1 Features of the aesthetics of mass housing.
2 Requirements for the architectural and planning structure of a residential area.
3 The concept of an architectural ensemble.
4 The ensemble, as the highest goal towards which the architect’s formative activity is directed.
5 Spatial structure of the ensemble.
The aesthetics of mass housing has a number of inherent features. In home architecture, when solving artistic problems, it is necessary to take into account the interaction of a complex set of factors. These include: social necessity, consumer and operational qualities, natural and climatic conditions, economics, modern technology and production technology. In a full-fledged housing construction project, each of these factors must be resolved at the highest level of modern knowledge and requirements. First of all, the architecture of a home is the environment that surrounds a person every day, which should be harmonious, unobtrusive, and providing psycho-physiological comfort. It should take into account the natural environment as fully as possible, be adapted to regional conditions, national and everyday traditions, as well as the existing scale and color of the city, and linked to the accompanying mass public buildings. Compliance with these requirements is one of the most important criteria for assessing not only the functional, but also the aesthetic merits of the development.
Based on the orderliness of urban planning systems, it is possible to create a harmonious environment with a certain level of aesthetic qualities. In modern urban planning, the architectural and artistic concept subordinates not a separate object - a building, but an organized system of many objects, an ensemble.
Architectural ensemble- this system of buildings, structures and open spaces, naturally organized in accordance with the needs, worldview, aesthetic values of society and embodying an artistic image. The ensemble is the highest goal towards which the architect’s formative activity is directed. In the creation of architectural ensembles, architecture and urban planning are combined together, urban planning becomes urban art.
The most important, universal property of the ensemble is the unity of artistic and figurative expression. The form of the ensemble should have not only signs of unity, but also diversity. Thus, the main principle of the architectural ensemble is diversity within unity.
Groups of structures that are naturally organized according to functional, technical-constructive and formal-aesthetic characteristics, but do not have artistic imagery, are called complexes. The complex can be purposefully formed and harmonious, but it does not carry ideological content embodied in an artistic image.
The difference between a complex and an ensemble is not in the type of organization but in quality. Thus, many residential neighborhoods have a good functional organization and a certain level of aesthetic value, but do not have artistic imagery. They are classified as complexes.
The ensemble not only unites a group of structures and organized spaces, but also extends its influence outward, beyond its physical boundaries.
Ensembles, naturally placed on the territory, can subordinate it all to their artistic and figurative influence. Then a large part of the city or even the entire city begins to be perceived as an integrity that has the characteristics of an ensemble. An example is the historical core of St. Petersburg, which includes the mainland between the Neva and the Fontanka River, the eastern part of Vasilievsky Island, and the southern part of the Petrograd side.
Architectural ensembles do not exist in isolation; they are always part of a larger spatial system (urban area or city as a whole) and exist as parts of this system.
The spatial structure of the ensemble, on the basis of which the image is formed, is determined by the function. Semes are distinguished: linear, deployed along the main direction of movement of the human masses; closed, creating a frame for the concentration of people and activities, a kind of open-air hall; open, in which the space seems to “flow around” the main building or group of buildings freely standing in the middle. In addition to the above, an architectural ensemble can be formed as a system of interconnected spaces, as if “flowing” into one another.
Ensembles with a linear spatial structure have become important for the centers of modern cities, which are characterized by dynamic activity. The lines of movement along which the various functions are distributed become the basis of the structure; such ensembles, as a rule, are created open for further growth, meeting the increasing needs of the urban organism (Krasnoyarsky worker ave., Krasnoyarsk).
The main properties of a closed spatial structure are the absence of end-to-end perspectives, the integrity of the undivided main space of the ensemble, and the organization of passages along its sides. In modern practice, powerful traffic flows make it difficult to create closed structures. The areas built up along the perimeter sometimes turn out to be so vast that they are no longer perceived as closed. It is possible to achieve closed space if the passages are moved outside and the area is formed as a pedestrian island, “washed” by traffic flows. A similar character is typical for shopping and cultural centers in some cities in Western Europe and the USA.
The third type of structure is open, in which a single space “flows around” volumes freely placed in the middle of it. The basis of the aesthetic effect of closed structures is determined by the relationship between space and the surfaces that limit it; in open compositions formed by freely placed volumes, the aesthetic effect is determined by the relationship between volumes and their shape.
Systems of interconnected spaces usually form the basis of the composition of modern residential complexes. Each part of such an ensemble is perceived in visual connection with its neighbors, in unity with them. However, the entire system, as a rule, cannot be perceived from one point of view. The idea of the composition as a whole is formed gradually, from successively accumulated impressions that arise when moving through the complex. Connections between parts are expressed in cross-cutting perspectives. Buildings that limit space are perceived in their volume. The organization of form must obey the laws of perception of space, volume and plane in their interaction.
An architectural ensemble is buildings, structures, as well as the surrounding area, which in their interconnection represent a single functional object with a certain artistic appearance. An ensemble in architecture, just like any construction project, is created by an architect.
To present this concept more clearly, we can give examples of such structures, classifying them in parallel. Thus, there are park ensembles, urban and suburban, which in turn can be structured according to their size into large, medium and small. And, of course, in each of them, one way or another, there will definitely be natural objects that are also part of the ensemble.
All structures, in addition to being physically connected to each other, are also united in the ensemble through the improvement of the adjacent territory, which is arranged and organized in such a way as not only to enhance the aesthetic perception of the building composition, but also to perform certain functions.
The artistic appearance of an ensemble in architecture is an important detail, thanks to which a specific object acquires individual features that are not only recognizable, but are sometimes classified as historical monuments, revealing to descendants the heritage of the ancestors of certain eras.
Urban ensembles
They are usually distinguished by types, which differ from each other in the duration of construction, which also fits or does not fit into a single plan. For example, the ensemble of the Russian Museum in St. Petersburg is a city ensemble, which, firstly, is designed in a single architectural style, secondly, built according to a single plan, and thirdly, was created at the same time. In contrast, as another type of architectural composition, one can cite the example of the main urban ensemble of the capital - Red Square. The buildings on its territory are difficult to classify as a single architectural style; they were built at different times, by different people, and therefore the design of the entire composition is not uniform.
If you pay attention to buildings in any city, you can find both of these types of urban architectural ensembles.
Influence of natural conditions on architectural compositions
The influence that nature has on urban buildings and on their totality is enormous. Just imagine how the appearance of an urban area changes if, for example, a reservoir is located on it. Of course, the architect focuses his attention on highlighting it in the city landscape and giving the surrounding residents the opportunity to use this neighborhood in a civilized manner, for example by arranging, for example, embankments that are convenient for walking.
And how does the terrain affect the architectural ensemble, which sometimes does not provide the opportunity to adapt itself to the architect’s plan, but instead offers a more unique opportunity: to adapt the idea of creating a complex of structures, adjusting them to its curves, drops and hills.
Please note that where there are no natural objects in the urban landscape, they even have to be created artificially. For example, in the absence of reservoirs, fountains are planned and built, in the absence of green spaces, parks and squares are laid out.
Russian poets dedicated many lines to the Moscow Kremlin. Many paintings by famous artists depict this masterpiece of medieval architecture. The Moscow Kremlin is an outstanding architectural ensemble in Russia. And this is exactly what we will talk about in this article.
The architectural ensemble is...
The word "ensemble" is of French origin. It translates as “unity, integrity, connectedness.”
An architectural ensemble includes public buildings, as well as other structures (bridges, roads, monuments, etc.) that make up a single spatial composition. Its elements can be not only houses and buildings, but also sculptures, monuments, works of art, squares and gardens. The perception of a particular architectural ensemble largely depends on the time of year and the level of illumination. The presence of people, as well as the volume of traffic, also weigh.
The most important component of any architectural ensemble is the surrounding landscape. Here, a huge role is played, first of all, by the terrain, as well as the presence of reservoirs (rivers, lakes, reservoirs).
Quite often, the compositional center of an architectural ensemble is a monument or obelisk. Among such examples are the Vatican or the Round Square in Poltava. To honor the memory of an outstanding personality or to emphasize the historical importance of an event - this is the main goal pursued by such an architectural ensemble. You can see a photo of such a complex below (this is St. Peter's Square, Vatican).
Types of architectural ensembles
Some architectural ensembles are created immediately and comprehensively, according to a pre-prepared master plan. Others take shape over decades, gradually being supplemented with new buildings and elements. By the way, the second option is much more common in the world.
There are several different types of architectural ensembles. Among them:
- ensembles of squares;
- fortresses;
- prospectuses;
- palace and park;
- estates;
- monastery ensembles.
The Moscow Kremlin is an outstanding architectural ensemble of Europe
The Kremlin in Moscow is the largest fortress in Europe among those that have been fully preserved to this day. This architectural ensemble is located in the very center of the Russian capital, it is the main social and political complex of the city, as well as a kind of sacred symbol for the entire country. This is where the main residence of the President of the Russian Federation is located.
The architectural ensemble of the Kremlin in Moscow was built at the confluence of the Neglinnaya River into the Moscow River. The fortress, triangular in plan, occupies an area of 27.5 hectares. On one side, the Kremlin borders on Red Square, and on the other, on
In the early 90s, a large-scale reconstruction was carried out within the architectural complex: in particular, the Senate building was restored, as well as several halls of the Bolshoi. At the end of the 20th century, the fortress walls and towers of the ensemble were also restored.
By the way, not everyone knows that the walls of the Moscow Kremlin were not always red, as we are all used to seeing them. Throughout the 18th-19th centuries, according to surviving paintings and descriptions, they were white (until the 1880s). Today, the walls of the Kremlin are painted red from time to time.
Another interesting historical fact about the Kremlin dates back to the Great Patriotic War. So, in 1941, an order was given to add windows to the fortress walls so that the structure would look like a residential building.
Brief history of the architectural ensemble
Defensive structures on the site of the modern Kremlin have existed in Moscow for a long time. However, in ancient times they were made of wood, and therefore suffered greatly from fires. Therefore, in the 14th century it was decided to surround it with walls (made of limestone).
The most outstanding architectural ensemble in Russia was formed in its current form at the end of the 15th century. The first tower was built here in 1485. Italian architects actively participated in the construction of the complex, however, the appearance of the fortress looks very “Russian”.
The huge clock placed on the Frolovskaya tower is very interesting. Throughout history they have been changed four times. The ones that show the time today were installed in 1852. of which decorate the Kremlin towers were installed in 1937.
The Moscow Kremlin was heavily damaged during the Civil War of 1917. In particular, several towers of the complex were damaged, as well as all of its temples. But the Kremlin survived the Second World War. Thanks to the competent camouflage that Soviet architects managed to carry out, the ensemble was not subject to bombing.
Walls, towers and temples of the Kremlin
The architectural ensemble of the Kremlin in Moscow includes 20 towers (three of them are round in plan, the rest are square). The highest of them is Troitskaya, its height is 79 meters. All Kremlin towers were built in the same architectural style, except for the pseudo-Gothic Nikolskaya.
The fortress walls were also built at the turn of the 14th-15th centuries, and were finally decorated in the 17th century. The total length of all the walls of the ensemble is more than two kilometers. Their thickness ranges from 3.5-6.5 meters, and their height ranges from 5 to 19 meters. The tops of the fortress walls are decorated in the form of teeth, which are shaped like the tails of swallows (their total number is 1045). They also preserved loopholes and embrasures, reminiscent of the main purpose of this structure.
On the territory of the Moscow Kremlin there are seven temples and one bell tower, five palace buildings, as well as two famous monuments - the Tsar Cannon and the Tsar Bell.
Conclusion
The Moscow Kremlin is a unique architectural ensemble of Russia, the largest fortress in all of Europe. For Russians, it is a sacred place and a symbol of Russian statehood. For foreign tourists, this is the number one object that they strive to see when they come to Russia.
Architectural ensemble architectural ensemble
(from the French ensemble - a collection), a series of structures forming a harmonious whole, i.e. subordinate to a single rhythm, placed taking into account certain points of viewer perception, scaled and proportionally correlated with each other and forming a balanced composition. The ensemble can be built both on the principle of symmetry ( Versailles, 17th–18th centuries) and asymmetry (Athenian Acropolis, 5th century BC BC), to unite buildings of the same era and style (Smolny Monastery in St. Petersburg in the style baroque, B.F. Rastrelli, 1748-54) or different styles (Novodevichy Convent in Moscow, 16th–17th centuries).
Main types of ensembles: city square ensemble; ensemble of the main building (palace, public) and adjacent wings; palace and park ensemble.
In the ensemble of the square of St. Peter's Cathedral in Rome (1656-65), D. L. Bernini closed the space on the sides with semicircles of colonnades, which echo the columns on the facade of the cathedral, their frequent rhythm seems to urge the visitor to the entrance to the temple. The space of the square took on the shape of a trapezoid, which created the effect of reverse perspective; the temple seemed to be approaching the viewer. Its dominance in the space of the square is emphasized in every possible way. The movement to the entrance develops along the central planning axis: from the street leading to the square, through its center, marked by an obelisk, to the stairs and portico of the main entrance, above which the gigantic dome of the cathedral rises. The ensembles of Red Square in Moscow and Palace Square in St. Petersburg combine buildings of different periods and styles into a harmonious whole. The buildings in the square of the Italian city of Pisa (cathedral, bell tower and baptistery, 12–14 centuries), decorated with arched galleries with thin columns, are designed in the same Romanesque style.
The ensemble of the Admiralty building in St. Petersburg (A. D. Zakharov, 1806-23) is located on the Neva embankment. The extended facade is formed by central and side buildings, united by links connecting them. The subordination of the side parts to the center is emphasized by the rise of the tower with a high spire, placed above the massive center of the building with a high semicircular arch.
In palace and park ensembles (Pavlovsk, Tsarskoe Selo, Peterhof near St. Petersburg, Sans Souci in France, Katsura in Japan) the forms of buildings and “green architecture” - the design of the natural environment (trees, lawns, alleys, etc.) correspond to each other in figurative structure, presenting harmonious pictures from certain vantage points. An important role in the aesthetic perception of the palace and park ensemble, in the understanding of its figurative content, is played by the movement of the viewer in space, the change of visual impressions.
Of great importance in the architectural ensemble is the artistic organization of the adjacent space and the interaction of buildings with it. Medieval squares in Europe are closed complexes, while monuments of ancient Russian architecture (Kolomenskoye, 16th–17th centuries) and ensembles of the Baroque era open outward, actively interacting with the surrounding landscape. Thus, three rays of wide avenues go from the main facade of the Palace of Versailles into a vast park, three streets run away from Piazza del Popolo in Rome, the perspective of the main canal of Peterhof ends with a view of the sea. An important role in the architectural ensemble can be played by sculpture and architecture of small forms (gazebos, pavilions), as well as fountains (the fountain in Piazza Navona in Rome, D. L. Bernini, 1647-52; fountains of Peterhof, 18–19 centuries), green plantings, lawns and flower beds.
(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)
See what an “architectural ensemble” is in other dictionaries:
architectural ensemble- A group of structures united with each other and with the environment into a common artistic composition, perceived as a single whole [Terminological dictionary of construction in 12 languages (VNIIIS Gosstroy USSR)] EN architectural ensemble DE... ... Technical Translator's Guide
A group of structures united with each other and with the environment into a common artistic composition, perceived as a single whole (Bulgarian language; Български) architectural ensemble (Czech language; Čeština) architektonický soubor (German language; ... Construction dictionary
Architectural ensemble- (from the French ensemble together, at once, totality, harmonious whole) harmonious unity of buildings or structures, connections. unity of facades, style, time or place of construction. M. b. deliberately created or developed during the process of evolution. In Europe... ... Russian humanitarian encyclopedic dictionary
See architectural ensemble. (Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.) ... Art encyclopedia
- (French ensemble together). 1) correspondence, proportionality of parts among themselves and in relation to the whole, general appearance, harmony. 2) in music: the combination of instruments and voices in the performance of a musical composition; harmonious, precise and consistent... ... Dictionary of foreign words of the Russian language
Ensemble (French ensemble, a harmonious whole). Wiktionary has an entry for "ensemble" ... Wikipedia
Ensemble of St. Isaac's Square (St. Petersburg) ... Wikipedia
Modern encyclopedia
ENSEMBLE, ensemble, men. (French ensemble). 1. Harmonious unification, coherence of all parts of some whole (book). Architectural ensemble. 2. Artistically coordinated, friendly performance by all artists of a dramatic or... ... Ushakov's Explanatory Dictionary
Ensemble- (French ensemble, a harmonious whole), 1) mutual consistency, a harmonious combination of parts that form a whole (for example, an architectural ensemble). 2) In performing arts, the artistic consistency of all... ... Illustrated Encyclopedic Dictionary
Books
- Architectural ensemble of the Savior-St Andronicus monastery, N. Merzlyutina. The release of the album is timed to coincide with the 70th anniversary of the founding of the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev. The publication opens a series that will be dedicated to the unique museum…
Main buildings:
Peter and Paul Cathedral with the tomb of the emperors
Grand Ducal Tomb
Mint
Guardhouse
Botny house
Engineering house
Cavalier
Treasury
Carriage maker
Commandant's house
Kronverk
Prosecutor's House
Trubetskoy Bastion Prison
Vasilievsky
Neva Gate
Ioannovskie
Kronverkskie
Nikolskie
Petrovsky
Bastions:
Gosudarev
Naryshkin
Menshikov
Trubetskoy
Golovkin
Ravelins:
Alekseevsky
Ioannovsky
Nikolskaya
Petrovskaya
Ekaterininskaya
Kronverkskaya
Engineering structures:
Nevskaya pier
Description of fortifications
Through the John's Gate we enter the territory of the fortress. The date on them is 1740. This is the year the construction of Ioanovsky ravelin was completed. Ioanovsky Ravelin was built in the 30s of the 17th century during the reign of Empress Anna Ioannovna. In the 17th-19th centuries, the territory of the ravelin was separated from the fortress by a moat that connected the Neva with the Kronverk Strait.
Behind the Ioannovsky ravelin there is the Petrovskaya curtain - a wall connecting the bastions of the Sovereigns and Menshikov. It was built in 1707-1708. St. Petersburg is being built next to the fortress on the city (Beryozovy) island. The first buildings were built on Troitskaya Square in front of the fortress. They contained government institutions. From this square one could enter the fortress through the Petrovsky Gate.
Petrovsky Gate was built in the form of a triumphal arch. This is the only triumphal building from Peter's time that has come down to us. They were created in 1707-1708 according to the design of D. Trezine and were originally wooden; in 1718 they were rebuilt into stone ones.
Turning left from the Petrovsky Gate, you can approach the Sovereign Bastion. The Sovereign Bastion is connected to the Naryshkin Bastion by the Neva Curtain. There were several dozen casemates in it.
From the Neva side, the Neva Gate clearly appears against the backdrop of harsh granite walls. They were built in 1730-1731. It acquired its modern appearance in 1787 according to the design of N. A. Lvov.
The granite pier was built in the second half of the 18th century. From it to the shore there is a three-span bridge. People called these gates “the gates of death”; prisoners sentenced to death were taken out through them.
The Naryshkin Bastion is the central of three bastions overlooking the Neva. It was built in stone between 1725-1729. In 1731, according to the design of D. Trezine, a stone tower with a flagpole was built on the bastion. Between the bastions of Naryshkin and Trubetskoy stretches the Catherine Curtain. The casemates of this curtain were used as places of detention.
The Trubetskoy bastion faces southwest. It was built in stone in 1708-1714. In the Trubetskoy Bastion there were premises that were used as places of detention. The Trubetskoy bastion and the Zolotov bastion are connected by the Vasilievskaya curtain. It faces west, towards Vasilyevsky Island, which explains its name. In 1709 it was rebuilt in stone. At the end of the 18th - beginning of the 19th century, the casemates of the northern part of the curtain were occupied by the archive, the southern ones - by the Mint.
Through the Vasilyevsky Gate of the Vasilievsky Curtain you can enter the territory of the Alekseevsky Ravelin.
Zotov's bastion is located in the northwestern part of Zayachiy Island. The bastion of Zotov and Golovkin is connected by the Nikolaevskaya curtain. Its reconstruction in stone was completed in 1729. The gate in the curtain is called Nikolaevsky. Through them you can go to the Kronverk Strait. The Golovkin Bastion faces north and was rebuilt in stone in 1730.
The Kronverk curtain connects the Golovkin and Menshikov bastions. It contained the Decembrists P. I. Pestel, K. F. Ryleev, S. I. Muravyov-Apostol, P. G. Kakhovsky, M. P. Bestuzhev-Ryumin, sentenced to death. On the eastern rampart of Kronverk, on the night of July 13, 1826, the Decembrists were executed.
In the northeastern part of Zayachiy Island there is the Menshikov Bastion. The first pharmacy in St. Petersburg was located in its casemates.
Along the main alley leading to the center of the fortress from the Petrovsky Gate, there are two one-story buildings. On the right is the former Artillery Zeich Gauz, built in 1801. On the left is a building with a high roof, a former engineering business yard or Engineering House. It was built in 1749. Since 1971, the exhibition “Architecture of St. Petersburg - Petrograd of the early 20th century” has been open in the engineering building.
On the left side of the main alley, in the depths of a small square, there is a two-story building with white columns. This is a former guardhouse. The building acquired its modern appearance after its reconstruction in 1907-1908. Then the second floor was erected and a 4-column portico was built. In front of the Guardhouse, on the site of the existing lawn, at the beginning of the 18th century there was a square that served as a place for punishing soldiers.
On the square in front of the cathedral there is a two-story stone building built in the 40s of the eighteenth century. This is a former commandant's house. Its main façade faces east towards the guardhouse building. The commandant of the fortress was a special confidant of the king
The only industrial building on the territory of the fortress and the oldest industrial enterprise in St. Petersburg is the Mint. In 1724, by order of Peter I, the Mint was transferred from Moscow to St. Petersburg. The premises of the Trubetskoy and Naryshkin bastions were adapted for its work. In 1800-1805 A special Mint building was built. It is assumed that it was designed by the architect A. N. Voronikhin, but the drawings were signed by the architect A. Porto.
Until recently, all metal coins, all orders and medals (with the exception of handmade orders) were produced only here. Since the late 1990s, coins began to be minted in Moscow.
The Mint, together with the Peter and Paul Cathedral, the Boat House and the Commandant's House, forms the main square of the Peter and Paul Fortress.
Outstanding Russian medalists S. Yudin, T. Ivanov, V. Krayukhin worked at the Mint.
On the square in front of the Mint there is a small elegant pavilion with white columns. This is an allegory of navigation. The pavilion is called the Bot House. It contains the boat of Peter I, on which he sailed along the Yauza River and Lake Pereyaslavl as a child. The boat house was built according to the design of A.F. Vistav 1762–1766. It was originally made of wood, but later converted into stone. The house was built for the boat of Peter I - “Grandfather of the Russian Navy”. The ship was presented to the royal family by the English embassy. It was found by Peter in the village of Preobrazhenskoye, he personally restored it, and as a child Peter sailed on it along the Yauza. The boat was transported here from Moscow in 1723, immediately after the end of the Northern War. A pier (Komendantskaya) and a gate (Nevsky) were built especially for his meeting. At first, a simple shed was built for the vessel. When a special house was built for him, it turned out that the doors of the building were too narrow to carry the boat inside. Then I had to dismantle part of the wall. They say that after this A.F. Vista was expelled from Russia forever, remembering also the collapsed bell tower of St. Andrew's Cathedral, which he himself built.
In 1724, Peter I staged a naval parade, that is, he showed the “grandfather of the Russian fleet” the entire Russian fleet then available. This was later repeated by Alexander I. There was a guard at the Botny House. Anyone could examine the boat under the supervision of an officer, so the first memorial museum in Russia was organized here. The guard officer was obliged to tell the visitor about the exhibit.
In 1891, a statue of Navigation by D.I. appeared on the Boat House. Jensen. In 1940, the boat was moved to the Naval Museum, which opened in the Exchange building; there is a copy of it in the Boat House. A copy was made in 1996 at Petrozavod; the new ship took part in the celebration of the 300th anniversary of St. Petersburg.
The Peter and Paul Cathedral, a unique monument of Russian architecture and art of the first half of the 18th century, has retained its original appearance almost unchanged. Already during the construction of the earthen fortress on June 29, 1703, where a small wooden church in the name of the Apostles Peter and Paul was founded on the site of the existing cathedral.
Since 1712, St. Petersburg became the capital of the Russian state. The capital needs a main cathedral. And now, on the site of the wooden church, according to the design of D. Trezine, the construction of Peter’s Cathedral begins. It took 21 years to build (1712-1733). Peter's Cathedral was built in the early Baroque style. Strictness and simplicity in planning and exterior decoration of the building are the most characteristic features of this style. The cathedral is an elongated rectangular building, its walls are decorated with pilasters and cherub heads on the windows.
The most interesting part of the cathedral is the bell tower. Tier by tier it rises up. The tiers are connected by curls - volutes, which create a smooth transition from the main building of the cathedral to the high balina. The spire of the cathedral rose above the city as a symbol of Russia’s establishment on the banks of the Neva, as a symbol of its access to the expanses of the Baltic. The cathedral is the tallest building in St. Petersburg. (Except for the television center tower). Its height is 122.5 meters, the height of the spire is 1.6 meters, the height of the angel figure is 3.2 meters, the wingspan is 3.8 meters. The plan of the cathedral is not similar to the traditional plans of Russian churches. This is a rectangular structure of a “mirror” type. The interior of the cathedral is divided into three parts by powerful pylons. The interior of the cathedral is festive and elegant: the room is spacious and bright (length 61 meters, height about 16 meters), huge windows flood it with light. Peter's Cathedral served as the tomb of Russian emperors for several decades. They began to bury in the cathedral on the instructions of Peter I. Peter I himself was buried near the southern wall of the cathedral. He died on January 27, 1725, early in the morning. 30 graves are marked with white marble headstones.
