"Вестник МГСУ"

The article covers the problems of reconstruction of the famous sculptural group designed by V.I. Mukhina «Worker and Collective Farm Girl», created in the 1930s for the Soviet pavilion of the universal exposition in Paris in 1937. The author considers the structural and cultural features of the monument and drives attention to the synthesis of architecture and sculpture in the pavilion designed by B.M. Iofan.The author also emphasizes some constructive features of the sculpture such as the scarf which is an important compositional and constructive element, and describes the process of preparation of the sculpture to construction in Paris and assembly in Moscow after The Paris World Exposition. The author touches the problem of the sculpture installation in Soviet period. The author performs a comparative analysis of the sculpture before and after its reconstruction and covers the aspects of construction works, including the construction of a new modern pavilion, or a pedestal for the sculpture.

The article discusses some problems of combination of old and new elements of urban space development, positive interaction of which significantly contributes to the unity and originality of architectural and artistic image of a city. The сonstantly evolving complex structure of the city exists not only in space but also in time. With the time the spatial structure of the city changes, as well as the ideas about aesthetic values and the problems of combination of nonsimultaneous formation elements arise. In the article the problems are considered from several points of view: interaction of the old and the new, formation of the historical monuments, their estimation, protection and integration to the new system. Research and analysis of some integration problems of old and new in the development of urban space lead to the following main conclusions. In a complex system of a city the coexistence process of structures is important, created in different times - the integration of old and new, which forms the unity of the urban environment. Integration of old and new, where the old acquires new qualities and the new is in harmony with the old, forms the historical layers, which give the ability to perceive the city in time. The time factor, saturating these layers, gives the city a personality and creates a link between the past, the present and the future via physical structures. In the integration of old and new artistic image formation based on contrasting expressiveness is essential, which is also advisable in case of ensuring the compositional and artistic communication between new buildings and historic zones. In the structure of the city not only unique monuments are valuable, but also their later additions and ordinary building complexes, which are the elements that form the environment and conditions of its perception, express the characteristic features of a certain period and complement the multi-layered artistic image. The combination of old and new is more effective coexisting in the interconnected system of urban processes of layers, created in different times, where a rethought historic building changes the relationship with the environment, gets a new meaning, becomes viable, expands the artistic potential of the new ensemble and associates with the area and its history. Process of the protection of historical environment and facilities in the city should always be considered in a unified approach with the tasks of reconstruction and the formation of new complexes. Protection and reconstruction process should include a wide range of approaches. Task of protecting an individual object, its parts or the building complex, individually defined for each case, contributes to the saturation of the image, where the introduction of the elements of different periods illuminates the process of changes within long time period. In the case of the introduction of the new in the old, modern architectural form should be converted into a part of the formed structure, must not violate the general while showing individuality, but saturate its historical diversity and preserve the opportunity for further development, the formation of flexible composition systems capable to transformation, is an ongoing task in present.

Monasteries, their activity and lifestyle have always played an important role in the culture of various nations. Monasteries are objects of cultural heritage. Their architecture is connected with national features on a nation, particular canons of Christian (orthodox, catholic), Buddhistic or other religion. The article describes ancient monasteries in Russia amid the global development, historical national characteristics monasteries are analyzed, as well as architectural ensembles, reflecting the function and role of monasteries in public life, showing their spiritual and cultural heritage, monastic tradition, the historical value of the monastic landscape and its conservation conditions, the inclusion of the monasteries in the world cultural heritage is noted.

The interest to Domenico Gilardi, one of the leaders of Moscow classicism and Empire, to his masterpieces and geography of architectural heritage is expressed in different investigations. Russian and foreign scientists pay great attention to the features of his works, his place in the classical style and influence of the Italian school. One of the most important aspects of the architect’s creative work is urban planning, and especially his participation in creation of the architectural ensembles of Moscow, city-forming qualities of separate buildings. The article is dedicated to the 230th anniversary of the birthday and the 170th anniversary of the death of an architect Domenico Gilardi. The article discusses architectural features and creative ways of D. Gilardi, special attention is paid to his urban planning activity in Moscow, his contribution to the historic development of the capital city is analyzed. On the example of specific buildings and structures, which eventually became historical-cultural monuments of Moscow, the author shows the activity of the architect in a complex historical period of the city’s reconstruction after the fire of 1812. The author concludes that the main buildings of the architect D. Gilardi are still among the best examples of the architecture of the Russian Empire.

The problem of training of architects in architectural composition is relevant at each stages of the training process. Continuous training in architectural composition is to assure better mastering of fundamentals of composition. Specialized training courses is to be incorporated into each stage of the training process, namely, into each specialized discipline that shapes up the compositional thinking in the field of architecture and town planning patterns.
The fundamental course is entitled "Three-dimensional spatial composition"; it is based on the theory of architecture and urban development, as well as practical classes in architectural analysis and modeling.
The author proposes new methods of teaching three-dimensional composition through a cycle of exercises and term papers. The systemic approach contemplates a good knowledge of the theory to serve as the basis for workshops and practical classes, as well as a new idea of continuous training.