St. Petersburg House of Books

At the very heart of St.Petersburg, at the corner of Nevsky Prospect and Griboedov Canal, there stands an imposing building with a cupola-tower. The building’s challenging and innovative architectural design attracts attention of everyone who happens to pass it by.

Spectacular decor on the façades, stylish and elegant interiors are even more impressive today, after restoration that returned the building to its original splendour.

Initially put up as a tenement building, the Singer Building, constructed in 1902–1904, had quickly failed to serve its intended purpose. Since 1919 and for many decades afterwards it has accommodated one of the Russia’s largest book shops, as well as editorial offices of over ten oldest Leningrad publishing companies. As a result, several generations of Petersburgers associate this building with the House of Books.

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The history of the present 28 Nevsky Prospect site can be traced back to the second half of the XVIII century. In 1770s, there was a house constructed for a court confessor, member of the Holy Synod, arch-presbyter Ivan Panfilov. The building was an exemplar of early Neoclassicism. Its wings were located along the perimeter of an orthogonal site: the front ones had three stories, the court ones — two stories. In 1820, upon the design of architect V.I. Beretti, the court wings received one more story; while the front ones were enlarged later, in the end of 1830s — at the beginning of 1840s.

In the second half of the XIX century the site was owned by a chemist, Karl Imsen. Since 1829, the building accommodated a bookstore run by a publisher and a bookseller, I. Slenin. Slenin was an eminent figure of the time and was known as one of the few publishers whose activities were guided by some certain set of believes. He was on good terms with A. Pushkin, A. Delvig, C. Ryleyev, F. Glinka, and W. Küchelbecker. His sophisticate taste, impressive erudition, and ­ability to recognize the real value of a piece of literature was enhanced by his excellent entrepreneurial qualities and business intuition. Slenin performed an unprecedented action by acquiring the rights for the second edition of Karamzin’s “History of the Russian State” for 75,000 rubles, while the previous edition had not been sold out yet. The risk was well justified, and, according to A. Delvig, the appearance of the first eight volumes was a great success: “there were so many people interested in the book, that the other visitors could hardly enter the room, where it was displayed”.

The location of Slenin’s bookstore was not selected by chance. In the beginning of the XIX century, the territory of Nevsky Prospect between the Moika River and Ekaterininsky Canal was at the core of metropolitan literary life and book trade. At the end of 1831, another bookshop appeared in that area. A. Smirdin, a publisher, who was also actively involved in the cultural process of the time, ran the shop.

On the opposite side of Nevsky Prospect, on the premises of the present building №27, there were Glazunov Brothers’ Publishing Company offices and a shop. In 1823–1828, Slenin’s shop was located next door, in the house of M. Kusovnikov (present address — 30 Nevsky Prospect). According to the contemporaries, there was a sort of a literature club, where Russian writers used to meet, talk and have discussions.

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The building at 28 Nevsky Prospect is also associated with the rise of Russian photography. On October 22, 1850 Levitsky, a court photographer, a “pioneer of Russian light drawing” and a founder of the Russian Technical Society opened a photo studio. When S. Levitsky moved to another place, the new owners of the studio retained the signboard and the company’s branded pass-partouts, which greatly contributed to their success.

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In the middle of the XIX century the site went over to P. Zhukovsky, and in 1870 — to his wife, O. Zhu­kovskaya. Upon the project by architect F. Rudolf (1870), the front wings were modestly decorated with ­details typical of Eclecticism.

At the end of the century, front wings were still leased out to different companies. In 1896, the building housed C. Strömberg’s pharmacy, a tavern, a hairdresser’s, a fruit stand, a glove store, French newspapers shop, “Lampe & Co” banking-house offices, a bookstore, and a photo studio run by L. Bergholtz.

By the end of the century, book trade became the main specialization of this “business centre”. In addition to Slenin’s shop, there appeared several new ones owned by A. Deubner, R.F. Genniger, J.A. Viole, K.F. Goltz music shop, as well as “Russian Invalid” and “Stock News” newspapers editorial offices.

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The turn of the century marked the new stage in the history of the site that went over to Singer manufacturing company, a subsidiary of a famous American corporation.

I.M. Singer & Co partnership was registered in New York in 1851. The same year saw the foundation of the first company’s factory in New Jersey. By 1867, owing to Isaac Singer’s outstanding entrepreneurial talent, and Edward Clark’s, his partner, business qualities, as well as to an appropriate environment, the company had become the biggest sewing machines manufacturer in the world.

Having gained solid position in the American market, Singer Manufacturing Company that became a joint-stock company in 1863, started to establish a foothold in the European market. In 1864–1865, the company opened its Hamburg and London branches. At the same time, the company started its expansion in the Russian market; though due to its economic backwardness and low volume of sales the country was not among the company’s top priorities. By 1896, company authorities had determined to create a subsidiary in Russia.

Initially the company was incorporated at small premises at 40 Kazanskaya Street, which did not exactly come in line with the company’s ambitious plans. That is why choosing an appropriate building was considered a top priority.

Singer Company executives took notice of the house owned by widowed O. Zhukovskaya. In addition to its perfect location, the building’s lease agreements expired already in 1902, two years earlier than with the previous variant.

It took several months to persuade the widow to sell the house. Only in May 1899, in spite of much resistance from O. Zhukovskaya’s relatives and lessees, the company was finally authorized to purchase the site.

The acquisition price was worth over a million rubles. Commenting upon this round sum of money, mass media pointed to the advantageous location of the site, as well as to “considerable revenue” its former owner had received. A new challenge was formulated in New York: the old building was to be demolished, and a new multifunctional edifice accommodating the company’s headquarters, its main store and warehouses was to be constructed. The remaining premises were assigned for lease.

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As a result, a new type of commercial building — “a business centre” was to be erected just across the street from the Kazan Cathedral. According to a story, the company’s authorities in the US intended to erect a high-rise building that is typical of New York but unusual for St. Petersburg. That sounds strange today: could they ignore the fact that their intention contradicted to the “height regulations” approved of by the Emperor (a building should not exceed 23,5 meters till the cornice).

At the turn of the XX century two Singer Company buildings were erected on Broadway in New York, both created by an American architect Ernest Flagg, a graduate of a Paris-based Ecôle des Beaux-Arts. Being actively engaged by the company, Flagg was likely to have a hand in St. Petersburg project as well. However, according to all the data available, the project of Singer Company building was designed by a famous St. Petersburg architect, count Pavel Susor.

Susor’s works are notable both for their artistic value and innovative nature. He was among the first to develop the new type of a tenement building with large bay and show windows, and to accentuate the buildings’ corner shapes with cupola-towers. He also introduced giant “triumphal arches” of a residential building (13–15 Pestelya Street, 32–34 Kirochnaya Street). He was especially famous for his design of bathhouses with the state-of-the-art equipment. In 1888–1890, on Ekaterininsky Canal Embankment (13 Griboedov Canal), close to Nevsky Prospect, he constructed the building of the Society of Mutual Credit decorated with sculptures and topped by a figured cupola. The most up-to-date ferroconcrete constructions were used for the creation of this building typical of high Eclecticism.

The project of the building was completed in the beginning of 1902. On 4 March, the city authorities approved the project. According to the legislation, the design of the façades had to be submitted for consideration to the Emperor Nicolas II; and received His approval on May, 16 of the same year. Later, a few slight changes were introduced into the design. The building was constructed in 1904, which is commemorated with an exterior dating put on the brick casing of the gateway (“1902” and “1904”).

In 1907, Singer Company Building was awarded an honourary diploma for the city’s best façade.

In 1910s, the Singer Company Building premises were leased out to important companies and institutions, such as “Zahariy Zhdanov” Bank, North-American States Consulate, and “Gerhard and Hay” joint-stock company that specialized in cargo transportation, storage services, and credit transactions.

The Singer Building embraced innovative architectural techniques of the time. The Singer Building was the first iron-frame building in the history of Saint-Petersburg’s civil architecture. The use of I-beam columns made it possible to fortify and lighten the block work and to narrow the piers. This technique also allowed to widen the windows. These innovations allowed to speed up and to reduce the price of the construction works. The building’s steel carcass is filled with brick and cement grout. The armored floor is made of concrete, scrap brick and coal, which contributes to its durability and strength. The building rests on a reinforced concrete slab.

The customers and constructors brought, as it were, the American type of an office building with an iron-frame construction right to the center of Saint-Petersburg. The functional and planning concept, the design of the building were undoubtedly dictated by the American experience of the late XIX century. The fronts of the building bear a certain resemblance to some American buildings of the kind. We recognize the motif of tier arcades that join two, three or more floors with wide triple-casement windows in the buildings of the Chicago School and some buildings in Manhattan, New York.

While working on this project Susor took a resolute step towards Art Nouveau while retaining the old techniques, blending seamlessly the new and the old styles. The arcades’ motif and the rustic masonry are typical of classical Eclecticism. At the same time the smooth bends of the embrasure and cornice, the undulated shape of the lucarne, the cambered shape of the glass-metal tower, the winding forms of the metal décor are all permeated with early Art Nouveau. The round mansard and the French type balconies are also quite uncommon for Saint-Petersburg’s architecture.

The filigree polishing of granite slabs was done by a Moscow company owned by List. The perfection of stone working harmonizes the stone’s natural property, and is a new feature compared to earlier buildings in Saint-Petersburg.

The features of Art Nouveau are clearly manifested in the bronze décor. The bronze décor came form Saint-Peterburg’s best workshops owned by K.I. Winkler and A.O. Schulz while some details were done at A. Moran’s manufactory. The female masks with cillery, the intricate cartouches with volutes are notable for their variety in form, are a combination of Neobarocco and Art Nouveau. The formalized cillery runs smooth and then spreads out and intertwines. The flower ornament and cillery are intermingled with the apanage of trade — Mercury’s caduceus. The mosaic panels on the fronts were manufactured at V.A. Frolov’s workshop while the joinery was produced by M. Frank and Co.

Allegorical sculpture contributes largely to the design of the façades. The winged female figures on the rostra symbolize sewing (one of the apanage is a naturalistic image of the Singer sewing machine) and maritime navigation — the main means of the company’s products distribution. The Estonian sculptor A.G. Adamson created these elegant sculptural arrangements. A bald eagle — the symbol of the United States — spreads his wings over the rounded corner of the building. A.L. Ober created the eagle.

The building, however, is most recognizable for its globed topped corner tower. The tower is an iron-and-glass construction and is parabolic in shape. The globe is crowned with a sphere of 2,8 m in diameter. The globe is girded with a band with the inscription “Singer” — a sign of universal recognition and demand for the company’s products. The tower became a new vertical mark in Nevsky prospect, a bright touch of Art Nouveau in its silhouette. Interestingly, Susor changed the initial proportions of the tower making them more elongated and thus better proportioned.

The architect demonstrated precise town-planning considerations. In fact, due to boost in the urban development of the late XIX — early XX centuries church towers and domes on that sunny side of the ­prospect simply faded. So a new vertical line was not inappropriate here, moreover it was indispensable. Its appearance counterpoised the distant tower of the City Duma Building, on the one hand, and the Admiralty with its spike, on the other. In the prospect of Griboedov Canal the top of the Singer Building resonates with the dome of the Church of the Resurrection of Jesus Christ (the Church of Our Savior on Spilled Blood). Thus, Susor’s building bound together the spatial interrelations of that part of the city.

The inside of the building has a connection with its surroundings. The wide windows look out upon the wonderful Kazan Cathedral, the spectacular Nevsky Prospect and the embankment. Undoubtedly, these views raised the commercial appeal of the building and its aesthetic value at the same time.

The core of the building is composed of the main hall and the central atrium that was used for customer service area of the bank. The dynamic and irregular composition of these rooms with their varying spaces reflects features of early Art Nouveau. The marble staircase integrated asymmetrically into the interior draws out the bounds of the hall; the huge internal arched window joining the portal opens the wall, as it were, between the hall and the atrium.

The style of the spacious sales area of the Singer Company, overlooking the canal, is different. The doubled columns and the lacunar ceiling signify a return to classics. Ionic columns are also included in the interior of the atrium. Susor does not seem to be confused by the ambiguity of style of the neighboring rooms; the traditional elements of décor are meant to accentuate the solemnity of the front area.

The interior of the upper floors combines an austere business-like style and a decorative refinement of early Art Nouveau. Curves are predominant in stair rails and elevator shafts, paneled oak doors and glass embrasure of the mansard and even in the wavy pattern of the flooring tile. Most elements of iron railings are braided with long leaves and thin bands that wind and climb the railings.

The back of the building with its three square courtyards (called well-yards due to their shape and height) is refined. Unlike the stately, imposing look of the granite façade, the yards are designed in an unpretentious and thrifty way with multicolored glazed brick. The constructors preferred durable solid facing that had a decorative value to the usual stucco.

The walls are faced with white glazed brick common for Art Nouveau, which makes the narrow yards lighter. Horizontal lines and geometrical figures in red and green brick play a double role: they serve both as structural details and form an independent laconic pattern. It is significant that the neighboring firewall in the northern yard is also bricked and the builders even bricked the narrow gap between the buildings. But, whereas utilitarian elements, such as copper drainpipes are hidden under the facades, here, in the yards, iron headers, drainpipes with snow melters and the American type fire escape are all displayed.

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“The Singer JSC in Russia” was initially engaged in sales of imported sewing machines. At the same time, the company sought to create its own manufacturing facilities. In 1900, it acquired a big land plot near Moscow and started the construction of a mechanical factory. The production of domestic sewing machines, assembled partly from imported components, was launched two years later.

In 1906, the company was awarded an honourary title “the Supplier of a Court Yard of His Imperial Majesty.” In 1913, the company’s gross profit has risen by 750 percent with the charter capital increasing by a factor of 10. The sales network of the Singer Co. in Russia comprised 3000 shops and depots. Russia became Singer’s second largest market in the world.

That was the peak of commercial activity of the Singer Co. in Russia. With the beginning of the First World War, the company’s volume of sales started to decrease. In 1914, the central store at 28 Nevsky Prospect was turned into a sewing workshop that provided for the need of the army till 1918.

After the October Revolution, the company suffered the same fate as the rest of Russian private enterprises. In December 1918, by the decree of the Soviet Government, the Podolsk factory and the tenement building on Nevsky Prospect were nationalized. Though the company still owned some premises at 28 Nevsky Prospect (up to 1922), that put an end to its activities in Russia.

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The name Dom Knigi (The House of Books) is used to identify the building at 28 Nevsky Prospect not only because its lower stories accommodated the largest and the oldest bookstore of the city. This name is associated with the entire building. In 1919–1980s, it was the centre of the book industry with the state publishing companies and the city’s book trade authorities offices located on its uppers stories. This unique book centre would remain in history under the name of Leningrad House of Books.

The establishment of a Petrograd branch of the Gosizdat, State Publishing Company, in December 1919 was the starting point in the House of Books history. On December, 19 1919, the company’s bookstore was opened there.

The store offered Petrogosizdat production, such as the works by Marxism-Leninism classics, propaganda leaflets, contemporary Russian and foreign literature, world literature classics, as well as some confiscated books. In 1919–1920s, Petrogosizdat’s store was the only bookshop in the city: after the nationalization of the book industry, there was just no competition in that field. Till November, 28 1928, when Sovnarkom (Council of People’s Commissars) issued a special decree, the book trade was replaced by the free of charge distribution to state institutions. The industry was revived only under the policy of NEP (the New Economic Policy), when all the production issued by the State Publishing Company, as well as some private and foreign publishing houses, was put up for free sale.

In 1920–1930s, the number of residents of the House of Books was constantly increasing. In 1922, a music shop was opened there, followed by a foreign literature shop in 1923. Besides Petrogosizdat company (from 1924 — Lengis, and in 1930–1938 — Lenoblisdat) that occupied the upper floors, the building accommodated Kniga I Revolutsia (Book and Revolution), Zvezda (Star) and Leningrad journals editorial offices. In the end of 1920s — the beginning of 1930s, the famous Chizh and Yozh (Siskin and Hedgehog) children’s magazines were published on the basis of Lengosizdat under the editorship of K. Chukovsky, probably the most popular poet for children in Russia.

In 1930, the St. Petersburg branch offices of Sovetsky Pisatel (Soviet Writer), Khudozhestvennaya Literatura (Fiction Literature), Molodaya Gvardiya (Young Guards), as well as some other publishing houses settled in the House of Books. In 1933, the Leningrad department of Detgiz (Children’s Publishing Company) (since 1936 — Detizdat) opened there as well.

The Siege of Leningrad in 1941–1944 brought on the unimaginable ordeal to the citizens of the city. Leningrad’ men of letters are known to contribute significantly to the city’s victory. Majority of former House of Books employees joined the army as soon as the war started. Many of them lost their lives. Those who stayed in the city continued their work even during the first winter of the Siege despite the extreme conditions — starvation, severe cold, lack of power supplies, and regular air strikes.

On December, 6 1941, a shock wave from an explosion shattered all the windows of the building. The warehouses were partly flooded. With boarded-up windows, and in the murky light of flickering light bulbs, the shop continued on. It survived till November, 22 1942.

During 1944–1945s, several publishing houses returned to their offices at 28 Nevsky Prospect. The bookstore itself was opened after major restoration works on November, 14 1948 (according to the other data, on February, 8 1949). Approximately 40,000 people visited it on its first day.

On December, 19 1969, Leningrad celebrated the 50th anniversary of the House of Books. In comparison with the pre-war 1939, the bookshop’s volume of sales has improved by a factor of 8. Dynamic increase in the range of goods and sales volume required new premises. As a result, in the beginning of 1970s, the House of Books administration moved to the second floor, while the first and the ground floor were fully adapted to the needs of the store.

Dramatic changes in political and economic life of the country in the end of 1980s — the beginning of 1990s affected directly the book industry. By the end of 1990s, all the publishing companies have left their offices at 28 Nevsky Prospect; and the bookstore became its only occupant.

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In the end of the XX century, due to the new political situation in the country, there arose a challenge of using the building in a more appropriate and profitable way. The building, a federally listed monument, was still owned by the city. However, in order to return the building its original functions with the store on the lower stories, and offices — on the upper ones, the city was in need of considerable investments. The building required elaborate and professional restoration. Over the whole 90 years period of existence, the building underwent capital repair only once, in 1945–1948. As a result, the walls of the central staircase that had once been trimmed in Venetian plaster technique were simply covered with oil paint; and galvanized iron roofing replaced the former one.

By the end of the century, owing to inappropriate use and maintenance, the building had totally lost its initial splendour. An “American” eagle that was once located under the cupola disappeared during the war. The façade copper sculptures tinted green-bronze, had been so dirty, that after their restoration and cleaning many citizens addressed the Government with the request for returning the sculptures “their original black colour”. Marble stairs leading from the front hall to the first floor, had been worn out by thousands of visitors. The fabric of the cupola and all the engineering systems of the building were in a dire state.

In 1998, by the decree of the Governor of St. Pe­tersburg the building was leased out to St. Petersburg Real Estate Agency CJSC (Director General, A. Isaev). Shortly after, in 1990s, the company launched wide range of works on the building restoration and adaptation.

The task of retaining its original architectural appearance impact, restoring its sophisticated sculptures and décor, as well as equipping the building with the most state-of-the-art systems of ventilation, air conditioning, telecommunications, and the other XIXth century technical innovations made it even more complicated. The choice of working technologies and materials, construction and finishing methods was determined by the main principle applied to such objects — “Not causing any damage”.

The project was launched with the works on the cupola restoration. In addition to that, the cupola and the globe bearing structures were secured and new glazing was installed. The company specialists also performed the works on the globe caryatides restoration.

By 2003, when the city was celebrating its 300th anniversary, the building’s front façades, sculptures, and bronze metal décor have been fully restored.

In 2005, a famous sculptor A. Arkhipov restored the eagle sculpture. Mosaic signboards with “Singer Company” inscriptions were once again set above the entrance doors.

In the process of restoration several “archaeological” remains were found, which is something out of the ordinary for such a young monument. The so-called zenith windows located at the pavement level that would serve as the top light, as well as four fluted cast iron columns with Saint-Gallis factory logotype that had been immured during the construction of the bank depositary were ­discovered on the basement story.

In autumn 2006, the restoration of the lower stories was completed. The area of the shop was enlarged with the basement story and part of the former internal courtyard adapted to its needs.

In the process of restoration, the walls were once again decorated with artificial marble, bronze candelabrums were returned to the main hall of the ground floor as well as window frames and the entrance door portal were renovated.

The project provided for the construction of two staircases connecting the three stories of the shop. Polished marble of the stairs and forged décor of the rails realized in the Art Nouveau style perfectly agrees with the overall design of the interiors. A huge stained glass plafond hanging in the art ­literature section is another piece of Art Nouveau.

The front staircase with all its décor has also been successfully reconstructed upon its original design; and its Carrara marble stairs were once again installed in their original place. In addition to that, unique sconces located at the stairs landings, magnificent wrought bass rails, as well as elevators shafts were also reconstructed.

Upon the “RIM” Company project, two internal courtyards were spanned over at the second story level, and glass lanterns were mounted to the mansard level. Inner walls of the atriums faced with white tapestry brick with contrast pieces of red and green tiles contribute to the overall visual impact of the interior.

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On November, 24 2006, the day of Dmitryi Likhachev 100th anniversary, St. Petersburg House of Books was opened. Everyone who participated in the opening ceremony recognized the importance of the event. Valentina Matvienko, the Governor of St.Petersburg, said: “I am happy the House of Books has finally returned to Singer Company Building, though it was not that easy. We should understand that having some expensive boutiques here would have been much more profitable for business, but the House of Books is a brand of St.Petersburg and its cultural heritage”.

The House of Books became the principal bookstore in the city, and one of the largest in Europe, at the same time corresponding to the highest international book trade standards.

Eighty percent of the bookstore’s range of goods includes books on specialized subjects in different sciences and humanities, such as philology, arts, education, etc. Aiming at non-mass literature, at the maximum coverage of new literature, diligent cooperation with large and small publishing companies — is typical of the House of Books

A hundred thousand of items is an enormous assortment. Collecting and offering it to the public is a most challenging task demanding highly skilled specialists in goods management. To find a particular item among this host of books may become a difficult task. Logical space arrangement, convenient books displays, signs, and up-to-date database all provide for the facilitation of a client’s search.

The halls are equipped with tables, chairs and chaises that also contribute to the comfort of the visitors, as the choice of a book, particularly an expensive one, requires concentration and deliberation. Looking through a book or the contents of a training manual, choosing the most appropriate book among several ones in the most comfortable surroundings is something the city’s other bookstores have always lacked. There is also a café with a wonderful view over Nevsky Prospect on the first floor that welcomes the book lovers and just passer byes alike.

Today the literary life of the city is once again concentrated in the House of Books. Meetings with authors, presentations of new books are still of key importance here. Maintaining the traditions, promoting interest in new books and new writers are of top priority to the bookstore’s authorities. Special attention is paid to the future — a lot of children might never forget about special events that take place in the new House of Books that may help them to preserve their childish, unaffected interest in reading.