The Book Sanctuary

Reconstructed and renovated by Studio 44, the building of Vladimir Mayakovsky Public Library received modern technical content, at the same time becoming closer to its authentic image from the times when it was part of the compound of the Trinity-Sergius Lavra.

Written by:
Alyona Kuznetsova, Julia Tarabarina
Translated by:
Anton Mizonov

20 April 2022

Object

Even before the reconstruction, Vladimir Mayakovsky Public Library, aka Mayakovka, was probably the most popular library of St. Petersburg: situated a little bit away from the bustling Nevsky Prospect, in a pretty building, with a quite representative selection of books, and a unique atmosphere – serious, but not too serious, unlike the one at the Russian National Library. After the renovation, the library changed even more for the better: it became more convenient for the coworkers, visitors, and for books too, it took on a certain kind of shine, became ready to host events and form communities, yet at the same time it kept its charm – once you enter the building at Fontanka, 44, you find yourself inside the “good old” Mayakovka – only with a telelift and a smart locker room. In this issue, we are covering what the architects and restoration experts did to achieve such a result.

zooming — Restoration and modernization of the Mayakovsky Public Library

Copyright: Photograph © Margarita Yavein / provided by Studio 44

The Labyrinth

In 2018, the library, through the efforts of its director Zoya Chalova, finally got into the targeted reconstruction program: by this time, repairs had not been carried out for about 40 years, the engineering systems were worn out, and the complicated logistics system made it difficult not only to access books, but also for different departments to interact with one another. The competition for the development of the project was won by Studio 44.

To give you a better idea of the complexity of the task that the architects were faced with, we must first of all say that the library is situated literally two steps away from the “Horse Tamers” sculptures on the Anichkov Bridge, next to the Beloselsky-Belozersky Palace – in the buildings that formerly belonged to the compound of the Trinity-Sergius monastery, the land site for which was allotted by Peter the Great himself back in 1714. For two hundred years, the monastery abbots who came from Moscow to imperial St. Petersburg stayed in the courtyard.

In the Soviet time, the complex changed its function and was transformed to fit the needs of the library, but it was done in a way a bit too pragmatic and straightforward – today, however, the authors of the new restoration and renovation project were required, on the one side, to keep the current functions of the buildings and at the same time reveal the beauty of their architecture, somewhat spoiled by the alterations made in the 1969’s, and, on the other side, to adjust the complex to meet the needs of a modern library, literally “jamming” innovative solutions – both architectural and organizational – in the interiors of the old buildings. In addition, it must be noted that the compound did not arise at once back in the day – in actuality, it is a group of buildings of different functions and years of construction, very much like a volumetric jigsaw puzzle on the inside. Spoiler: the difference in years of construction is something that the architects also emphasized.

The three main buildings of the former courtyard are the cell building stretched along the Fontanka embankment, the Church of Sergius of Radonezh next to the Beloselsky-Belozersky Palace and the volume of the late Trinity Church located deeper inside the site.

The cells and the Church of Sergius of Radonezh mostly refer to the mid-18th century, but this predominantly applies to the material of the walls, floors, and general outline of the plan. As for the facades, they were repeatedly changed, buildups were constructed over the main volumes, new entrances, staircases, windows, and rooms appeared. Two capital rebuilds refer to the middle of the 19th century. Architect Alexey Gornostaev decorated the front facade in the Russian style: window frames appeared in the form of figured columns with cornices and cherubs in tympanums, while the courtyard facades retained the Baroque decoration (1856-1857). Architect Sergey Sadovnikov added a third floor to the cell building and added the Trinity Church (1870).

Most of the changes to the monastery compound took place – for obvious reasons – in the 1930’s: at that time, the domes were dismantled, the facade and interior decoration was destroyed, which included an oak-carved iconostasis designed by Joseph Charlemagne and icons painted by Alexei Venetsianov. In the 1940’s, the library moved to the building, but it was only later, in 1968, that the building was reconstructed to fit its needs: the single-volume spaces of both churches were divided into three stories, some of the bearing structures were replaced, extra staircases were added, and the basement floor was deepened.

The decoration of the facades was returned only in 1995, but for some reason, specifically on the Fontanka, i.e. in the grand-facade part, it was done in a simplified format.

The library building is a cultural heritage site. Despite the fact that it keeps its function, the task of adjusting it to modern realities was nothing short of rocket science: considering all the applicable restrictions, the architects were to “fine-tune” the old premises for the new regulations, making them inclusive and convenient for all the users, at the same time keeping and highlighting the historical value of the building.

Zoya Chalova, director of the Mayakovsky Library

Throughout the entire course of reconstruction, we worked closely with both builders and architects. First of all, the historic building was not originally intended for a library, and the main task was to make the project modern, versatile, and comfortable for the employees and visitors. Constant dialogue with contractors helped to achieve excellent results; all our wishes were carefully listened to and taken into account. The architects of Studio 44 offered us eight options for the project, and it seems to us that we have chosen the best one.

The Starting Point

The project started developing from purely pragmatic tasks: in order to ensure two emergency exits from any given point of the building, it was required a staircase-and-elevator nucleus. There was only one place for it – the vault that curiously did not have a protected status. Having established the “nucleus”, the architects could get down to other rooms.

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Restoration and modernization of the Mayakovsky Public Library. The yard facade

Copyright: © Studio 44
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Restoration and modernization of the Mayakovsky Public Library. The main facade

Copyright: © Studio 44
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Restoration and modernization of the Mayakovsky Public Library. Plan of the 1st floor

Copyright: © Studio 44
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Restoration and modernization of the Mayakovsky Public Library. Plan of the 2nd floor

Copyright: © Studio 44
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Restoration and modernization of the Mayakovsky Public Library. Section view 4-4

Copyright: © Studio 44
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Restoration and modernization of the Mayakovsky Public Library. Section view 6-6

Copyright: © Studio 44
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Restoration and modernization of the Mayakovsky Public Library. Section view 7-7

Copyright: © Studio 44

The second most difficult problem was connected with the utility lines: in order to find room for all of them, the architects had to sink the basement floor by 30cm, and the proximity of the Fontanka River was making the whole thing even more exciting. Eventually, however, everything did work out: the load from the existing walls was carried over to a new foundation of reinforced concrete, the historical masonry was repaired and reinforced, and the utility lines were hidden under the plaster floor slabs. The condition of the masonry of the basement floor did not allow the architects to leave it exposed, demonstrating to the visitors the authentic masonry of the 18th century – the walls in the interiors of the lower tier are covered with stucco, which, on the other hand, brings out the plastique of the vaults, and also looks dramatic in its own way. In addition, after the later additions in the basement floor were removed, the outlines of the 18th-century historical plan and volumetric design of the embankment building became clearly visible.

Restoration and modernization of the Mayakovsky Public Library

Copyright: Photograph © Margarita Yavein / provided by Studio 44
Restoration and modernization of the Mayakovsky Public Library

Copyright: Photograph © Margarita Yavein / provided by Studio 44

Today, under the vaults of the basement, there is a reader reception area, a “smart” cloakroom, restrooms and an information sector. There are also boxes at the main entrance where books can be picked up or left at any time of the day, after submitting an application. At the level of the basement, the flow of visitors is split in two: from here you can get to the multifunctional hall for 300 people, which occupies the volume of the former church of St. Sergius of Radonezh, or you can take the main staircase to get to the main halls of the open storage.

The Temple of Books

The newsroom is situated in the former Trinity Church, the tallest and the most spacious room of the complex, and here the main challenge was presented by the intermediate floors of the Soviet period that divided the church volume into several floors, cutting into the windows without thinking twice about it. These were replaced by a system of “loft” levels, connected along the longitudinal axis with semitransparent staircases.

The green glass – particularly, the green glass of the steps – makes the interior seem fresh and modern, becoming a certain kind of “hi-tech” axis of the revised space. It makes a good neighbor of the old brick walls, yet it does not let you forget about the 21st century, including thanks to the tactful character of the modern elements added by the architects. It is not by chance that the loft divides the northern part of the hall, that stops against the wall less lit; the southern part is opened up as much as possible, filling up the entire hall with natural light, which is really abundant on this side – we hope we don’t have to explain to anyone how important the sunshine is in St. Petersburg. And the staircases end up at the border between the two spaces, standing with their sides to the sun, making the most of the light to expose the aesthetic quality of the glass that they are made of.

We will note here that the staircases with steps and barriers of greenish glass and wooden railings are a signature technique of Studio 44 and Nikita Yavein: things that come to mind are the glass “beam” of the staircase in the amphitheater of the Joint Staff (2002-2014), the Higher Management School of the St. Petersburg State University (2007-2015), the Dance Academy (2008-2013), the Nevsky 38 business center (2000-2004), and many other projects. This is like the author’s signature.

The air-like quality of the renovated space is highlighted by chandeliers composed of pieces of glass, asymmetrically “hanging in the air” on the ceilings of the upper tiers.

The open storage now contains more books than it used to, while the closed stock shrank a little: now it is hosted in the mansard premises, where it was necessary to replace the wooden roof truss system with a metal one and install a climate control system.

The staircases lead not only to the bookshelves but also to the coworking zone with long tables standing near the windows overlooking the Fontanka. This space takes a little bit of getting used to: when you find yourself here for the first time, you can get mixed up and be surprised at the fact that after you enter at the first floor, you suddenly exit at the third; next time it will be easier to get your bearings.

Deus ex Machina

The special pride of the renewed library is the telelift system that speeds up the process of delivering the books from storage: a monorail, along which a “trolley” with the book moves, connects all the floors. The construction is partially concealed behind the suspended ceiling; it was necessary to calculate the place for it, as well as for the supply and exhaust ventilation system, literally with millimeter precision, since the walls were weakened during historical alterations. It is expected that in the future the telelift will be extended to the neighboring building, a pseudo-baroque mansion of Duchess Carlova, which is situated nearby, south of the former compound, at Fontanka 46, and also belongs to the library.

Restoration

As for the restoration work itself, it gave the building a cared-for look, at the same time helping to visually divide volumes built at different times. The cement details of the facade decor of the Soviet time were replaced by plaster casts, executed by archive photographs and drafts. The authentic masonry of the Trinity Church was repaired and reinforced; the windows, which used to be clogged up, were opened once again.

It was not without a few unexpected discoveries: on one of the arches, a surviving painting was discovered. The old tiles on the staircase were restored and complemented by a modern analogue – the architects deliberately highlighted the latter with a brighter color. The small-sized volume on the side of the Beloselsky-Belozersky Palace, where an extra entrance and maintenance rooms are situated, hosted a “museum corner” showcasing artifacts found in the process of restoration – a fragment of the gate leaf, the grating of the window opening and the stamp of the window grating with the date from 1748.

The third place

Remarkably, after the reconstruction the Mayakovsky Public Library considerably broadened its range of services but stopped short of becoming a tourist attraction where you can do just about anything but read books. Quite the opposite: everything here is meant to help you focus – there is plenty of light and air, softened colors, complete absence of unwanted sounds, and inspiring architecture both inside and outside. And, of course, the books – always within an arm’s reach.

20 April 2022

Headlines now

Object

The Secret Briton

The house is called “Little France”. Its composition follows the classical St. Petersburg style, with a palace-like courtyard. The decor is on the brink of Egyptian lotuses, neo-Greek acroteria, and classic 1930s “gears”; the recessed piers are Gothic, while the silhouette of the central part of the house is British. It’s quite interesting to examine all these details, attempting to understand which architectural direction they belong to. At the same time, however, the house fits like a glove in the context of the 20th line of St. Petersburg’s Vasilievsky Island; its elongated wings hold up the façade quite well.

The Wrap-Up

The competition project proposed by Treivas for the first 2021 competition for the Russian pavilion at EXPO 2025 concludes our series of publications on pavilion projects that will not be implemented. This particular proposal stands out for its detailed explanations and the idea of ecological responsibility: both the facades and the exhibition inside were intended to utilize recycled materials.

Birds and Streams

For the competition to design the Omsk airport, DNK ag formed a consortium, inviting VOX architects and Sila Sveta. Their project focuses on intersections, journeys, and flights – both of people and birds – as Omsk is known as a “transfer point” for bird migrations. The educational component is also carefully considered, and the building itself is filled with light, which seems to deconstruct the copper circle of the central entrance portal, spreading it into fantastic hyper-spatial “slices”.

Faraday Grid

The project of the Omsk airport by ASADOV Architects is another concept among the 14 finalists of a recent competition. It is called “The Bridge” and is inspired by both the West Siberian Exhibition of 1911 and the Trans-Siberian Railway bridge over the Irtysh River, built in 1896. On one hand, it carries a steampunk vibe, while on the other, there’s almost a sense of nostalgia for the heyday of 1913. However, the concept offers two variants, the second one devoid of nostalgia but featuring a parabola.

Review

Midway upon the Journey of Our Life

Recently, Tatlin Publishing House released a book entitled “Architect Sergey Oreshkin. Selected Projects”. This book is not just a traditional book of the architectural company’s achievements, but rather a monograph of a more personal nature. The book includes 43 buildings as well as a section with architectural drawings. In this article, we reflect on the book as a way to take stock of an architect’s accomplishments.

Inverted Fortress

This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.

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Transformation of Annenkirche

For Annenkirche (St. Anna Lutheran Church in St. Petersburg), Sergey Kuznetsov and the Kamen bureau have prepared a project that relies on the principles of the Venice Charter: the building is not restored to a specific date, historical layers are preserved, and modern elements do not mimic the authentic ones. Let’s delve into the details of these solutions.

The Paradox of the Temporary

The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.

The Forum of Time

The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.

Mirrors Everywhere

The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.

Report

The Steppe Is Full of Beauty and Freedom

The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.

The Snowstorm Fish

The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.

The Mirror of Your Soul

We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.

Part of the Ideal

In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.

Object

The Fortress by the River

ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.

Object

In the Rhombus Grid

Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.

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Generational Connection

Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.

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Three Dimensions of the City

We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived

Object

New “Flight”

Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.

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The Yauza Towers

In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.

News

Arch, Pearl, Wing, Wind

In the social media of the governor of the Omsk region, voting was conducted for the best project for the city’s new airport. We asked the finalists to send over their projects and are now showcasing them. The projects are quite interesting: the client requested that the building be visually permeable throughout, and the images that the architects are working with include arches, wings, gusts of wind, and even the “Pearl” painting by Vrubel, who was actually born in Omsk.

Object

Architecture and Leisure Park

For the suburban hotel complex, which envisages various formats of leisure, the architectural company T+T Architects proposed several types of accommodation, ranging from the classic “standard” in a common building to a “cave in the hill” and a “house in a tree”. An additional challenge consisted in integrating a few classic-style residences already existing on this territory into the “architectural forest park”.

Overview

The U-House

The Jois complex combines height with terraces, bringing the most expensive apartments from penthouses down to the bottom floors. The powerful iconic image of the U-shaped building is the result of the creative search for a new standard of living in high-rise buildings by the architects of “Genpro”.

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Black and White

In this article, we specifically discuss the interiors of the ATOM Pavilion at VDNKh. Interior design is a crucial component of the overall concept in this case, and precision and meticulous execution were highly important for the architects. Julia Tryaskina, head of UNK interiors, shares some of the developments.

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The “Snake” Mountain

The competition project for the seaside resort complex “Serpentine” combines several typologies: apartments of different classes, villas, and hotel rooms. For each of these typologies, the KPLN architects employ one of the images that are drawn from the natural environment – a serpentine road, a mountain stream, and rolling waves.

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Opal from Anna Mons’ Ring

The project of a small business center located near Tupolev Plaza and Radio Street proclaims the necessity of modern architecture in a specific area of Moscow commonly known as “Nemetskaya Sloboda” or “German settlement”. It substantiates its thesis with the thoroughness of details, a multitude of proposed and rejected form variants, and even a detailed description of the surrounding area. The project is interesting indeed, and it is even more interesting to see what will come of it.

Object

Feed ’Em All

A “House of Russian Cuisine” was designed and built by KROST Group at VDNKh for the “Rossiya” exhibition in record-breaking time. The pavilion is masterfully constructed in terms of the standards of modern public catering industry multiplied by the bustling cultural program of the exhibition, and it interprets the stylistically diverse character of VDNKh just as successfully. At the same time, much of its interior design can be traced back to the prototypes of the 1960s – so much so that even scenes from iconic Soviet movies of those years persistently come to mind.

Object

The Ensemble at the Mosque

OSA prepared a master plan for a district in the southern part of Derbent. The main task of the master plan is to initiate the formation of a modern comfortable environment in this city. The organization of residential areas is subordinated to the city’s spiritual center: depending on the location relative to the cathedral mosque, the houses are distinguished by façade and plastique solutions. The program also includes a “hospitality center”, administrative buildings, an educational cluster, and even an air bridge.

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Pargolovo Protestantism

A Protestant church is being built in St. Petersburg by the project of SLOI architects. One of the main features of the building is a wooden roof with 25-meter spans, which, among other things, forms the interior of the prayer hall. Also, there are other interesting details – we are telling you more about them.

Object

The Shape of the Inconceivable

The ATOM Pavilion at VDNKh brings to mind a famous maxim of all architects and critics: “You’ve come up with it? Now build it!” You rarely see such a selfless immersion in implementation of the project, and the formidable structural and engineering tasks set by UNK architects to themselves are presented here as an integral and important part of the architectural idea. The challenge matches the obliging status of the place – after all, it is an “exhibition of achievements”, and the pavilion is dedicated to the nuclear energy industry. Let’s take a closer look: from the outside, from the inside, and from the underside too.