design of the station required considerable creative efforts from the author: "I remember well how the project of station «ZIS» [Zavod imeni Stalina] was developed. My husband made some drafts, which did not satisfy him, he put off the work and was deep in the book of Timiryazev «Life of plants». He ignored my questions why he needed that and only asked to play Bach's fugue. When finished the book, he sat down at the drawing-board. He made eleven drafts of the station but chose only one, which was realized. For me the character of the station is music and polyphony. While going down by the escalator, the columns appear one by one and then as if combine in common sounding - as the finale of the cadence brought to key" Novoslobodskaya (1952) This station on the Ring Line, 40 meters deep, was Moscow's first employment of stained glass, a technology previously associated with Roman Catholic church and thus deemed unacceptable in Soviet architecture. These glass panes were produced in Latvia to drafts by Pavel Korin. Panels, integrated into white marble pylons, relieve the look of an otherwise heavy structure. According to Dushkin's wife, the architect proposed stained glass and actually travelled to Riga to inspect Latvian workshops before the war (i.e. between August, 1940 and June, 1941). These plans materialized a decade later. According to Alexander Strelkov, junior architect on this project, Dushkin originally settled for uranium glass, as he once saw in London, and picked Vera Mukhina to shape the glass. However, Gosplan management rejected his request for uranium, saying "you'd have better chances asking for gold, don't even dream of uranium". Dushkin and Strelkov followed the advice, requested and secured real gold for Pavel Korin's artwork. Architect of the Railways (1943-1955) In 1943-1955 Dushkin dedicated himself to mainline railroads and chaired the Architectural Department and Workshop of Ministry of Railways. Dushkin and his workshop designed railway stations to replace the war losses; unlike Mayakovskaya, these are true examples of heavyweight Stalinist architecture. In 1947, Dushkin received a highest credit, second class - the right to design one of Stalin's Seven sisters. Second class, because the original 8 drafts were pre-arranged into four major and four minor projects; Dushkin qualified for a minor one. He earned Stalin Prize for a conceptual draft in 1949 (with Boris Mezentsev) and completed the tower in 1951. Construction was complicated by the