition of the temple, identifying its characteristic features, and by the criterion of the numerical concentration of such temples in the region.
36
Bode, Andrey B., and Tatiana V. Zhigaltsova. "Saint Nicholas Church in the pomor settlement of Maloshuyka — the oldest tent roof temple of the octagon-on-quadrangle type. History and architecture." Vestnik MGSU, no. 12 (December 2021): 1549–58. http://dx.doi.org/10.22227/1997-0935.2021.12.1549-1558.
Full textAbstract:
Introduction. The Saint Nicholas Church in Maloshuyka, dated 1638, is notable for being one of the earliest known examples of a widely spread type of wooden temple. Despite its historical and cultural significance, this object remains largely unstudied. To better understand the development of Russian wooden church construction and set up a typology, it is necessary to consider the Saint Nicholas Church in the context of all-Russian church building traditions of the 17th century. A monument of such significance needs to have its own place in the history of Russian wooden architecture.
Materials and methods. The study was based on historical archival documents and on-site survey results. We considered the monument together with the history of the settlement and the entire region. A joint historical and architectural approach was used to study the object. The object was compared with its equivalents via comparative typological analysis. In order to identify individual and typical features in the Saint Nicholas Church architecture, typologically similar objects were reviewed chronologically and geographically.
Results. New historical sources were introduced into the scientific discourse. Construction history and periodization of the Saint Nicholas Church were identified. We determined changes in appearance at each construction stages, and described architectural, artistic and stylistic descriptions of the object at each construction stage. The object was compared with similar objects, and characteristic features of this type of church at the early stages of its evolution were identified. They were expressed in general dimensions, proportions, and decorative finish. Regional typical features and all-Russian features were singled out. The place of the object in the Russian history of wooden architecture was defined.
Conclusions. The Saint Nicholas Church is a unique monument of Russian wooden architecture. Being the oldest tent roof wooden temple of octagon-on-quadrangle type, this object reflects the earliest development stages of this architectural type. The Saint Nicholas Church has certain local architectural features, but it generally conforms to the all-Russian architectural traditions of the 17h century.
37
Shopina, E., and A. Drobot. "RUSSIAN WOOD ARCHITECTURE AS AN EXAMPLE OF HOUSEHOLD BUILDINGS." Technical Aesthetics and Design Research 1, no. 3 (December 23, 2020): 45–53. http://dx.doi.org/10.34031/2687-0878-2019-1-3-45-53.
Full textAbstract:
In terms of state-of-art cultural development the deeper understanding and study of Russian heritage with centuries-old knowledge and skills for a designer and architect becomes important. Object of the study is Russian wooden architecture of household buildings, including storehouses.
Research methodology consists of the following: a challenge problem; review of specialized literature; generalization and interpretation of the term; historical and cultural analysis.
Results of the study: it was found that the specificity of the wooden architecture of the Russian North is authenticity and relation with natural feature of area where the buildings are located.
According to the author’s opinion, understanding of relevance to study the history of Russian people and the knowledge accumulated by them in relation to wooden architecture will greatly affect the further development of the architectural mentality of a modern designer.
38
Brumfield, William C. "Anti-Modernism and the Neoclassical Revival in Russian Architecture, 1906-1916." Journal of the Society of Architectural Historians 48, no. 4 (December 1, 1989): 371–86. http://dx.doi.org/10.2307/990455.
Full textAbstract:
The appearance of the "style moderne" in Russian architecture at the turn of the century reflected not only the assimilation of the new European architecture (Secession, Art Nouveau), but also the movement toward an urban environment that would accommodate a social order based on private capital and the ascendency of Russia's nascent bourgeoisie. Claims for the democratic basis of the new style acquired distinctly political overtones in critical articles published between 1900 and 1905. After 1905 (a year of widespread revolutionary disorder in Russia), a reaction against the modernist aesthetic can be traced in the work of architects and critics who supported a revival of Neoclassicism. Although the new classicism provided the means to apply technological and design innovations within an established tectonic system, it was also widely interpreted as a rejection of the unstable values of individualism and the bourgeois ethos. Neoclassical architecture became the last hope for a reconciliation of contemporary architecture with cultural values derived from an idealization of imperial Russian grandeur. Yet the revival of Neoclassicism quickly manifested the same lack of aesthetic unity and theoretical direction as had the moderne, thus leading certain critics and architects to question the entire social order within which architecture functioned in the decade before the 1917 Revolution.
39
Dralle, Tilman. "Sketching the Contours of the Prospective EU-Russia Investment Architecture." Legal Issues of Economic Integration 41, Issue 4 (November 1, 2014): 331–65. http://dx.doi.org/10.54648/leie2014020.
Full textAbstract:
Since the Lisbon treaty entered into force in 2009, the European Union (EU) is vested with the exclusive competence in the field of foreign direct investment (FDI). In principle, this competence encompasses the negotiation and conclusion of bilateral investment treaties (BITs) with third countries including the negotiation of the standards of treatment applicable to foreign investors, which has been the domain of the EU Member States so far. The advent of the new EU competence for FDI has also had an impact on EU-Russia relations. The European Commission identified Russia as a priority country for EU investment negotiations. Eventually, all existing BITs between the Russian Federation and EU Member States will be substituted by a new investment law regime between the EU and Russia. Drawing on the investment treaty practice of the Russian Federation and the slowly emerging contours of the EU's investment policy, this article attempts to give a first impression of how the future EU-Russia investment architecture may look like. For this purpose, the article will take stock of the Russian BIT practice of the past and then analyse discrepancies with regard to the EU position.
40
CHENPALOV, Mark F., and Mikhail Yu ZHURAVLEV. "AUTHENTICATION OF NOVGOROD SCHOOL OF ANCIENT RUSSIAN TEMPLE ARCHITECTURE." Urban construction and architecture 8, no. 1 (March 15, 2018): 85–90. http://dx.doi.org/10.17673/vestnik.2018.01.15.
Full textAbstract:
Taking into account the historical context the characteristic features of the Novgorod architectural school of Orthodox temple architecture of the 12th-15th centuries are explored. A comparative analysis of the most signifi cant objects of this period is carried out. The process of formation of the Novgorod style is traced. The volume-spatial and architectural-artistic features of a number of buildings are listed and described. A conclusion is drawn about authentic elements and expressive methods characteristic of this direction.
41
Venkov, Nikita. "The Culture of Peter the Great’s Era in Terms of Concept Art." Ideas and Ideals 14, no. 4-2 (December 27, 2022): 386–400. http://dx.doi.org/10.17212/2075-0862-2022-14.4.2-386-400.
Full textAbstract:
The era of Peter the Great was a time of fundamental changes. New reforms and orders were very unfamiliar to Russians, which is why the new Russian state required comprehensive means of glorification of new cultural and political reforms. Planning of new architecture, urban space and composition in pieces of fine art were based on a system of concepts: the concept of glorification of battles and wars won by the Russian army and navy, introducing European traditions in fine arts, introducing the Table of Ranks for service, and bringing European science to Russia. In other words, the creation of art, architecture and country residences was not random. The glorification of new reforms in Russia was the basis for new art. Conceptuality as a basic element of creative culture was founded in the beginning of the XVIII century. It determined the evolution of fine arts for the next several centuries. This is the reason why analysis of architecture and fine arts in the culture of Peter the Great’s era in terms of conceptual art is important. In conceptual art the conception is crucial, not the form. Many prints were made in the first quarter of the XVIII century, dedicated to military victories and the new flourishing city: Saint-Petersburg. These prints were created by invited artists from Europe (A. Schoonebeek, P. Picart) and their Russian apprentices (A. Zubov and I. Zubov). J. Tannauer, L. Caravaque and G. Gzel created conceptual paintings dedicated to Peter the Great’s deeds. The “Petrine Baroque” style of architecture and regular urban planning has determined the evolution of Saint-Petersburg as a European city.
42
Kazaryan, Armen. "Russian travellers on the architectural heritage of Ani." проект байкал, no. 75 (April 7, 2023): 153–60. http://dx.doi.org/10.51461/pb.75.31.
Full textAbstract:
The monuments of urban development and architecture of Ani, the medieval capital of Armenia, are presented through the eyes of Russian travellers, writers and artists of the late 18th and early 20th centuries. Their enthusiasm for this heritage stimulated professional scientific interest in the site of Ani, which became a laboratory of Russian medieval studies, archaeological and architectural research in the late 19th century. A review of literary and artistic works devoted to Ani reveals their value as documentary sources that describe the features and condition of the monuments of architecture significantly damaged during the XX century.
43
REPINA, Evgeniya A., and Dariya N. ROMANOVA. "EVOLUTION OF PROFESSIONAL INTEREST FOR ANONYMOUS LANGUAGE PHENOMENON." Urban construction and architecture 7, no. 1 (March 15, 2017): 87–93. http://dx.doi.org/10.17673/vestnik.2017.01.15.
Full textAbstract:
The relevance of modern Russian anonymous architecture is studied. The evolution of the concept «anonymous» and the variety of its connotations in different contexts are viewed. A brief overview of researches influenced on new values formation is presented. Philosophical and cultural background of inclusion of anonymous language in professional field are analyzed as well as mutual influence of artistic and architectural practices. The question of research typological boundaries is raised. The examples of anonymous language legitimation in Russian and world professional architectural practice are presented. Potential values of Russian vernacular architecture are revealed and classified for professional practice. Objects created by non-professionals demonstrate respect for the place, cultural continuity, careful attitude to things, to manual labor and love of folk material culture.
44
Polunov, Alexander Y. "Jerusalem, Bari, Petrograd: the Sites of Pilgrimage and the Russian Church Architecture in the Second Half of Nineteenth – Early Twentieth Century." Almanac “Essays on Conservatism” 64 (June 30, 2021): 280–90. http://dx.doi.org/10.24030/24092517-2021-0-2-280-290.
Full textAbstract:
The article investigates the evolution of Russian church architecture on the sites of mass pilgrimage from Russia – in Jerusalem and Bari (Italy). The changes in churches’ appearance reflected both the artistic quest of Russian architects and transformation of Russian official ideology. The “Byzantine” style which dominated in the church architecture in 1860s and 1870s was replaced by “Russian” and later by “Neo-Russian” styles. The churches abroad served as the instrument of the official ideology representation. Their appearance and interior had also to create familiar environment for the pilgrims. Construction of the churches in “Russian” style was accompanied by the growing attention to the historical details, running sometimes to literal reproduction of historical models. In 1917 this process, as well as the pilgrimage itself, was stopped by the revolution.
45
Tsvetnov, Vladimir A. "P.D.Baranovsky. Unknown Pages in the Protection of Architectural Monuments of the Russian North (1920-1970)." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 2 (June 28, 2018): 35–39. http://dx.doi.org/10.22337/2077-9038-2018-2-35-39.
Full textAbstract:
This article explores views of Petr Baranovsky (1892-1984), well-known preservationist and architectural conservator, about issues concerning the protection of architectural monuments of the Russian North. In the 1920s P.D. Baranovsky organized the first Russian skansen - an open-air museum of wooden architecture in Kolomenskoye outside Moscow and became its director. He managed to bring to Kolomenskoye several examples of wooden architecture that otherwise might have been destroyed. In the process of transportation the monuments hardly survived. One of them - the "Mokhovaya Tower of the Sumsky Ostrog" - was assembled and installed in Kolomenskoye only in the 1990s. The author argues that P.D. Baranovsky changed his views over time. In the 1970s he, along with his colleagues and members of the Architectural section of the VOOPIK (All-Russan Society for Protection of Monuments of History and Culture) began developing a new "territorial" approach to protection of cultural heritage. Instead of bringing buildings together in a museum, they advocated protection of cultural heritage sites and structures in their original historical and natural settings. This is similar to the modern "cultural landscape" approach, although that name was not in use at Baranovsky's time. The article is based on unpublished archival documents.
46
Yamshanov, Igor, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Neogothic Public and Industrial Buildings in the Russian Empire XIX Century." Advanced Materials Research 1065-1069 (December 2014): 2669–73. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2669.
Full textAbstract:
The publication is devoted to development of neogothic architecture in Russia. The little-known facts concerning features of a shaping of architectural forms in neogothic stylistics of the XIX century are considered. The comparative analysis of domestic and foreign monuments of architecture of neogothic style is carried out. Features of development of domestic neogothic public and industrial buildings are accented.
47
Glatolenkova, Ekaterina. "Architecture of residential environment in the settlements along the Chinese Eastern Railway." Урбанистика, no. 1 (January 2020): 34–48. http://dx.doi.org/10.7256/2310-8673.2020.1.32316.
Full textAbstract:
This article examines the peculiarities of formation of residential areas along the Chinese Eastern Railway (CER); analyzes the pattern of settlements; and examines the architectural nuances of residential buildings. The object of this research is the architectural urban development peculiarities of Russian railroad stations on the territory of Northern Manchuria. The subject of this research is the residential environment in the settlements along the Chinese Eastern Railway. The chronological framework covers the first three decades of the XX century: beginning of construction and first years of exploitation of the railway, characterized by active urban development process and creation of full-fledged environment for accommodation of construction workers, railway workers, migrants from Russia, Southern Manchuria and mainland China. The theoretical foundation for this study consists in the systemic-axiological approach, according to which the culture defines the system of materialistic and spiritual values passed from one generation to another, and allows determining the value grounds of cultural interaction and its panhuman significance. The work explores the peculiarities of architecture and urban development in the settlements along CER. Study is carried out on the construction process of the railway and living conditions of first workers, approaches towards design of the stations of the main line and the southern branch, as well as architecture of residential building of the settlements. The author considers the impact of Russian environment upon the existing Chinese cities, and the use of the traditional Chinese approaches in the projects by the Russian engineers and architects.
48
Lisitsina, Yana, and Vasily Lisitsin. "Mark Meerovich Award: A carefully cherished spark." проект байкал 19, no. 74 (January 5, 2023): 10–11. http://dx.doi.org/10.51461/pb.74.05.
Full textAbstract:
The prize was established in honour of Mark Grigorievich Meerovich (1956-2018), a famous Soviet and Russian architectural expert and architect, Doctor of Historical Sciences and Doctor of Architecture, Professor, Honoured Architect of Russia, an Irkutsk native who loved and defended his home town. The article describes the history and scope of the award and lists the merits of the nominees: Е. Ladeishchikova (Master nomination) and P. Pulyaevsky (Student nomination).
49
Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
Full textAbstract:
All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
50
Nikitin, Yury. "ARCHITECTURE OF RUSSIAN EXHIBITION PAVILIONS AT INTERNATIONAL NORDIC EXHIBITIONS IN THE LATE 19TH – EARLY 20TH CENTURIES." Architecture and Engineering 5, no. 4 (2020): 35–43. http://dx.doi.org/10.23968/2500-0055-2020-5-4-35-43.
Full textAbstract:
Introduction: In the 19th – early 20th centuries, Russia actively participated in world’s and international exhibitions in Europe and the USA. Purpose of the study: We aim to study the typology of Russian expo construction abroad consisting of three branches: construction of model facilities, construction of official ceremonial buildings and facades, and, finally, construction of exposition pavilions. Methods: Despite the inevitable demolition of the facilities, Russian exposition pavilions built abroad always strained after high quality of architecture, which is quite important. Results: A peculiar type of buildings — the Russian national exhibition pavilion — formed, which is traditionally styled after old Russian architecture but, at the same time, meets the new exposition and functional requirements.