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An uneducated construction worker who spent her life in Guryev (Atyrau), Alipova received attention and awards for constantly overfullfilling production norms, which opened her the door to committee and delegate roles.
Trained and working as an architect, Lydia Blinova acquired prominence as a central figure in the unofficial art scene in Almaty during the 1970s and 1980s.
Saule Bultrikova practiced architectural and interior design in Almaty in the 1970s before turning her attention to Kazakh folk arts. She subsequently became an artist who works in a variety of media related to the Kazakh tradition.
Jakipova designed several landmark buildings in Almaty, some in collaboration with Zauresh Mustafina and Albina Petrova, including the Palace of Culture of Almaty Cotton Factory, which brought its all-female team the titles of “distinguished architects of Kazakhstan”.
Based at Kazgorstroyproekt, Mustafina participated in the design of several landmark buildings of Soviet modernism, including the Central State Museum of Kazakhstan (1985) and the Palace of Culture of Almaty Cotton Factory (1981).
Petrova was the designer of several iconic buildings in Almaty, including the three residential buildings on Dostyk Street and the Palace of Culture of Almaty Cotton Factory (with Zauresh Mustafina and Gulzara Jakipova).
Popova worked as an architect in Almaty, Kazakhstan, before moving to Minsk in 1966. There, working at Minskpraekt, she designed standardized panel residential buildings for new microdistricts in the city. She was awarded the prize of the Council of Ministers of the USSR.
Based at Lengiprostroy institute in the 1960s-1980s, Safonova participated in the award-winning planning and design of Shevchenko, a new uranium-mining town on the Caspian sea in Kazakhstan.
Tuyakbaeva is a Kazakhstan preservationist known for her study and conservation of Ahmad Yasawi mausoleum in Turkestan. She was the head of the regional ICOMOS group and the director of Kazproektrestavratsiya.
