Modern architecture and the Russian Orthodox Church. Modern architecture and the Russian Orthodox Church Budget project for a stone temple for 100 people

Temples, churches, cathedrals are complex construction projects. Their design, like any other buildings, is carried out according to certain standards and norms. In order to take into account all the nuances, as well as to avoid mistakes, professionals should carry out the development of the temple project.

The Mosproekt company offers ready-made solutions for churches and other buildings and structures from experienced engineers. We also carry out design according to customer specifications. More details in the ““ section.

Types of temples

According to the type of material from which they are built

• Stone
• Wooden

By type of construction:

• Cross-dome

They are rectangular in plan of construction. The architectural elements gradually descend from the central dome, forming a pyramidal composition. From above, the building forms a cross shape.

• Tent

The main feature is the roof in the form of a tetrahedral or multifaceted pyramid, resembling a tent in appearance.

• Longline

The sections are stacked on top of each other in several floors and gradually become smaller towards the top.

• Rotunda churches

The plan is a round building. These are cylindrical buildings topped with a dome.

Churches also vary in capacity:

• Less than 200 people
• From 500 to 1000 parishioners
• More than 1000 people

What is a standard project?

This is a set of ready-made documentation with drawings, diagrams, specifications, which can be used several times. That is, building plans that have been tested by time, construction and several customers. Using a standard project requires less time to undergo state examination, and in addition, it is cheaper than an individual solution.

What does it consist of:

1. General plan
2. Explanatory note
3. Architectural, space-planning, constructive solutions
4. Utility diagrams

Maintenance and improvement

Our specialists accompany the project at all stages of its implementation. In addition, engineers are always ready to modify the proposed solution at the request of the customer and make changes in accordance with accepted standards and construction norms. After this, we also help to pass the state examination of the amended documentation.

Standards to which the project complies

1. SP 31-103-99 “Buildings, structures and complexes of Orthodox churches”
2. MDS 31-9.2003 “Orthodox churches”
3. Standard ABOK-2-2004 “Orthodox churches. Heating, ventilation, air conditioning”

Order a project from Mosproekt

There are three main ways to purchase a temple project.

The second is to write to our email: mailbox@site

In Russia, all church art is extremely conservative, and the architecture of churches is no exception. Experiments are unacceptable, everything is done according to classical canons, and any deviation is met with hostility. The Catholic Church is much more progressive in this regard. Remember, for example, according to the project of postmodernist Mario Botta, or. There are many such examples; churches often become architectural landmarks, or even new symbols of the city in which they are built.

Recently I came across an interesting project: they want to make a church out of an abandoned TV tower in Yekaterinburg. Quite bold. What do you think?

The church project was proposed by the architectural studio "PTARH and Partners". According to its employees, the Church of St. Catherine would best be located in an abandoned television tower.

Anatoly Ptashnik, workshop director:

“We developed these sketches on our own initiative, because something needs to be done with the TV tower. We have two concepts. Either it will be a temple, or a religious and cultural center, that is, in addition to the temple, there will be a concert hall, a forum, and exhibition space. Work this was done to continue and unite discussions about the fate of the TV tower and the Church of St. Catherine in order to come to some kind of consensus about these significant objects.

The architect believes that the temple located in the TV tower will become an excellent high-rise dominant feature. At the same time, he states that he is ready for discussions on this topic.

According to another project, it was proposed to build the temple in the water area of ​​the City Pond. But this location caused a lot of controversy among local residents. And the idea of ​​​​building a temple in the TV tower, according to Ptashnik, on the contrary, should unite everyone.

This is the first version of the project.

And this is the second one.

Design for reuse.

The cost of the finished project “Construction part of the project”: sections GP (general plan), AR (architectural solutions), KZH (reinforced concrete structures), KM (metal structures), taking into account landing on the general plan, is 50,000 rubles.

The cost of changes in the design of the dome and bell tower at the request of the customer is from 50,000 rubles.

Engineering sections: EO (electric lighting) and OV (heating and ventilation) are included as a gift without changes. When designing external networks and changes in the project for engineering sections, the price must be clarified.

The quality and scope of the design work can be seen on YouTube, links on this page below.

The cost of the “Construction part of the project” for a completely new temple, approximately the same area, starts from 170,000 rubles. When ordering a new project - preliminary design and 3D model as a gift. If it is necessary to design engineering sections and a construction organization project (COP), the price must be clarified.

The temple has a three-domed cruciform plan. There is a ready-made option with a basement floor.
On the ground floor (mark 0.000) there is a prayer hall of the temple, a vestibule, a staircase with access to the choir and bell tower, (mark 0.360) in the eastern part of the temple there is an altar with a sacristy and a sexton.
On the second floor (level 4.700) there are service rooms and a gallery for the choir. There is an option with a balcony.
At around 9.000 there is a bell tower.
The height of the central dome to the cross is 20.7 m.
The height of the bell tower to the cross is 18.6 m.

Facades are south and west.

Eastern facade.

Plan at 0.000.

Plan at 4,700 (mezzanine).

Incision.

TECHNICAL AND ECONOMIC INDICATORS

No.	Name	Unit	Quantity	Note
	Built-up area Temple Priest's house	m 2 m 3	176 ,0
	total area Temple Priest's house	m 2 m 3	200 ,0
	Construction volume Temple Priest's house	m 3 m 3	1680
	Estimated capacity	parishioners
	Area of ​​the developed site	ha	0,1476

Composition of the project.

	Name	Designation	Note
	General explanatory note.
	General plan.		Set of drawings
	Temple building
	Architectural solutions.		Set of drawings
	Reinforced concrete structures.		Set of drawings
	Metal structures.		Set of drawings
			Set of drawings
	Electric lighting is internal.		Set of drawings
	Priest's house
	Architectural and construction solutions.		Set of drawings
	Heating and ventilation and air conditioning.		Set of drawings
	Electric lighting inside the priest's house.		Set of drawings
	Water supply and sewerage.		Set of drawings
	Construction organization project. Metal structures If you are interested in the temple and you wish to build it, as well as make changes to the project in the form of increasing or decreasing the area, the height of the bell tower, choir, altar, vestibule, ground floor and any other changes, we will fulfill all possible wishes for you. If you have not found the desired temple project on the pages of the site, then we suggest using the link to select a style from the Baranovsky Architectural Encyclopedia.

Can we consider that the churches that are now being built in great numbers in Russia reflect the appearance of a resurgent Orthodoxy? The famous church architect Andrei Anisimov thinks that this question cannot be answered unambiguously. On the one hand, the rapid construction of new churches throughout the country cannot but rejoice, on the other hand, questions of continuity of artistic traditions, adherence to style, canon, and even just a sense of proportion remain open.

-Who usually decides what a new temple will look like?

At best, it is the abbot, but, as a rule, the trustee tries to dictate his will. And if customers have some idea about church architecture, about church art, then that’s good. And if they do not have such ideas and are based only on their taste, which, moreover, was formed in Soviet times, when churches were not built, then, of course, the situation is more complicated. But the architect can show his options and find some kind of compromise. The main problem is that church architecture is a young specialty, and very often not only the clients, but also the architects themselves are inexperienced.

Parishioners and clergy often complain that the new church is cramped, cold or stuffy, and that the acoustics are bad; artists complain that they do not understand how modern churches, whose architecture is based on a synthesis of different traditions, can be painted from the inside... Should all these wishes be taken into account when designing a new church?

Everything you listed is the problem of inexperienced architects who were pulled out of designing some shopping complex and asked to build a temple for the occasion.

Of course, the main task of a temple builder is to organize the space conveniently; you need to at least know where everything is in the church, how the service is going, where the exclamation is coming from, what the acoustics should be like, what is happening in the altar and how much space there should be. I had to see a project created, by the way, by an academician, in which a spiral staircase around the throne led into the basement...

Since any church art has sacred meaning, every element of the external and internal decoration of the temple must be clearly thought out, right down to the door handle. That is, when a temple is designed, it is already clear what kind of iconostasis there will be, what kind of paintings it will be, it is clear what style of music should be played there. For me, the ideal is our antiquity: icon painting, znamenny chant.

Temple architecture is a colossal separate field, for work in which you need to have very serious knowledge. An architect who encounters this for the first time is very self-confident. I went through all this myself - it seemed to me 25 years ago that I knew everything. Now I understand that I am only at the very beginning of the journey and with each project I learn more and more, something new and important.

But at first everything seems simple, and clients and architects rush into “creativity.” And then, based on these buildings, which were built on a whim, without understanding the harmony of the temple space, descendants will judge the spiritual culture of our era!

Is there a ready-made solution? For example, standard designs for temples that can be built easily, quickly and inexpensively?

Each time it is an individual project. There is a tradition, the diversity of church architecture is colossal, so there is no point in building something of the same type - this will not affect the complexity of the work and the cost.

By the way, when customers come to our workshop, we usually pleasantly surprise them: they discover so many different interesting architectural solutions that they have the opportunity to think and choose a project depending on where the new temple will be located, what kind of initiation and who will attend it.

For example, the iconostasis. It doesn’t have to be wooden or closed... So, now we have made a design for the interior of the church in the Patriarchal Center for the Spiritual Development of Children and Youth at the Danilov Monastery. Here we offered the customer an open iconostasis - after all, novices and young people will gather in this church, and, of course, such an iconostasis will fulfill educational and missionary tasks.

It’s good if the customer knows exactly what he wants, but this rarely happens. The problem is that people have not just taste preferences, but stereotypes.

- So everyone who orders the construction of a temple wants the same thing? And what exactly?

For example, at one time everyone wanted a temple similar to the one on Poklonnaya Hill. And this despite the fact that this project is not the most successful. But many people like that it looks like modern architecture - a lot of glass and concrete. But a temple cannot have glass walls, otherwise how can one pray in it? The temple should be a closed space.

- What is “fashionable” now?

As a rule, if a temple is built in a city, the local regional administration, together with sponsors, invest a lot of money there. After all, there are not enough churches in the province, and a new large cathedral is already like a calling card. And the authorities are trying to make it look as monumental and rich as possible. Therefore, marble, gold are welcome, and if there is not much money, then artificial marble and titanium nitride, which is even worse. For example, a golden cross against the background of a copper roof is perceived as a certain accent; it crowns the building, but what if everything is covered with titanium nitride? When the whole roof is golden - this is already too much, there must be some kind of logic, dramaturgy of space...

Typically, such large construction projects are entrusted to local construction organizations and architects. The governor can be understood: it is an honor if local craftsmen do everything. But the problem is that there are, in principle, very few church architects with experience, and in the provinces it is even more difficult to find a specialist.

In these conditions, the recommendation of His Holiness Patriarch Kirill seems very correct to me: “Let’s be more modest.” For example, when we built the Vladimir Skete on Valaam, there were funds, but they had to be spent wisely, so we decided to spend them not on the shine of domes, not on marble luxury, but to make the temple more austere, brick, so that it fits into the surrounding northern landscape : a little carving, a little mosaic... After all, the church is located in a monastic monastery. At the same time, the temple complex includes a cell building, a baptismal chamber, and many other premises necessary for monks. It was necessary to create a living temple, and not just a monument, so we decided to spend the money on what was really necessary.

It’s a shame when there are all the possibilities, a lot of money has been spent, and the temple turns out to be incomprehensible. This is why, by the way, many parishioners do not like to visit such churches, they call them “remakes” and feel uncomfortable there. We must not forget that the aesthetic impression of a church building has important missionary significance.

But not every parish or city in the province can “complain” about the excess money for the construction of churches.

The most important thing here is not the amount of money, but that our desires coincide with our capabilities. There is no need to set out to build the Cathedral of Christ the Savior for 3 kopecks; you cannot make something cheap with artificial gold glitter and fake diamonds. After all, even from inexpensive materials you can create a work of art.

Quality material should be used which is suitable for the temple. In my opinion, it cannot be concrete. It does not allow air and moisture to pass through, it is a cold material, it cools down at night, and when people come to the temple during the day, the temperature rises and condensation forms. It is always stuffy in such a building: it is difficult to think through ventilation, it will require a lot of additional money. That is, having invented a temple from a “modern and inexpensive” material - concrete, we must come up with an effective heating and ventilation system for it, special paints for interior paintings to withstand condensation, and so on.

In a brick temple, which is painted with frescoes, the walls “breathe,” absorb moisture, and then release it for a long time: some of it outward, some inward. Therefore, in ancient temples it is never very cold or very stuffy. So the architectural tradition here not only performs aesthetic functions - following it helps solve many practical problems, making it comfortable for those who come to the temple to pray to be in this room.

Therefore, for little money you can make a temple that will meet certain necessary requirements: it must be roomy, warm, but most importantly, it must be a temple.

If we talk about inexpensive materials, then you can use gas silicate blocks, which have all the characteristics of brick, but they are cheaper. Most often we look for materials that are used in restoration. Cement is bad for a temple.

Using such traditional techniques, you can build a small temple even for 5-6 million rubles (excluding the cost of communications) and in 2.5 months of work - and you can immediately serve there.

Now we are developing just such a “line” of budget churches. Their principle is easy and quick construction, since long-term construction consumes huge amounts of money.

- Can you name any specific successful projects, looking at which our descendants will not condemn us?

Maybe this is a new church in the Conception Monastery in Moscow. At least for the capital, where a lot of very different things are being built, this is a successful job in which old traditions are combined with modern technologies. This cathedral fits well into the architecture of the center of Moscow.

In general, just ten years ago I would not have been able to answer this question - what was built then could hardly be called masterpieces, especially in the outback. Now some interesting architectural projects are gradually emerging.

Unfortunately, there is no such tradition now that architectural workshops exist under the Church; perhaps such centralization would be useful. Then there would be a single center that could analyze and organize all the heterogeneous processes that occur in temple construction.

- But you said that standard projects are impossible?

Of course, you don’t need standard ones... But you can somehow set the direction, distribute orders to those who can handle them better. Maybe I’m wrong, but personally I would like to somewhat limit the flight of imagination of builders, because now, just having a desire, you can build anything...

This year, MARCHI is finally going to open training in the specialty “Temple Builder”; All architects are watching this new beginning with hope.

In previous eras, art was dominated by one style. How can you characterize the style of today's temple architecture?

I don’t know if modern secular architecture exists in Russia. But, in any case, I can say for sure that its laws do not apply to temple construction. We cannot use modern techniques in it, the same high-tech. After all, temple architecture is built on symbolism. Her tasks are different. Therefore, for me, as an architect, there is no point in looking for unusual innovative techniques that would break with traditions.

In my tastes I rely on ancient samples. For example, I will not build a church in the classicism or baroque style.

What style dominates modern church building? Most likely none. Often this is the self-expression of architects or clients, which has nothing to do with church tradition. There are several architects who are constantly engaged in temple construction - there is already something to see here. After all, if knowledge, practical experience appears, and even if the architect himself becomes a church member, he already begins to live in this tradition.

No one has a common concept. Everyone does it differently. Yes, and I myself can, for example, make a project in the Art Nouveau style, or in the style of the 17th century, or in the style of Byzantine architecture. This is not because I have a mess in my head, but because this is all my favorite. Depends on the situation, location, dedication, purpose, history of the temple.

- Is there a canon in architecture like in icon painting?

There is no prescribed canon as such. There are instructions in Scripture about what the temple should be like, they were given by God Himself: how to build the Tabernacle. It is said that there must be a temple itself, that there must be an altar, a holy of holies, there must be a vestibule, a courtyard, and so on. This is dogmatic. Everything else is tradition. Our task is to select from this tradition what relates specifically to the tradition, and not to the tastes that prevailed in a given period of time. That is, for example, churches of the Classical or Baroque era are closer to secular architecture. In a baroque iconostasis, for example, the icons will be difficult to see behind the decorative elements - at that time, architects were more interested in style than in the sacred meaning of each interior detail.

But, for example, if we look at a Byzantine temple, we will not find anything superfluous in the architecture - everything is subordinated to a certain symbolism. Moreover, if this is royal architecture, then it is monumental, there is gold, mosaics, and marble. But there are also simple small temples; Remember, for example, the Balkans - and there, too, the space is organized surprisingly harmoniously.

In any church art, the main thing is proportion, because proportions emphasize the beauty of form. After all, a church building should be beautiful. It can be simple, but it must also be beautiful. Any small Balkan temple, which is 3 by 4 meters in area, is very beautiful.

- Isn’t it worth continuing the Russian tradition of small wooden rural churches?

It was natural and easy to build a wooden temple in an ancient Karelian village. The necessary material was at hand, and the craftsmen, who were excellent at their craft, passed it on from generation to generation.

Now wood with a diameter of 36 cm already has to be ordered almost through the Russian Government, and the builders no longer know the techniques of wooden temple construction - then it is necessary to look for restoration specialists, of which there are only a few. Such a “correct” wooden temple will cost the same as a stone one. But to build from “pencils” - rounded timber, from which dachas and bathhouses are built?.. But you can’t build temples from them, this is no longer architecture! Of course, now such options are being built only as temporary ones: these buildings are ugly, short-lived, and there is a high fire hazard.

The creation of “walking distance” churches in different areas of Moscow, which will be built from modules, is now being widely discussed. The idea itself does not raise questions, but how can you evaluate the idea from an architectural point of view?

If these are modules, then they are concrete... True, I have not seen these projects personally, so I cannot judge.

Prefabricated churches are easy to implement; for example, we are now building a temple on Leninsky Prospekt, it is almost ready in 2.5 months.

You can quickly build small churches - at least following the example of Pskov architecture, which is incredibly simple, but surprisingly spiritual.

I don’t really understand the huge city churches with a capacity of 1.5 thousand people. Clearly, if this is a cathedral. But it is difficult to organize church life there, to create a community. People have come and gone, and the priest is unable to communicate with everyone. These will no longer be parishioners, but visitors.

Nowadays there are very few churches in the multi-million metropolis. In our Moscow churches on Sundays and holidays there is no place for an apple to fall, and on weekdays 10-15 people come to services there. A huge temple is expensive to maintain. That is, the temple must be heated all week in order for there to be a service there on Sunday. And then the utility bills come and everyone feels bad.

But filling Moscow with a huge number of small churches would be wonderful. There the priest will be able to organize a small community, but he will be able to feed every parishioner.

Many city residents believe that the architecture of the temple should fit into the surrounding urban development. Is this advisable in your opinion?

It depends on what kind of building it is. Sometimes in Moscow, for example, there is such urban modern architecture that you don’t want to live in it, let alone shove a church building into it, and even adapt its style to it. On the contrary, I believe that a church building should look like a Garden of Eden in the middle of it all. That is, the temple should not imitate the industrial landscape, but be a counterpoint. Such a Church seems to say: there is a worldly life, and there is a church life, and if you want such a life, come here. That is, all architectural delights should emphasize, and not obscure, the symbolic image of the temple and the surrounding area. For example, in the Sretensky Monastery the temple is surrounded by a garden. And this is not because the governor, Father Tikhon, loves roses, this is how it should be - like the image of the Garden of Eden in the center of Moscow.

You spoke about the architecture of Byzantium and Holy Rus' as a standard that needs to be copied. But, for example, the Art Nouveau style, which arose at the beginning of the 20th centuries, also implemented ancient models, but the artists then built truly innovative temples.

Art Nouveau style, in which, for example, the Marfo-Mariinsky Convent in Moscow was built and to which A.V. belongs. Shchusev and I.E. Bondarenko is an example of beautiful church architecture. Why was it successful? Because artists studied Pskov and Novgorod, studied antiquity, primordial traditions... After all, it was in that era, at the beginning of the 20th century, that the understanding came that our traditional heritage is very rich and interesting. And then they began to focus not on the West, as had been the case for several centuries, starting with Peter I, but on their own art.

An artificial search for something new is disastrous. For example, an icon painter does not sign his work - he is not its author. Likewise, an architect, when creating a new building, must each time study ancient samples and, having already passed them through himself, create his own project. This process is always the most enjoyable part of my work. It brings so much more to my craft and my soul than if I were simply expressing myself as a terribly talented architect.

- Do you think that the ideas of the “Russian Renaissance” of the early 20th century Are centuries consonant with our era?

Now many artists feel in the same state - they still have a lot to study, discover, copy. Then only they will be able to create within the framework of tradition. But, for example, the new generation of architects, who are now 20-22 years old, is already going further - I see this in the example of my students. So, for example, I saw projects of churches in an innovative style, but which were created not simply for the purpose of self-expression, but on the basis of a deep understanding of Orthodox traditions: there remain the forms, the proportions of the “golden section”, construction on four pillars, with a drum and domes, then there is a cross-dome system. But such architecture can only be created by believers who know the life of the Church.

The financial and economic management of the Russian Orthodox Church, the Union of Architects of Russia and the Guild of Temple Builders announced an open architectural competition “Project of an Orthodox church with a capacity of 300, 600 and 900 people with a parish complex,” according to the website of the Program for the construction of Orthodox churches in Moscow (“Programs-200 ").

Based on the results of the competition, the jury and expert council, which included well-known representatives of the architectural community, priests of the Russian Orthodox Church and historians of temple architecture, will select 9 winning projects - three in each category.

Professional architects, students of architectural universities and teams of authors are invited to participate in the competition.

A message on the website of the Program for the Construction of Orthodox Churches in Moscow (“Program-200”) states: “Many churches have been built over the past two decades. However, we have to admit that not all design solutions meet the architectural and artistic requirements, just as the buildings themselves meet the technical conditions of modern construction.”

The organizers of the competition also emphasize that today it is becoming relevant to design economical and at the same time quite spacious and functionally filled churches that have all the necessary premises for organizing a full-fledged parish life.

“In conditions of limited budgets, there is a real need to diversify the palette of external and internal architecture of churches and Orthodox temple complexes,” says the announcement of the start of the competition.

Temple projects for Program 200

Currently, within the framework of the “Program-200”, 8 standard designs of Orthodox churches with a capacity of 200 to 600 people are mainly used.

The developers of the projects were JSC Research and Design Institute of Civil Engineering, Improvement and Urban Design “Mosproekt-3”, JSC Mosproekt-2 named after. M.V. Posokhina, OJSC Moscow Research and Design Institute of Typology, Experimental Design (MNIITEP), as well as Project+ LLC.

Typical designs of churches for 200 parishioners

Designer - PROJECT+ LLC.

Prototypes of the temple can be found in early Moscow architecture (Zvenigorod, ancient churches of the Trinity-Sergius Lavra).

The church is small and compact with parish premises on the lower floor. Recommended for “tight” areas. The belfry is located above the central entrance.

Italian motives. Temple for 200 people

The temple building is rectangular in plan, three-part, pillarless, three-apsed, with a technical basement. A large dome crowns the tetrahedron of the prayer hall and turns into a slender octagonal drum in the style of the Italian Renaissance with a helmet-shaped top.

The vestibule area is virtually absent, while an extensive vestibule is designed, where the staircase leading to the choir and belfry is located. At the same time, the layout provides for a compact volume of the candle shop.

The staircase to the basement rooms is located in the side apse, which is convenient for access to the utility rooms directly from the altar (to the sacristy, storage rooms, bathroom, etc.).

Typical designs of churches for 300 parishioners

A collective image of Old Russian architecture - option II. Single-domed church with three altar apses for 300 people

Designer - MNIITEP.

The temple building is rectangular in plan, three-part, four-pillar, single-domed. The temple was designed without a belfry.

The main version of facades is finished with circular or keel-shaped zakomaras.

A clear success of the project developers is the variations of the volumetric design of the temple on the theme of Novgorod architecture with two roofing options: a gable (gable) type and a “trefoil” type with lowered angles.

A collective image of Old Russian architecture - option III. Single-domed church with three altar apses for 300 people

Designer - Mosproekt-3.

The temple building is rectangular in plan, three-part, four-pillar, single-domed, three-apse, single-altar. The temple was designed without a belfry.

The developers tried to create a temple in the style of K.A. Tone, in whose projects echoes of Byzantium in the Old Russian interpretation are clearly visible.

The choir rooms are located on the mezzanine floor. In the basement of the temple there are: a sacristy, utility rooms, a ventilation chamber, and an electrical room.

Typical designs of churches for 500 parishioners

A collective image of Old Russian architecture - option I. The five-domed church with three altar apses is designed for 500 people

Designer - MNIITEP.

The external appearance of the temple is dominated by elements of the Vladimir-Suzdal school of church architecture.

The temple building is rectangular in plan with clearly defined entrance groups, four pillars, five domes. The temple was designed without a belfry.

In the basement of the temple there are: a sacristy, utility rooms, a ventilation chamber and an electrical room.

Designer - Mosproekt-2.

The full version of the temple consists of 4 module blocks: the central part of the temple (tent), two side aisles and the vestibule-refectory part. The project provides for different layout options for these blocks.

The temple building has a cruciform plan. The height of the temple is 32 meters.

Open choirs are on the second tier. In the basement of the temple there are: a sacristy, utility rooms, technical and utility rooms. There is a low belfry above the porch.

Designer - Mosproekt-3.

The architectural design of the temple is based on the pseudo-Byzantine tradition of temple construction. The building is three-part, four-pillar and one-absid. In plan, the temple is an equilateral Greek cross, around which a rectangle of the main volume is formed; the facades are designed identically, which creates a feeling of integrity and completeness of the volume.

The temple is crowned with five helmet-shaped domes, of which the central one stands out with larger proportions. The central dome is placed on a round drum, framed by a row of windows, visually creating the effect of airiness and lightness of the dome, in comparison with the overall volume of the temple. Small chapters are a type of rotunda with an open colonnade. At the same time, belfries are located in the two western small drums.

On the ground floor there are: an altar and a staircase leading to the sacristy, the middle part of the temple with northern and southern aisles, a vestibule with a candle stand, an entrance vestibule and a staircase leading to the choir, which is located on the mezzanine floor.

In the basement of the temple there are: a sacristy, utility rooms, a ventilation chamber and an electrical room.

Standard design of a church for 600 parishioners

Designer: - PROJECT+ LLC.

The external architecture is designed in the style of large cathedrals of the 16th-17th centuries. A distinctive feature of the project is the placement of the lateral chapters of the five-dome along the axes: west-east, north-south.

In the area of ​​the narthex and in the basement there are rooms that can accommodate parish services while the parish house is being built.

The space-planning solution includes the upper and lower churches, a “developed” basement and entrance groups with a central internal staircase. The free-standing bell tower represents the type of Rostov belfry (in a reduced form) with the entrance gate to the territory of the complex, a security room and an individual heating point (IHP). In the upper tier there is a three-span bell.