[1] Among his main completed projects are a high-rise residential building on Kudrinskaya Square and the development of New Arbat Avenue in Moscow.

After graduating from high school in 1927, he enrolled as a student at the Siberian Technological Institute, at the same time attended the creative studio of the artist Vadim Mizerov and worked as an apprentice decorator at the Tomsk Drama Theater.

[4] After the start of the war, he was assigned to an engineering reconnaissance company of a Civil Defense unit, which was engaged in the construction of camouflage structures and the prompt restoration of destroyed buildings.

[1] However, already in 1943, the young architect was attracted to cooperation by Dmitry Chechulin, who at that time was in charge of the reconstruction of the Mossovet building on Gorky Street.

At the same time, Posokhin and Mndoyants were entrusted with the reconstruction of the building of the former Alexander School on Frunze Street, which was to house the General Staff of the Red Army.

In all apartments, the kitchens were equipped with refrigerators, built-in furniture, sinks with a crusher for the destruction of large waste, and access to a garbage chute was provided.

Among other things, he noted the fact that architects were categorically forbidden to use foreign magazines in order to avoid copying the techniques of Western masters.

[9] He was interested not only in the creation of outstanding structures - he was one of the first architects in the USSR to develop and implement projects for large-panel buildings.

He emphasized that for the rapid construction of new residential areas on the outskirts of the capital, “all-out industrialization is necessary... based on the typification and widespread use of structures, architectural details, elements of factory-made sanitary and engineering equipment.” The master believed that it was necessary to design new frame houses taking into account the future placement of shops, children's educational institutions and entertainment organizations on the ground floors.

To the small building, previously practically devoid of expressive decorative elements, two outbuildings connected by a colonnade were added.

[12] On September 7, 1953, a decree of the CPSU Central Committee and the USSR Council of Ministers "On the construction of the Pantheon" was published, where it was planned to transfer the remains of those buried at the Kremlin Wall Necropolis and in the Lenin's Mausoleum.

As a starting point, all the contestants chose an antique temple with a colonnade (in Posokhin's design - two-tiered), which was consistent with the principles of the "Stalinist Empire style".

However, already on November 1, 1954, Nikita Khrushchev began to fight against "decoration", which excluded the possibility of developing pompous Stalinist architecture in general and the Pantheon project in particular.

[14] He implemented a similar layout of premises in the project of the Oktyabr cinema, which was created in the complex development of Kalinin Avenue.

[15] The construction of the minimalist Palace of Congresses with the idea of opening the internal space to the outside served as a reflection of the new architecture of the Khrushchev Thaw.

For this purpose, it was necessary to deepen the lower level of the hall and vestibule by 15 m.[16] The building was put into operation already in 1961, and a year later he was awarded the Lenin Prize for the implementation of the project.

The 26-story high-rise buildings on the southern part of the avenue were one huge commune, connected by a common two-story stylobate, in which it was proposed to create entertainment facilities.

At the request of Nikita Khrushchev, a regular road surface was laid, which is why the complexes of the northern and southern parts of the avenue turned out to be separate.

There is a need for a rhythmic alternation of closed and open spaces, a combination of narrow and wide streets, large and small squares, boulevards and parks...

[18] The new avenue became an important milestone in the development of standard construction as a clear example of the expressive effect of alternating high-rise and low-rise buildings.

The main building, 31 floors high, received an original shape in the form of two curved plates connected by a rectangular volume.

[20] In this case, a smooth curve diluted the monotony of the corridors and provided the viewer from the outside with a comfortable glare of the glass surface.

[22] Four of them (Khovrino - Borisovo, Tyoply Stan - Vladychino, Ochakovo - Mytishchi and Tatarovo - Biryulyovo) were supposed to pass 5 km from the center and in the future go beyond the Moscow Ring Road as exits to suburban highways.

[23] To ensure the viability of the capital, a new polycentric structure was required, with the historical center as the main zone and seven new ones located on the periphery.

Soviet officials, on the contrary, sought to increase the volume of residential development, which provoked rapid population growth, and the threshold of 8 million was reached already in 1980.

The main idea of the plan—the creation of a polycentric city—also remained unfulfilled, and the construction of the Third Ring Road and the commissioning of new metro lines dragged on for many years.

As a result, the multi-volume book "Architectural Monuments of Moscow"[4] was published and Russia's first Pedestrian zone, Arbat Street, was reconstructed.

A single three-story stylobate was created for the entire complex, which housed various public institutions: from conference rooms to restaurants.

[31] From an architectural point of view, the more interesting foreign projects were the USSR pavilions, which the architect designed for the World Exhibitions in Montreal (1967) and Expo '70 in Osaka (1970).