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Figure 2. Houses 5 and 6 before 1917

In this work the elements of structures were recovered that were destroyed or changed because of time. There are openings on the first store, cover plates, a bay window, dormers etc. As for space-planning of the structure it will stay the same in general. Because of the new function some walls have been changed. It needs to be done due to the new standards for public buildings. Besides two buildings will be united in one complex by courtyards on the first store and by the corridor on the second store.

The quarter is being used for offices and in my opinion a cultural function could fit better. As part of this work there are entry groups, show-rooms, a cinema hall, a buffet and service rooms in the first store. In the second store there are show-rooms, galleries, a library and creative rooms. On the third store there are rooms of administration [Fig.3].

Figure 3. Functional zoning

In conclusion it was difficult to find out the exact appearance of the quarter. The main goal of work is a partial recovery of the facades of the buildings at the time of the second half of the 19th century – the first half of the 20th century. Аs a result of the work the author can name the analysis of the historical materials and some restoration and reconstruction proposals.

References

1.Orelskaya, О.V., Petryaev, S.V. Embankments of Nizhny Novgorod. Right bank: lower embankments. /О.V. Orelskaya, S.V. Petryaev – N. Novgorod: ООО "BegemotNN", 2016. – 224 p.

2.Philatov, N.Ph. Nizhny Novgorod. Architecture of ХIV – beginning of

ХХcentury. /N.Ph. Philatov. –N.Novgorod: RIC «Nizhegorodskie novosti», 1994. – 256 p.

3.Shumilkin S.M. Architectural and spatial formation of Nizhny Novgorod of ХIII - beginning of ХХ century. [Text]: study guide /S.M. Shumilkin, A.S. Shumilkin. – N. Novgorod: Nizhny Novgorod State University of Architecture and Civil Engineering, 2010. – 213 p.

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V.R. Kozlova, E.V. Kartseva

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

PROBLEMS OF INTEGRATION OF PEOPLE WITH DISABILITIES INTO THE DOMESTIC MUSEUM ENVIRONMENT

The development of museum inclusion in Russia, as well as the process of integrating people with disabilities into the sphere of culture, is associated with many problems, ranging from a lack of qualified specialists to a lack of funding for inclusive programs. However, the basic problem from which all other difficulties arise can be called the underdevelopment of inclusive culture in Russia as a whole, which results in the dominance in Russian society of attitudes towards people with disabilities as inferior social subjects. According to Rosstat, 11.55 million people with disabilities live in the Russian Federation today [2]. The NAFI Analytical Center, together with the Council for the Disabled under the Federation Council, conducted a study that showed that Russians consider people with disabilities as a socially vulnerable category of the population in need of support.

The low level of development of an inclusive culture in Russia is confirmed by the research of the situation of people with disabilities in Russian society, conducted by VTSIOM and the All-Russian Society of the Disabled in November 2021. More than a third of Russians practically do not notice people with disabilities (37%). And the younger generation and wealthy segments of the population turned out to be less involved in interaction with this group [1].

If we talk about the attitude towards people with disabilities in the field of museum business, then, according to the founder of the inclusive social project "Ferris Wheel" N. Cherkasova, museum staff often have a certain set of stereotypes when interacting with people with special needs (in particular with children): "Their concerns are related to how comfortable the child's stay in the museum will be, what negative aspects of such an experience are possible, families with children with 87 disabilities are often unaware of the possibilities of museums that conduct inclusive classes. There is a problem in communication here" [3].

The beginning of museum inclusion in Russia was laid back in the 19th century (by the State Darwin Museum in Moscow), however, its active development took place in the 2010s. At present, we can talk about the gradual acquisition of the form and status of a social institution by museum inclusion. This is evidenced by the presence of a regulatory framework, the increase in the

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level of accessibility of museums, the gradual incorporation of accessibility councils by museums into their administrative structure. However, the development of Russian museum inclusion proceeds unevenly and is accompanied by a number of problems, of which the most tangible are the following:

1.The rootedness of the perception of people with disabilities as inferior participants in public relations in Russian society.

2.The lack of a culture of interaction and ethics of communication with people with disabilities.

3.The lack of a unified scientific and theoretical basis for museum inclusion.

4.The lack of public mechanisms to control the implementation of inclusive practices.

5.The formal nature of the implementation of inclusive practices.

6.The lack of adaptation of the media environment to the needs of people with disabilities.

Today there is a limited number of museums that are fully adapted for people with special needs in Russia. Among them are the State Darwin Museum, the Garage Museum of Contemporary Art and the Tsaritsyno Museum. At the same time, such large and well-known Russian museums as the Tretyakov Gallery and the The Pushkin State Museum of Fine Arts, as well as the State Hermitage Museum and the The State Russian Museum in St. Petersburg, are currently in many respects at the initial stage of introducing inclusive practices into their activities, which is partly explained by the historical context of their emergence.

Thus, the current state of museum inclusion in Russia is characterized by a wide range of implementation of inclusive practices by museums. The current situation is caused by a number of problems faced by cultural institutions in the process of creating an accessible environment.

References

1.The attitude of Russians to people with disabilities. Analytical report // Levada-Center: official website, 2019. [Electronic resource]. - URL access mode: https://komitetgi.ru/upload/iblock/b73/.pdf (Access on: 21.05.2022).

2.The number of disabled people in the Russian Federation as of 01.04.2022 // Pension Fund of the Russian Federation: official website, 2022. [Electronic resource]. - URL access mode: https://sfri.ru/analitika/chislennost/chislennost (Access on: 07.03.2022).

3.UN experts: in Russia, people with disabilities are still treated as "inferior" members of society // United Nations : official website, 2021.

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[Electronic resource]. - URL access mode: https://news.un.org/ru/story/2018/03/1325542 (Access on: 20.05.2022).

I.D. Rogonov, D.A. Lavrova, E.V. Kartseva

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

THE STUDY OF THE ITALIAN RENAISSANCE ARCHITECTURAL FEATURES IN THE CATHEDRAL SQUARE BUILDINGS IN MOSCOW

The absence of the Renaissance culture in ancient Russian history of art and architecture is a scientific fact caused by isolation from European civilization. Due to this fact the absence of Greek and Roman remains on medieval Russian lands could not gradually lead to Renaissance ideas that influenced art and architecture in Europe. In spite of that, Russian architecture had some constructions responding in its forms to Renaissance architectural tendency.

The goal of our study is to discover some of the most notable features to emphasize the influence on the medieval Russian architecture of external forms of Italian Renaissance architecture introduced by Italian architects in Cathedral Square.

Cathedral of the Dormition (Uspensky Cathedral) was the first medieval Russian construction made by an Italian master Aristotele Fioravanti. There is a fact that its appearance was inspired by Cathedral of the Dormition in Vladimir. However, the way of designing was absolutely Italian, so the church's plan was built with geometric principles. It is known that a refectory space was projected to let sunlight penetrate to have more natural light inside, so it made the church more notable than other ones designed before. It was the innovation of the Renaissance architecture definitely. Moreover, facades had the ached gables in forms of rounds instead of keel arches, which were traditional for medieval Russia. The lesenes (pilaster strips) supporting the arches use the proportion in width which was inherent from Italian Renaissance, too. The Palace of the Facets (Granovitaya Palata) is one of the most beautiful illustrations of Renaissance architecture in medieval Russia reminding about Italian palazzos. Its facades have an architectural order, in spite of its unique proportions we can make out its main components in detail. It was very unusual for medieval Russian architecture in the 15th century, the Palace’s facades had an entablature with cornice, frieze and architrave made due to ancient Greek and Roman tradition. The contemporary facades have an entablature, too, but we see an

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evidence of one’s availability in the15th century in miniature paintings of «The book of Michael Feodorovich, the Great sovereign, tsar, Great prince and autocrat of Russia’s election for reign» we believe the entablature was designed by architects Marco Ruffo or Pietro Solario because the book is dated to the beginning of the 17th century so the entablature could not be added after Peter the First reign – the period when the baroque and classicism styles appeared in the Russian Empire [Fig.1].

Figure1. The elements of Corinthian order of the Palace of the Facets

The same picture proves us that the corner columns were made at the same time and they have the Renaissance features. In spite of slight changes, we know that they had the Corinthian-like heads, screw friezes and bases (contemporary columns were lost, but we definitely know that it had survived until the beginning of the 19th century. We can find them in Quarenghi's watercolour paintings). Moreover, there is an interior column with a Corinthianlike head and walls with Doric-like corbels (they are lost today) hanging on them in the other painting [Fig.2].

Figure 2. The elements of orders in the Palace of the Facets’ interior

Besides, the facing of the eastern facade is one and only in medieval Russian architecture, so we think it could especially remind of a Renaissance Italian rustication masonry.

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Cathedral of the Archangel was designed by Italian architect Aloisio the New. Its facades have the clear horizontal rhythm (this method was common for Renaissance Italy). It was realized because of similar storeys divided by a corbel between them. Moreover, that corbel was carved in form of ancient Greek or Roman entablature supported by Corinthian-like pilasters. This architectural ensemble forms an architectural order – one of the main features of Renaissance architecture. Besides, absolutely unique arched gables built in forms of shells makes the Renaissance appearance, too. But the most interesting fact is that the Cathedral had a portico in its initial appearance. We can see a proof of that in the same illustrations I mentioned above. The portico had the form of arcade with elements of order on its pilasters so it looked like Renaissance porticoes.

The Ivan the Great Bell Tower was Italian architect Bon Friazine's project. Its design was made in the form of Italian campanelle. There is an evidence that the tower was lower in height than now and it had only two storeys (the last storey was added later). Therefore, if we put the last storey away we will see the similarities with Italian campanelles. Besides there is a fact that the Bell Tower stood separately from the churches in the past, it is a common method for Renaissance campanelles [Fig.3].

Figure 3.The view on the Ivan the Great Bell Tower

In conclusion we would like to emphasise that even the medieval Russia did not manage to create gradually its own Renaissance architecture it used the Italian architectural forms mixed with local traditions.

References

1.Podyapolsky S.S. On the question of the originality of the architecture of the Moscow Dormition Cathedral. In: Dormition Cathedral of the Moscow Kremlin. Materials and research. M 1985. P. 24-51

2.Kavelmaher V.V. On the question of the original appearance of the Assumption Cathedral of the Moscow Kremlin. In: Architectural heritage. Issue.

38.M., 1995. P. 214-235

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3.Shervinsky S. V. Venetianisms of the Moscow Archangel Cathedral. M.: 1917. P. 104-213

4.Drawings belonging to "The book of Michael Feodorovich, the Great sovereign, tsar, Great prince and autocrat of Russia’s election for reign" - M., 1856. P. 54-105

M.D. Nekliudova, T.A. Sarkisyan

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

DEVELOPMENT OF ARCHITECTURE IN GREAT BRITAIN IN THE

ERA OF ELIZABETH II.

The article entitled “Development of architecture in Great Britain in the era of Elizabeth II” is devoted to the study of architecture during the reign of Elizabeth II. The study is relevant because the era of Elizabeth II's reign has recently ended, and at the moment we can look at this period of time and objectively assess whether it represents a full-fledged era in architecture.

The research object is the architecture of the UK.

The subject of the research is the development of architecture in the UK in the era of Elizabeth II's reign.

The purpose of the research is to understand whether the era of the reign of Elizabeth II is an independent era in architecture.

In accordance to this objective we have set the following research tasks: 1.to study the literature on the topic;

2.to consider some periods of the reign of Elizabeth II separately; 3.to analyze architecture during the reign of Elizabeth II in general.

Introduction: Her Majesty, Queen Elizabeth II, United Kingdom's longestreigning monarch, died at Balmoral Castle, at the age of 96. Earlier this year, The Queen has become the first British Monarch to celebrate a Platinum Jubilee, marking 70 years since she ascended to the throne. During her coronation, a lot of ordinary people and journalists talked about a “New Elizabethan Age” that would revive Britain from postwar gloom. Now, seven decades later, as the longest reign in British history has come to an end, people gather to pay tribute to The Queen and reflect upon her legacy in the context of culture, technology, and architecture and appreciate the entirety of her era.

In the 1950s, at the beginning of the Queen’s reign, the British landscape was presented by churches, castles, and palaces as the most representative architectural forms. In 1952 when The Queen came to the throne, the tallest building in Britain was St Paul’s Cathedral. It was the tallest building from 1710 to 1965 with its height of 365 feet (111 m) meters. It was overtaken by the BT

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Tower in 1962, which was topped out in 1964 and officially opened in 1965. And now London’s shade picture is presented by glass and steel office towers, which are over 150 meters high. The end of low-rise buildings is one of the noteworthy features of the current era. Still, in spite of the dramatic changes, the term “New Elizabethan style” is not often used when describing the UK’s architectural developments.

While many iconic buildings were constructed during the reign of Elizabeth II, the aesthetic diversity means that many different terms and concepts are needed to describe the built environment accurately. And we can say that there is no term or an argument that would tie all of these styles together. New Elizabethan architecture’ just ducks the question. This is a departure from the stylistic classifications of historical British architecture, which were inextricably linked to a monarch’s dynasty. One of the best examples of this is Queen Elizabeth the First. She lent her name to a style that represented a markworthy period of progress for the English and mirrored the Renaissance in continental Europe. We should also pay attention to Queen Victoria and the era that was awarded by her name "Victorian". Everyone knows that it was this style that defined the second half of the XIX century in Great Britain and that it is characterized by a combination of Gothic Renaissance, Italian style, the Second Empire style and also Queen Anne and Romanesque style.

By contrast, the Second Elizabethan Age can only be described as pluralistic. Post-war period was defined in general by modernism, and brutalism and mass construction in particular. Residential complexes such as the Barbican and Park Hill Estate are appearing in London. People need housing and brutalism meets these basic human needs. It allows building fairly inexpensive housing. Modernism marked the postwar period in England, with its variation, Brutalism, being the prevailing architectural style for new housing estates in Britain throughout the 1970s. Large residential complexes like the Barbican, completed in 1982, or Park Hill Estate, completed in 1961, were initially met with reluctance but are now somewhat rehabilitated in the eyes of the public. However, in the 1980s, Britain’s investment in public and social buildings slowed down, and thus the influence of the state upon the architectural agenda also diminished.

Currently, glass and steel towers define the appearance of major cities in the UK. New monuments, such as Norman Foster's, "Gherkin" or Renzo Piano's, "The Shard", have little to do with the architectural traditions of England, but instead are aimed at creating an internationally recognizable image and stimulating local economic growth. There is no linear stylistic development here, but representative buildings borrowed ideas from the High-tech movement of the 1990s, an example of which is the Lloyd's Building in London,

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postmodernism, in the case of the Sainsbury's National Gallery wing designed by Robert Venturi and Denise Scott Brown, or deconstructivism, as in Daniel Libeskind's Imperial War Museum North.

Given the accelerated development of the architectural landscape of the UK, it may not be easy to determine the influence and legacy of Queen Elizabeth II. On the one hand, it would be justified to point out the erosion of the formally key tradition of royal patronage. While the Queen's ancestors cemented their legacy by building cities, palaces and cathedrals, the Queen has shown restraint in expressing an interest in directly impacting the environment. On the other hand, the reign of a monarch is usually remembered by the state of the society he observes. It might be a little early to analyse this. Nevertheless, perhaps in the future, looking back, we will be able to assess the era of Elizabeth II as an era of progress, innovation and continuous improvement of everyday comforts.

In conclusion, we would like to say that it is very difficult to define the era of Elizabeth II's reign in architecture as independent and integral as, for example, the Victorian era or the Regency era. Most likely, the reign of Elizabeth II was so long and fell at a very unstable time in British history that the only thing that can define this period in architecture is impermanence and constant development.

References

1.Secrets Of St Paul's Cathedral [Electronic resource] – URL access mode: https://londonist.com/london/features/secrets-of-st-pauls-cathedral (Accessed on 13 September 2022)

2.Architectural styles in the UK [Electronic resource] – URL access mode: https://www.shootfactory.co.uk/architectural-styles-in-the-uk/(Accessed on 13 September 2022)

3.Victorian architecture [Electronic resource] – URL access mode: https://www.hgtv.com/design/decorating/design-101/victorian- architecture(Accessed on 15 September 2022)

4.Victorian style in architecture: features, architectural masterpieces. Victorian era [Electronic resource] – URL access mode: https://artincontext.org/victorian-architecture/(Accessed on 17 September 2022)

5.Elizabethan architecture [Electronic resource] – URL access mode: https://www.elizabethan-era.org.uk/elizabethan-architecture.htm (Accessed on 17 September 2022)

6.Queen Elizabeth legacy [Electronic resource] – URL access mode: https://www.esquire.com/news-politics/a41132745/queen-elizabeth- legacy/(Accessed on 21 September 2022)

7.Reflections on the legacy of Queen Elizabeth II [Electronic resource] –

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URL access mode: https://penntoday.upenn.edu/news/reflections-legacy-queen- elizabeth-ii (Accessed on 21 September 2022)

8.Queen Elizabeth: a visual dictionary [Electronic resource] – URL access mode: https://www.nytimes.com/2022/09/19/style/queen-elizabeth-icon- symbols.html(Accessed on 23 September 2022)

9.King Charles III’s speech [Electronic resource] – URL access mode: https://www.nytimes.com/2022/09/09/world/europe/king-charles-speech- transcript.html (Accessed on 23 September 2022)

A.A. Gondyukhina, T.A. Sarkisyan

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

THE INFLUENCE OF LANDSCAPE ARCHITECTURE ON PEOPLE’S

LIVES

The object of this research is landscape architecture as a link between a human and natural environment that improves people’s lives.

The subject of the research is the influence of landscape architecture on people's lives.

The goal of the research is to find fields of people’s life that are affected by landscape architecture.

In accordance with this objective we have set the following research tasks: to study the literature; to identify the spheres of influence of landscape architecture on people’s lives; to analyze how landscape architecture affects these spheres.

In the modern world a person daily faces different external conditions that change his emotional state during the day and increase a stress level. But natural factors such as the surrounding urban environment and landscape can also influence the emotional state. In that way, landscape architecture solves the main problem – it provides urban areas with comfortable, functional and aesthetically pleasing places for different categories of people where they could spend time, relax and feel harmony with nature.

However, landscape architecture is not only about the “feeling of comfort”. Modern gardens and parks help to abstract from reality – they calm with their soft and smooth lines, delicious smelling of flowers, fresh grass, or maybe just please the eye with minimalistic or bright shapes and thereby give a modern person the opportunity to forget about his problems and devote himself to dreams. It is very important to look for and find beauty in life as soon as possible – not on social networks or in magazines, not in the course of work, specifically in real life - to be inspired by natural objects, to be alone with your

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