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  Rumjanzew-Stadtvilla, S...  
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Im Jahre 1802 kaufte die Villa der Graf N. P. Rumjanzew (1754 – 1826), Kanzler des Russischen Reiches, Aufklärer und Mäzen. Sein Haus galt als „Zentrum der Wissenschaften“ und „Musentempel“.
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In 1802, the mansion was acquired by Count Nikolay Rumyantsev (1754–1826), the chancellor of the Russian Empire, an illuminator, and art patron. His house became a "centre of sciences" and a "temple of the muses".
  Marmorpalais  
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Das Marmorpalais, Meisterwerk der Baukunst aus der 2. Hälfte des 18. Jahrhunderts, galt unter Zeitgenossen als einmalig. Anstelle eines Posthofes aus der Zeit Peters I. erbaut, wurde das Palais zu einer herrlichen Vollendung der Newa-Palastufer.
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The Marble Palace (the Palace, for short), an architectural monument of the second half of the 18th century, was deemed by its contemporaries as "the only of its kind." Built at the location of the Post Court of Peter the Great, the Palace became a splendid "last piece" of the grand Palace Embankment along the Neva River.
  Salzburger Residenz  
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Das Marmorpalais, Meisterwerk der Baukunst aus der 2. Hälfte des 18. Jahrhunderts, galt unter Zeitgenossen als einmalig. Anstelle eines Posthofes aus der Zeit Peters I. erbaut, wurde das Palais zu einer herrlichen Vollendung der Newa-Palastufer.
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The Marble Palace (the Palace, for short), an architectural monument of the second half of the 18th century, was deemed by its contemporaries as "the only of its kind." Built at the location of the Post Court of Peter the Great, the Palace became a splendid "last piece" of the grand Palace Embankment along the Neva River. Catherine the Great who...
  Staatliches Polytechnis...  
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Solange das Museum besteht, macht es seine Besucher vor allem mit den Errungenschaften des menschlichen Denkens bekannt. Diese Idee lag der Arbeit seiner Urheber zugrunde und galt als das wichtigste Ziel sogar in den härtesten Jahren.
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Since its foundation, the Museum has been introducing achievements of the human thought to its visitors. This idea was the corner stone of the Museum put by its founders; it remained the main idea even during the most difficult times. Since technical achievements influenced the philosophy and world outlook of the Russian people, the Museum became a "mirror" of the Russian society. All this influenced the social processes: illiterate people could learn here about truly magnificent inventions.
  Meerestier-Theater Aqua...  
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Es lässt nicht nur Menschen, sondern auch Tiere, ihre individuellen schauspielerischen Qualitäten zu entfalten. Bis jetzt galt die Meinung, dass Tiere nur von Menschen gegebene Befehle ausführen können.
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The Aquatoria Sea-Animals Theatre is a unique project that unites people and animals at one stage. This project lets people and animals show the individual force of their acting. It has been considered before that animal is a creature just able to execute commands. But how can you explain their eyes, acting, reaction to the audience, stage freight? There are no doubts that dolphins, seals, sea lions, white whales and walruses are not just inhabitants of seas and oceans but great performers that are justly called the Stars!
  Staatliches A. W. Schts...  
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Die architektonisch-künstlerische Abteilung von Narkompros, die 1919 unter der Leitung von I. W. Scholtowski gegründet wurde und als das architektonisch-künstlerische Zentrum der ganzen Republik galt, übernahm die weitere Organisation des Museums für Architektur.
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In April of 1919, the Commission worked at a question of opening several museums of architecture (the Moscow museum should be opened first) and drew up a scheme of recording, restoration and storage of "undamaged artistic fragments of ancient architecture" such as mouldings, platbands, grids, frescoes, tiles, bas-reliefs, emblems, etc. Founded in 1919, the Narkompros's Department of Arts and Architecture (headed by I. V. Zholtovsky) being the centre of art and architecture of the Republic continued to work on the Museum of Architecture. The Department aimed to spread knowledge about architecture and introduce the basics of architecture for people: "The revolutionary epoch has shaken the populace and awaken the consciousness of common people, and, doubtless, it opens for architecture the possibilities still unknown. This is a hard and long-term work that requires all our architectural powers to unite in pursuit of this lofty aim. The first step will be an organization of a specialized State Museum of Architecture."
  Pawlowsk-Palast  
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In diesen neuen Umständen verlangte nicht nur Paul I., sondern auch Maria Fjodorowna, die als Schätzerin und Patronin der Künste galt, von den Baubeauftragten in Pawlowsk mehr Prunk und Festlichkeit, als Eleganz.
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Under these new circumstances, not only Paul I, but also his wife Maria Fyodorovna, who considered herself connoisseur and patron of arts, demanded state and solemnity rather than elegance from the constructors of Pavlovsk. Vincenco Brenna (1740–1820; adopted the Russian name of Vikenty Frantsevich) was the architect who managed to fulfil these new requirements as completely as possible. For construction of monumental as well as garden and park structures, Brenna adhered to the principles of classical architecture, but his interpretation of them was different than that of Cameron whose buildings were of rare harmony and elegance. Brenna's style was characterised by a much higher degree of state, solemnity and even by some massiveness: Brenna's model was not the noble restraint of the Doric order, but the pompousness of the imperial Rome. Unsurprisingly, it was this architect that was singled out and brought closer by Paul I who was far from being indifferent to external symbols of grandeur and might. During the last years of the 18th century, the works were being done at the full speed in Pavlovsk: the Palace was being refurbished; new pavilions were being constructed; the ponds were being deepened and cleaned; bridges were being erected; flowers, bushes and trees, which were brought from far away, were being planted; and lots that had recently been empty were being developed. The Palace itself, the central structure of the entire complex, underwent major reconstructions. Brenna added new storeys to the side blocks and also significantly extended the blocks; he also added the Church Wing to the southern side block. He completely redesigned the configuration of galleries between the central block and the side blocks. These connecting one-storey galleries were extended, a new storey was added to them, and finally two new curved wings were constructed. These wings continued the semicircle of the old galleries almost encircling the state square in front of the Palace, which immediately changed the appearance of the square, from a ground that was amiably open towards the park to an almost forgotten, isolated space. There even existed plans for construction of a moat in front of the square, which would make it similar to the St. Michael's Castle in Saint Petersburg or the Pavlovsk Bip Fortress and would further isolate the Palace (or securely protect it, according to the authors of the plan). Naturally, all these works significantly altered the appearance of th