The city of Pushkin with its gem the Catherine palace was turned into ashes during the World War II. Its revival began in 1950s. By 1970 it has become absolutely clear that search of the Amber Room would give no results. The initiative of its recreation was taken up by a famous architect G. Khazatsky. He made a model of one of pilasters of the Amber Room interior and began developing the plan of recreation.
On 10 April 1979 the Cabinet Council Decree of the USSR marked the starting point for the most daring experiment in the world restoration practice – recreation of the Amber Room. 
In 1981 Alexander Zhuravlyov, artist-restorer, became the head of the Amber Workshop and soon after that Amber Workshop became a part of scientific production association "Restavrator". Recreation of the «Eighth Wonder of the World» began with research of all the material available and restoration of survived items from the Catherine Palace amber collection.
Though all our restorers had both excellent art education and experience in jewelry, sculptural and stone-cutting work, they needed several years to master the forgotten technologies of Prussian craftsmen, discover their secrets and acquire their own ones.
Alexander Kedrinsky – an outstanding professional restorer, a brilliant architect and a skilled expert began scientific reconstruction of the Amber Room. Together with his colleagues he stepped on a long and difficult path of restoration. By autumn 1986 the Project of the Amber Room Recreation, which consisted of six volumes, was finished.

The question of identity of the newly-recreated Amber Room and the original was explored by one of the most recognized Arts critic of that time - Mark Kolotov. In 1986 all pictures of the Amber Room were thoroughly systematized and a detailed catalogue with description and explanation to each picture was made. Exact size of amber panels and decor elements were also found out. For decoding some picture fragments our craftsmen used the help of Russian police service, who have special photo equipment. This work allowed to prove appropriateness of each detail, and therefore, to recreate ultimately authentic image of the Amber Room.
At the disposal of restorers were the following materials: 
 1. Black-and-white pictures of amber panels;
 2. One pre-war colour picture of the Northern and Eastern walls of the Amber Room; 
 3. One watercolour by P. Grekhnev;
 4. About fifty small pieces of amber decor.
Craftsmen had to solve many problems, among them:
 • Definition of height of amber carving relief having pictures that show flat image only;
 • Choosing the most suitable kind of plywood to be used as a basis for amber plates and carving;
 • Choosing the best mastic for gluing amber plates to the wooden basis;
 • Choosing what colour of amber to use having only black-and-white pictures and one colour mini picture.
Recreation of Florentine mosaics of hard semiprecious stones became a tough question. Ludmila Khaykina and Mark Kolotov managed to establish the name of the author of picturesque originals for mosaics and moreover to find them in the Opificio delle Pietre Dure e Laborati di Restauro – the motherland of all Florentine mosaics in the world - where many years back four mosaic pictures were created for the interior of the Amber Room. To recreate them now semiprecious stones from all the vast territory of former Soviet Union, Pakistan and Italy were gathered. 
The restorers who were engaged in Florentine mosaics recreation (B. Igdalov, R. Shafeev, Y. Molchanov, A. Soloviev, K. Ivanov) had to face serious examination of their professional skills. In 1997 an original mosaic was suddenly found. When compared the two mosaics turned to be almost indiscernible. The most serious critics and opponents of the project finally admitted the skills of our stone-cutters.