A small two-story mansion in neoclassical style, reconstructed in the early 20th century and becoming the Kenyan embassy in the middle of the same century, conceals an older structure from Moscow dating back to 1806, which survived a fire. In 1911, the building was updated by engineer N.G. Lazarev, who adorned it with bas-reliefs and stucco wreaths. This occurred almost simultaneously with the construction of the neighboring apartment building at Prechistenka, 13, designed by architect G.A. Gelrich. Both buildings were commissioned by Yakov Andreyevich Reck, a banker and entrepreneur who was a member of the Moscow branch of the Russian Technical Society and the founder of the Moscow Trade and Construction Joint-Stock Company, one of the largest construction firms in Russia. In the early 20th century, Reck was one of the leading developers in Moscow. For example, in 1900, his company built the Nikolsky Rows on Nikolskaya Street. Reck also independently constructed houses funded by the company, attracting renowned architects, and then sold them.

Reck adhered to the principle: "Moscow should be adorned with stylish houses that, while having the technical conveniences of Western European urban buildings, would not destroy the national color of Moscow."

Yakov Reck lived in the house on Lopukhin Lane, 5, while renting out the neighboring apartment building at Prechistenka, 13. After the revolution, the building housed the All-Union Society of Former Political Exiles and Settlers, which included a museum and editorial offices for the biobibliographic dictionary and the journal "Katorga and Exile," where important research and documents on the history of the revolutionary movement in Russia were published. The society ceased its activities in 1935.

In 2005, the building was restored. The interiors retained their spatial-planning structure and partial finishing. The basement preserved barrel vaults, while Monier vaults are found in the basement and on the first floor. The stucco on the ceilings, in the grand hall and boudoir on the second floor, as well as stucco rosettes, stretched ceiling cornices, and artificial marble finishing of windows and doors have been preserved. The facade retained the compositional solution and architectural-artistic design from 1911, including plaster and stucco elements, profiled moldings and cornices, pilasters, and window frames. Authentic elements include vases, attics with vases above the side risalits, and metal canopies above the entrances.