Chi è l'autore del programma di ricostruzione della residenza di Mosca del monarca nel tardo Quattrocento: russo sovrano o architetto italiano? (original) (raw)

Analizza le geniali attività di Riccardo Gualino in Russia e il suo rapporto con il mondo dell'est.

Russian-Italian architectural ideas, Neoclassical and Modernists Themes in Italian and Russian Architecture

The article is devoted to the study of constructional and architectural peculiarities of mausoleums of Maxentium and Tor de' Schiavi and creation of their reconstructions. The main aim is to show spatial structure of the buildings' interior which consists of two connected elements crypt and upper chamber. The sources, mainly depictions of the monuments made from 16-th to 18-th centuries, let us imagine how did their interiors look and to understand attitude of Renaissance and classic architects to the scheme of a building. This scheme was based on connection of underground crypt with annular vaulting and upper chamber with the cupola.

Russian Modernism and Futuristic Architecture and Italian Archutectural Futurism

This article attempts to give the most complete description of the restoration approach of the leading restorer of the Russian Empire, academician of architecture Pyotr Petrovich Pokryshkin (1870–1922). The main direction of his activity was the restoration of architectural monuments and paintings. P.P. Pokryshkin, as a restorer-practitioner, did not leave behind a theoretical treatise in which he would set out in detail and systematically the ideological foundations of his own restoration approach, in particular, the goals, objectives and principles of restoration, unlike European restoration theorists. Therefore, the article discusses the main restoration works of the master, which are interesting from the point of view of the transformation and development of his scientific views; analyzed some publications of P. P. Pokryshkin; briefly described the principles and methods by which he was guided; studied the conceptual aspect of his activities in the field of restoration of architectural monuments and paintings; the characteristic of P. P. Pokryshkin’s approach to assessing the value of cultural heritage and to restoration is given; and also studied his contribution to the domestic theory of restoration, which is the main goal of this article, and a number of other issues.

Статья посвящена одному из наиболее ярких архитектурных произведений эпохи Ампир в Москве. Здание, возведенное тичинским архитектором Д. Жилярди, украсило Древнюю российскую столицу после опустошительного пожара 1812 г. Анализ сохранившихся документов и графических материалов позволяет реконструировать первоначальные идеи и формы этого архитектурного ансамбля, дошедшего до наших дней в перестроенном виде. The article studies one of the most remarkable architectural buildings of the Empire style in Moscow. Ticinese architect Domenico Gilardi erected Opekun Concil (Opekunsky Sovyet) on Solyanka Street. This building is decorated ancient Russian capital after the devastating fire in 1812. Subsequently, the building was rebuilt frequently. The analysis of historical documents allows to reconstruct the original idea and form of the architectural ensemble of Moscow. Ключевые слова: ампир, архитектура Александровского классицизма, Д. Жилярди, Л. Пелли, парусные пологие своды

В первой половине 1930-х годов издательство Всесоюзной Академии Архитектуры запустило большую программу переводов основных текстов по теории и истории архитектуры Ренессанса. В рамках этой программы были опубликованы «Четыре книги об архитектуре» Палладио, трактат «Об архитектуре» Альберти, комментарий к Витрувию де Барбаро, один из двух переводов «Десяти книг об архитектуре» Витрувия и многие другие. Формально программа была инициирована как ответ на один из пунктов указа ЦК ВКП(б) «Об архитектурном образовании» (1933), который предписывал, в частности, обеспечить процесс подготовки молодых архитекторов необходимой литературой. Однако при более внимательном рассмотрении невозможно не отметить некоторые противоречия, сопутствовавшие реализации программы. Все выпущенные тексты были снабжены обширными комментариями и историческими справками, их подготовка требовала большой исследовательской работы, однако практическая ценность этих изданий для образовательного процесса была неочевидна. В своем докладе я попытаюсь разобраться в том, что стояло за реализацией столь масштабного издательского проекта.

Michael Maletski is usually known for his icon paintings and for his experience as a restorer at the National Museum of Military History in Sofia. He also contributed to the restoration of wall paintings in Bulgaria. Between 1944 and 1946 he restored the murals in the Russian Church of St Nicholas the Wonderworker in Sofia. This part of his professional career is little known. Maletski had no experience in working on wall paintings and in order to gain knowledge, he acquainted himself with contemporary Russian literature on that subject. Before starting the practical operations, he studied the technology of wall paintings and analysed the restoration problems. After finishing the work, he left a detailed report and a catalogue with photographic documentation. Together with other examined documents, they are an important source of information on the techniques and methods used by Maletski, as well as on the development of restoration as a professional discipline in Bulgaria. This paper presents the results of the research conducted in the period between 2012 and 2020 on the specific features of Maletski’s approach to the restoration of the wall paintings.