stylistic:tone
Architecture

Moscow's architecture is world-renowned. Moscow is the site of Saint Basil's Cathedral, with its elegant onion domes, as well as the Cathedral of Christ the Savior and the Seven Sisters. The first Kremlin was built in the middle of the 12th century.

Medieval Moscow's design was of concentric walls and intersecting radial thoroughfares. This layout, as well as Moscow's rivers, helped shape Moscow's design in subsequent centuries.

The Kremlin was rebuilt in the 15th century. Its towers and some of its churches were built by Italian architects, lending the city some of the aurae of the renaissance. From the end of the 15th century, the city was embellished by masonry structures such as monasteries, palaces, walls, towers, and churches.

The city's appearance had not changed much by the 18th century. Houses were made of pine and spruce logs, with shingled roofs plastered with sod or covered by birch bark. The rebuilding of Moscow in the second half of the 18th century was necessitated by constant fires and the needs of the nobility. Much of the wooden city was replaced by buildings in the classical style.

For much of its architectural history, Moscow was dominated by Orthodox churches. However, the overall appearance of the city changed drastically during Soviet times, especially as a result of Joseph Stalin 's large-scale effort to "modernize" Moscow. Stalin's plans for the city included a network of broad avenues and roadways, some of them over ten lanes wide, which, while greatly simplifying movement through the city, were constructed at the expense of a great number of historical buildings and districts. Among the many casualties of Stalin's demolitions was the Sukharev Tower, a longtime city landmark, as well as mansions and commercial buildings. The city's newfound status as the capital of a deeply secular nation, made religiously significant buildings especially vulnerable to demolition. Many of the city's churches, which in most cases were some of Moscow's oldest and most prominent buildings, were destroyed; some notable examples include the Kazan Cathedral and the Cathedral of Christ the Savior. During the 1990s, both were rebuilt. Many smaller churches, however, were lost.

While the later Stalinist period was characterized by the curtailing of creativity and architectural innovation, the earlier post-revolutionary years saw a plethora of radical new buildings created in the city. Especially notable were the constructivist architects associated with VKHUTEMAS, responsible for such landmarks as Lenin's Mausoleum. Another prominent architect was Vladimir Shukhov, famous for Shukhov Tower, just one of many hyperboloid towers designed by Shukhov. It was built between 1919 and 1922 as a transmission tower for a Russian broadcasting company. Shukhov also left a lasting legacy to the Constructivist architecture of early Soviet Russia. He designed spacious elongated shop galleries, most notably the GUM department store on Red Square, bridged with innovative metal-and-glass vaults.

Perhaps the most recognizable contributions of the Stalinist period are the so-called Seven Sisters, seven massive skyscrapers scattered throughout the city at about an equal distance from the Kremlin. A defining feature of Moscow's skyline, their imposing form was allegedly inspired by the Manhattan Municipal Building in New York City, and their style—with intricate exteriors and a large central spire—has been described as Stalinist Gothic architecture. All seven towers can be seen from most high points in the city; they are among the tallest constructions in central Moscow apart from the Ostankino Tower, which, when it was completed in 1967, was the highest free-standing land structure in the world and today remains the world's seventy-second tallest, ranking among buildings such as the Burj Khalifa in Dubai, Taipei 101 in Taiwan and the CN Tower in Toronto.

The Soviet goal of providing housing for every family, and the rapid growth of Moscow's population, led to the construction of large, monotonous housing blocks. Most of these date from the post-Stalin era and the styles are often named after the leader then in power (Brezhnev, Khrushchev, etc.). They are usually badly maintained.

Although the city still has some five-story apartment buildings constructed before the mid-1960s, more recent apartment buildings are usually at least nine floors tall, and have elevators. It is estimated that Moscow has over twice as many elevators as New York City and four times as many as Chicago. Moslift, one of the city's major elevator operating companies, has about 1500 elevator mechanics on call, to release residents trapped in elevators.

Stalinist-era buildings, mostly found in the central part of the city, are massive and usually ornamented with Socialist realism motifs that imitate classical themes. However, small churches—almost always Eastern Orthodox – found across the city provide glimpses of its past. The Old Arbat Street, a tourist street that was once the heart of a bohemian area, preserves most of its buildings from prior to the 20th century. Many buildings found off the main streets of the inner city (behind the Stalinist façades of Tverskaya Street, for example) are also examples of bourgeois architecture typical of Tsarist times. Ostankino Palace, Kuskovo, Uzkoye and other large estates just outside Moscow originally belong to nobles from the Tsarist era, and some convents, and monasteries, both inside and outside the city, are open to Muscovites and tourists.

Attempts are being made to restore many of the city's best-kept examples of pre-Soviet architecture. These restored structures are easily spotted by their bright new colors and spotless façades. There are a few examples of notable, early Soviet avant-garde work too, such as the house of the architect Konstantin Melnikov in the Arbat area. Many of these restorations were criticized for alleged disrespect of historical authenticity. Facadism is also widely practiced. Later examples of interesting Soviet architecture are usually marked by their impressive size and the semi- Modernist styles employed, such as with the Novy Arbat project, familiarly known as "false teeth of Moscow" and notorious for the wide-scale disruption of a historic area in central Moscow involved in the project.

Plaques on house exteriors will inform passers-by that a well-known personality once lived there. Frequently, the plaques are dedicated to Soviet celebrities not well known outside (or often, like with decorated generals and revolutionaries, now both inside) of Russia. There are also many "museum houses" of famous Russian writers, composers, and artists in the city.

Moscow's skyline is quickly modernizing, with several new towers under construction.In recent years, the city administration has been widely criticized for heavy destruction that has affected many historical buildings. As much as a third of historic Moscow has been destroyed in the past few years to make space for luxury apartments and hotels. Other historical buildings, including such landmarks as the 1930 Moskva hotel and the 1913 department store Voyentorg, have been razed and reconstructed anew, with the inevitable loss of historical value. Critics blame the government for not enforcing conservation laws: in the last 12 years, more than 50 buildings with monument status were torn down, several of those dating back to the 17th century. Some critics also wonder if the money used for the reconstruction of razed buildings could not be used for the renovation of decaying structures, which include many works by architect Konstantin Melnikov and Mayakovskaya metro station.

Some organizations, such as Moscow Architecture Preservation Society and Save Europe's Heritage, are trying to draw the international public attention to these problems.