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Gustave Falconnier

In the “ruin” wing of Moscow’s Museum of Architecture, an exhibition of “glass bricks” by Gustave Falconnier is open. These “bricks” are essentially the predecessors of glass blocks, but more complex and beautiful. The exhibition shows genuine “bricks”, buildings composed of them, the history of the destruction of Falconnier windows in the building of the State Archives, and it also became one of the reasons to revive this unique production technology.

17 April 2023
Review
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Gustave Falconnier was an architect by training and he even opened his own architectural bureau. However, he was not very interested in architecture and was more interested in politics. He spent 34 years as the prefect of his native district of Nyon and was also interested in invention in the construction industry. He obtained patents for lightweight masonry, reinforced concrete floors, and the blown glass bricks in question (1888). The latter made him famous. At the World’s Fair in Chicago in 1893, the Swiss pavilion was almost entirely made of glass bricks, and the technology soon became popular. Patents were purchased in various countries, and after Poland, glass bricks were soon produced in Russia. A special Russian form is even known: a hexagon elongated like slabs in the Zaryadye Park, sporting a “star” spider on the front side.

"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


In 1913, Gustave Falconnier died, and the patent was suspended. However, the bricks were still produced until around the 1930s, after which they were replaced by glass blocks that were more predictable, cheaper, did not require the glassblower’s lungs, and could be stamped into shape. Predictably, they were also more uniform, usually square.

"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


The Falconnier glass bricks now come in 16 different types, with the most complex shape resembling a baluster or a chubby pitcher; one of the most common is the elongated hexagon, but there are also flattened hexagons with stepped “hills”; there are also simple squares. Plus color. Glass blocks are not often colored, but I have seen white, light-blue, and yellow ones. In the case of Falconnier’s bricks, however, there’s almost the entire spectrum presented: cobalt blue and light-blue, brown and yellow, and a multitude of pastel shades. Strangely, there is little or no red. Sometimes an artificial crackle is added to the shape and color, as shown on the entrance stand.

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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia tarabarina / Archi.ru
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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia tarabarina / Archi.ru
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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia tarabarina / Archi.ru
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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia tarabarina / Archi.ru
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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia tarabarina / Archi.ru
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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia tarabarina / Archi.ru


The benefit of Falconnier glass bricks was twofold. Before glass blocks became widespread, the Falconnier bricks were the only ones that allowed an opening to be covered without depriving the room of natural light, but without providing a window-to-window view. This was particularly useful for firewalls, where such proximity was prohibited by regulations, or to separate the rooms of the servants, which was also understandable and practical.

However, the bricks are very beautiful, and it would be surprising if their aesthetics were not appreciated. They allow for the creation of colorful stained-glass windows, which are absolutely luxurious, and even better, glass domes that are lightweight and quite large. In Moscow, one such dome remains in the building of the Indian embassy, which is located in the Bardygin estate of 1911 in the Vorontsovo Field Street. Glass domes and walls are, of course, already part of the architecture, a technology that dictates both the lighting and the volumetric/spatial solution. Sometimes, however, domes fell, since the load was not always correctly calculated, and the bricks were glued together with a special solution.

The meaning of the exhibition is also twofold. On the one hand, it is research based on previous studies and information obtained from the Falconnier glass collection, which was exhibited in Nyon in 2018, inspiring the current exhibition at the Museum of Architecture. At some point, the museum actively collaborated with Nyon, and they planned to bring part of the collection, but for objective reasons, it did not work out, which is why the current exhibition may seem a bit empty.

The feeling is enhanced by the pedestals offered by the exhibition designer Agnia Sterligova: they are white pyramids that widen significantly towards the bottom, as if slightly pushing the viewer away from the object. The reception was designed so as not to “cover the glass with glass” and at the same time somehow prevent viewers from touching the originals. Even though the objects are open, people still tend to reach out to touch them, making it even less stable. Therefore, I cannot say that the pyramid solution is very successful. But it is elegant, and overall, it seems that Agnia Sterligova has moved from bright, colorful, and “tell-tale” embellished exhibition designs to more concise solutions.

"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


On the other hand, there is a stand where “you can touch everything” – you just have to endure until you reach the second floor, where there is a showcase dedicated to the revival of the Falconnier technology. There is a blowing pipe, scissors for cutting, and models of forms, including those printed from historical samples for analysis.

The revival of technology is the second, and perhaps even the primary, meaning and feature of the exhibition, after exploration, as it has become a “driver” for the restoration of production. Here’s the story: Nikita Andreev, an art historian, a graduate of the Stieglitz Academy, and a roofer, found a window in the Bashevich house in St. Petersburg that was filled with glass bricks. He took a “couple of fallen samples” and became interested in studying the subject. In 2018, he learned about the Falconnier exhibition in Nyon, shared the information with the Museum of Architecture, and its director, Elizaveta Likhacheva, invited Nikita Andreev to curate an exhibition dedicated to Falconnier bricks at the museum. For the exhibition (!), the revival of brick production was organized – Ivan Kozitsyn, a teacher at the Stieglitz Academy and the NWGlass.lab workshop, took on this task. Now, the workshop produces restoration-quality bricks, and their use has already been applied in restoring windows in the Eroshenko house in St. Petersburg and the Shelukhin house in Nizhny Novgorod. But the biggest order at the moment was from the museum for the exhibition: variously shaped and colored bricks were used to create several openings on the 1st and 2nd floors, and a lilac-and-pink window on the 3rd floor on the stairs – the latter is likely to be preserved. The exhibition shows videos of the brick-blowing process, defective samples, and molds, including those that were part of the technology development process.

"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


The bricks are currently blown from recycled glass bottles, selecting bottles by color – the museum staff and curators collected these bottles from bars. In other words, the exhibition shows a living process, and it even became a part of it. A hundred years ago, Falconnier showed a pavilion made of glass bricks in Chicago, and they became popular. In that case, maybe it could happen again now, at least for restoration purposes. However, the bricks are already sold as souvenirs, both in the museum shop and online.

"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


There is another part of the living process, and that is destruction. In 2018, a Falconnier exhibition was held in Nyon, and at the end of 2019 in Moscow, despite protests by the local preservation activists, all the glass brick windows in the building of the State Archives on Bolshaya Pirogovskaya Street were smashed and replaced with double-glazed windows. Employees of the Museum of Architecture saved some of the bricks from the archive building – the story is described here by the second curator of the Moscow Falconnier exhibition, Anna Kistanova. Some of the “bricks” were taken into storage by the museum, while others are simply kept – they make up an installation at the exhibition accompanied by a video recording of a builder hitting bricks with a hammer.

"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


In short, it is a rather curious slice of life from birth to death and back to revival again: here things are broken, and rebuilt.

The technology is quite precise and intricate, not designed for large volumes and pragmatic use – but they say that now it’s possible to make 20-25 Falconnier bricks in a day – provided, you have enough bottles, of course.
"Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
Copyright: Photograph © Julia tarabarina / Archi.ru


17 April 2023

Headlines now
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.
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.
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.
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.
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.
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.
​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.
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
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.
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.
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.
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”.
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”.
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.
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.
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.
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.
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.
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.
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.
​Rays of the Desert
A school for 1750 students is going to be built in Dubai, designed by IND Architects. The architects took into account the local specifics, and proposed a radial layout and spaces, in which the children will be comfortable throughout the day.
The Dairy Theme
The concept of an office of a cheese-making company, designed for the enclosed area of a dairy factory, at least partially refers to industrial architecture. Perhaps that is why this concept is very simple, which seems the appropriate thing to do here. The building is enlivened by literally a couple of “master strokes”: the turning of the corner accentuates the entrance, and the shade of glass responds to the theme of “milk rivers” from Russian fairy tales.