The design code of Russian cities before the revolution

Contents:

• Font signs
• Text filled the facade
• Pictorial signs
• How advertising became too much

The second half of the 19th century was a time of flourishing advertising in pre-revolutionary Russia. This period saw an increase in the number of entrepreneurs seeking to attract attention to their establishments and services, including restaurants, clothing stores, shoemakers, mirror and metalworking shops, as well as bakeries and pastry shops. Signs were widely used for this purpose, serving as an important tool for promoting businesses and informing consumers about the goods and services offered.

Changes in signage had a significant impact on the appearance of building facades. We will consider how the transformation of these elements not only reflected the evolution of design but also contributed to the renewal of the architectural appearance of cities. Signs became an important part of urban aesthetics, bringing style and individuality to it. Their design, materials, and placement have constantly evolved in response to fashion trends and technical capabilities, which in turn has influenced the perception of facades. These changes highlight the dynamism of the urban environment and the importance of signage in shaping a business's image.

In this article, you'll learn about key aspects that will help you better understand the topic. We'll cover important facts and details that will facilitate understanding and deepen your knowledge. The topic includes fundamental principles, current trends, and practical tips. Read on to gain useful information and develop your skills in this area.

• What path did old signs take: from simple inscriptions on the ground floors to texts that completely filled the facades;
• How bakery and butcher shop signs became works of art;
• How architecture was lost behind “miracle polish” and “May balm” and how they dealt with it;
• Which cities are bringing back the aesthetics of pre-revolutionary signs to their streets today.

Font signs

The history of signs in St. Petersburg and Moscow seems like an interesting study, as these cities have preserved many images reflecting their architectural and cultural heritage. Signs not only provide information about stores and services but also serve as an important element of urban aesthetics, reflecting the style and character of the era. In St. Petersburg, for example, one can see signs executed in a classical style, emphasizing the city's historical significance. Moscow, in turn, offers a variety of modern and traditional signs, making it unique in this regard. Studying the signs in these two cities allows for a deeper understanding not only of their history but also of the cultural changes that occurred over time.

In Vasily Sadovnikov's panorama of St. Petersburg, one can see that in the first half of the 19th century, signs were primarily located on the ground floor. These signs were small in size and uniform in design, consisting of ribbons with the names of stores and businesses. This testifies to the characteristic features of urban architecture and commercial culture of the time, when the visual representation of business was laconic and functional.

The style of signage in the 18th century was minimalist, thanks to a decree issued by the government Chamber College in 1749. It required the use of images to be discontinued and limited to simple inscriptions such as "Liquor for sale in this house" and "Tobacco for sale in this house." This decision significantly influenced the design of retail outlets, making them more formal and understandable to customers. Laconic signs not only simplified the perception of information but also emphasized the importance of order in the urban environment.

English Joneses and French Cocks, leading their pets, explain to them with due seriousness that the signs above stores are intended to inform about the contents of these outlets. Signs play a vital role in commercial activity, as they help customers quickly navigate and find the goods they need. Thus, signs are an integral part of commerce, facilitating easier and more effective interactions between buyers and sellers.

Nikolai Gogol's story "Nevsky Prospect" is an important work of Russian literature, in which the author masterfully describes the life and customs of St. Petersburg society. The main characters of the story confront illusions and reality, which highlights the complex social relationships and inner experiences of people. Gogol creates vivid images that reflect not only individual destinies but also the characteristic features of the society of the time.

In the work, Nevsky Prospect acts not simply as a street, but as a symbol of the clash of dreams and reality. Here, the destinies of different characters intersect, each striving for their own ideal. Gogol penetrates the depths of human nature, showing how external circumstances and internal desires influence people's destinies.

This story continues to remain relevant because it touches on eternal themes: the search for happiness, disappointment, and the influence of the environment on personality. Gogol skillfully uses an ironic style to show the absurdity of some of the situations his characters find themselves in. Reading "Nevsky Prospect," you can see how dreams and reality intertwine, creating a deep and multi-layered picture of life in St. Petersburg.

At this time, signs began to disrupt the strict symmetry of the facades, occupying one or more windows, as well as entrance doors. The assortment included not only text signs, but also small models with images, which added variety and individuality to architectural compositions. These elements of visual identification became an important part of the urban environment, bringing bright accents and helping to create a unique look for the streets.

In Russia, shop signs commonly used French, English, and German. This was practiced by both Russian owners cooperating with European suppliers and foreign entrepreneurs doing business in the country. Such linguistic choices emphasized the international nature of trade and helped attract customers familiar with European brands.

People from different countries were often associated with specific industries. For example, the Germans specialized in the trade of technical goods, as well as optical and surgical instruments. The French, in turn, successfully ran fashion houses, hairdressers, and pastry shops. These traditions continue to exist today, highlighting the unique skills and culture of each people.

Text Fills the Facade

In the second half of the 19th century, cities saw a rapid growth in small and medium-sized businesses. Owners of urban estates actively rented out portions of their buildings, offering space by the apartment, by the floor, and even in "corners." The houses were transformed into small offices and shops, where each owner created unique signs. A variety of advertising was placed on different floors and in the windows of the buildings, reflecting the growing interest in commercial activity and the individuality of business. This period became an important stage in the development of the urban economy and the formation of an entrepreneurial culture.

Signs filled the facades of buildings, encompassing attics and cornices, and also appearing on firewalls that had previously appeared as simple blank surfaces. As a result, they acquired a new role in the urban landscape, informing passersby about the goods and services available in a given building. These new elements of visual communication not only enrich the architectural appearance, but also help to create a more attractive and informative urban environment.

In the second half of the 19th century, a new trend in advertising emerged: floor-by-floor strip advertising with large text. These signs were clearly visible from a distance and attracted the attention of passers-by. A striking example of this type of advertising is the Mertens fur company building, which became a symbol of this period. Large lettering on the building's facades not only informed about the products but also created a memorable image of the company.

On the ground floor were signs for the company and the R. Koehler & Co. manufacturing and trading partnership. On the second floor was a sign for the United States Life Insurance Society of North America, and on the third floor was a sign for the Equitable Life Insurance Society. The cornice of the building was decorated with a large inscription with the name of Mertens' store, written in Russian and French.

Story-by-story ribbon signs can be seen in cities across the country, including many examples on the streets of Moscow. They are present in such well-known locations as Kuznetsky Most, Nikolskaya Street, Ilyinka, Myasnitskaya and Okhotny Ryad. These signs play an important role in navigation and orientation for both local residents and tourists, providing convenience and accessibility of information about the location of buildings and premises.

Russian signage made a profound impression on the French writer Théophile Gautier during his trip to Moscow and St. Petersburg in the winter of 1858-1859. In his book, "Journey to Russia," he shares his observations of the vibrant and unusual lettering that attracts attention and creates the unique atmosphere of these cities. Gautier describes how the signs reflect the culture and life of local residents, emphasizing their artistic value and significance for the urban environment. The writer's admiration for the Russian style of design and the variety of fonts testifies to the important role these elements played in shaping the visual identity of Russia at that time.

In this city, signage perhaps only in Bern can compare to what we see here. The gold letters on a bright blue background create a stunning visual effect. They adorn shop windows, are repeated on doors, and are not spared from street corners. These inscriptions gracefully wrap around arches, stretch along cornices, and utilize the overhangs of entryways. Even basement staircases become a place where creative signs find their own way to attract the attention of passersby.

You may not speak Russian. However, nearby you can see translations of these inscriptions into French and German. If this still doesn't make sense to you, the sign, forgiving your ignorance, clearly demonstrates the items on offer in the store. This approach makes shopping more accessible to everyone, regardless of language skills.

Théophile Gautier is a renowned French writer and poet. In his works, he often focused on travel and the cultural characteristics of various countries. In his work "Journey to Russia," the author describes his impressions of Russia, its culture, traditions, and people. Gautier conveys the atmosphere of the country, its uniqueness and diversity, which allows readers to gain a deeper understanding of Russian reality. Gautier's journey through Russia becomes not only a personal experience, but also a literary study that opens new horizons for understanding Russian culture. His observations of nature, architecture, and everyday life of Russians make a significant contribution to the development of the literary tradition of describing travels, making "Journey to Russia" an important work for the study of both French and Russian literature.

Pictorial Signs

Signs with images gained wide popularity in the second half of the 19th century, serving as display windows that showcased goods and attracted the attention of potential customers. These graphic elements became an integral part of the retail space, helping to improve the visual perception of stores and increase sales. Signs with pictures not only informed about the availability of goods but also created a unique style and atmosphere for each outlet.

Before the transition to painted signs, images of objects corresponding to goods or services were placed on the gates of houses and commercial premises: a bundle of straw indicated an inn, a wheel symbolized a chipper, a hoop signified a cooper, and leather signified a tanner. A similar form of advertising existed in Western Europe, but verbal announcements soon began to be used there. In Russia, however, for a long time, signs served an exclusively pictorial function. The convenience and attractiveness of painted signs gradually supplanted figurative images, and in the nineteenth century, the craft of sign makers became widespread throughout the country. Painted signs not only attracted attention but also contributed to the development of trade and crafts.

Kuzma Petrov-Vodkin is an outstanding Russian artist, known for his unique works in the field of painting and graphics. His work covers a wide range of styles, but he is best known as a representative of Symbolism and Post-Impressionism. Petrov-Vodkin was born in 1878 and became one of the key figures in the development of Russian art of the 20th century.

His style is characterized by bright colors and expressive forms, as well as deep philosophical content. Petrov-Vodkin's works often explore the themes of life, death, and spirituality. Many of his paintings, such as "Bathing of a Red Horse" and "Death of a Commissar", have become iconic and have received recognition both in Russia and abroad.

Throughout his career, he was also involved in teaching, making a significant contribution to the training of young artists. Kuzma Petrov-Vodkin's work continues to remain relevant and significant, attracting the attention of art connoisseurs and researchers. His works are held in major museums in Russia and abroad, remaining an important part of cultural heritage.

Grocery store signs attract attention, especially when they depict beautifully arranged mounds of fresh fruits, vegetables, meats, cheeses, bread, and other goods. Such visual accents not only create an appetizing atmosphere but also highlight the variety of products. Properly designed signs help customers navigate the store and make the grocery shopping process more enjoyable.

In the mid-19th century, craftsmen and cooperatives specializing in sign making began to emerge. Small merchants and entrepreneurs seeking to draw attention to their goods and services turned to them. One such craftsman was the artist Konstantin Grushin, who ran a workshop creating realistic-style signs. His work was distinguished by its high quality and detailed execution, which contributed to the successful promotion of his clients' businesses. Signs of that time not only performed an advertising function, but also became an important element of urban aesthetics.

Vasily Stepanov's workshop produced realistic depictions of not only food but also clothing. The signs created by this workshop were distinguished by their high quality of execution and attention to detail, which emphasized the skill of the artists.

Bakery signs typically feature products arranged symmetrically, often in a pyramid. Long loaves are arranged in a triangle, while round loaves are neatly stacked. The background of the signs is typically dark, allowing the orange-brown rolls and loaves to stand out and attract the attention of passersby. This design not only emphasizes the appetizing appearance of bakery products, but also helps increase customer traffic.

Various goods were evenly distributed on the signs.

The store's design became traditional: a horizontal sign with the name was placed above the entrance, and colorful display cases with images of the goods were located on the sides. If the store occupied several windows, signs were installed in each of the piers, creating a unified style and attracting the attention of customers. This approach to design not only emphasizes the individuality of the store, but also effectively demonstrates the product range, which helps to increase customer flow.

At that time, there were signs that resembled symbols that indicated the type of establishment. For example, a mustache symbolized a barbershop, a woman's shoe or a man's boot denoted a shoemaker's shop, scissors indicated a tailor, and a samovar with a table indicated a tavern. A grapevine served as a sign for a wine cellar. Such visual images served as convenient landmarks for visitors, facilitating their search for the services they needed.

How Advertising Became Too Much

Buildings gradually became increasingly cluttered with signs, posters, advertisements, and placards. Streets radically changed their appearance, and architectural details and proportions were lost under layers of advertising. Advertising materials not only distract attention but also distort the perception of the urban environment, overshadowing the beauty of architectural solutions. In a world of saturated visual information, the importance of preserving architectural heritage and the harmony of urban aesthetics becomes especially relevant.

The problem largely affected buildings in the classical style. Previously, their strict forms and rhythm created harmonious urban perspectives and panoramas. However, currently, the facades of these buildings have lost their aesthetic appeal due to the abundance of advertising. The fonts on the signs vary in size, and the bright colors and disorganized placement at different levels create visual clutter, which interferes with the perception of the urban environment.

The placement of signs in the urban environment lacked clear regulatory standards, which raised concerns among residents, local authorities, and architects. The lack of control over the installation of signs can negatively impact the aesthetics of the city and its architectural appearance. This underscores the need to develop and implement new regulations that will help harmoniously integrate advertising structures into the urban infrastructure, while preserving the individuality and attractiveness of the area.

At the IV Congress of Russian Architects in 1911, important conclusions concerning the development of architecture in Russia were presented. Participants discussed current issues related to modern trends in construction and design. The discussion touched on the need to preserve national traditions in architecture, as well as the importance of introducing new technologies and materials. The congress became a platform for the exchange of experience between architects and designers, which contributed to improving the quality of design and construction in the country. These findings highlight the importance of professional communities in shaping Russia's architectural landscape and their role in the development of urban planning.

In modern cities, streets often lose their architectural integrity due to the proliferation of signs that overshadow historic facades. Instead of enjoying the beauty of the buildings, passersby are confronted with advertisements promoting products like Miracle Wax, May Balm, and Ara Pills, as well as alcoholic beverages like Shustov Cognac. Moreover, stores are not shy about using a variety of decorative styles; often, the same building features decorative elements inspired by Louis XVI, alongside Dutch motifs, and the kaleidoscope is completed by a vibrant movie theater sign adorned with a multitude of curves, circles, and golden stars. This visual overload not only distorts the appearance of the city, but also distracts attention from its cultural heritage.

The congress expressed the opinion on the need to stop vandalism and prevent further destruction of unique architectural objects. It is important to preserve historical monuments and restore the integral monumental appearance of the city.

One effective solution to the problem of integrating advertising into the urban landscape is the design of advertising elements in conjunction with the building's architecture. This practice began to develop as early as the late 19th century, when architects considered the number, size, and style of advertising inserts during the design stage. This approach not only improves the perception of the urban environment, but also promotes a harmonious combination of advertising with architectural design, which makes advertising elements more attractive and functional.

This became possible only in those situations when the owner of the building, ordering the project, already knew who would be its tenant, or planned to promote their services.

Thanks to this approach, the inscriptions fit harmoniously into the architectural style of the building, often becoming an integral part of it and an element of the ornament. The sign formats varied:

• metal letters attached to stone or tile cladding,
• majolica panels with inscriptions,
• mosaic panels,
• inscriptions carved into the stone cladding of the facade and covered with gilding.