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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
A Unique Representative
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Field of Life
The new project by the architectural company PNKB (an acronym for “Design, Research, and Advisory Bureau”), led by Sergey Gnedovsky and Anton Lyubimkin, for the Kulikovo Field Museum is dedicated to the field as a concept in its own right. The field has long been a focus of the museum’s thorough and successful research. Accordingly, the exterior of the new museum building is gentler than that of its predecessor, which was also designed by PNKB and dedicated specifically to the historic battle. Inside, however, the building confidently guides the visitor from a luminous atrium along a spiral path to the field – interpreted here as a field of life.
A Paper Clip above the River
In this article, we talk with Vitaly Lutz from the Genplan Institute of Moscow about the design and unique features of the pedestrian bridge that now links the two banks of the Yauza River in the new cluster of Bauman Moscow State Technical University (MSTU). The bridge’s form and functionality – particularly the inclusion of an amphitheater suspended over the river – were conceived during the planning phase of the territory’s development. Typically, this approach is not standard practice, but the architects advocate for it, referring to this intermediate project phase as the “pre-AGR” stage (AGR stands for Architectural and Urban Planning Approval). Such a practice, they argue, helps define key parameters of future projects and bridge the gap between urban planning and architectural design.
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
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Life Plans
The master plan for the residential district “Prityazheniye” (“Gravity”) in Naberezhnye Chelny was developed by the architectural company A.Len, taking into account the specific urban planning context and partially implemented solutions of the first phase. However, the master plan prioritized its own values: a green framework, a system of focal points, a hierarchy of spaces, and pedestrian priority. After this, the question of what residents will do in their neighborhood simply doesn’t arise.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
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A Step Forward
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Gold in the Sands
A new office for a transcontinental company specializing in resource extraction and processing has opened in Dubai. Designed by T+T Architects, masters of creating spaces that are contemporary, diverse, flexible, and original, this project exemplifies their expertise. On the executive floor, a massive brass-clad partition dominates, while layered textures of compressed earth create a contextually resonant backdrop.
Layers and Levels of Flight
This project goes way back – Reserve Union won this architectural competition at the end of 2011, and the building was completed in 2018, so it’s practically “archival”. However, despite being relatively unknown, the building can hardly be considered “dated” and remains a prime example of architectural expression, particularly in the headquarters genre. And it’s especially fitting for an aviation company office. In some ways, it resembles the Aeroflot headquarters at Sheremetyevo but with its own unique identity, following the signature style of Vladimir Plotkin. In this article, we take an in-depth look at the United Aircraft Corporation (UAC) headquarters in the Moscow agglomeration town of Zhukovsky, supplemented by recent photographs from Alexey Naroditsky – a shoot that became only recently possible due to the fact that improvements were finally made in the surrounding area.
Light and Shadow
In this article, we delve into the architectural design of the “Chaika” house by DNK ag architects, which was recently completed in 2023 as part of the collection of signature designs at ZILArt. As is well-known, all the buildings in this complex follow a design code, yet each one is distinct. This particular building stands out not only for its whiteness and minimalism but also for the refined use of a limited number of techniques that, together, create what can confidently be called synergy.
Casus Novae
A master plan was developed for a large residential area with a name of “DNS City”, but now that its implementation began, the plan has been arbitrarily reformatted and replaced with something that, while similar on the surface, is actually quite different. This is not the first time such a thing happens, but it’s always frustrating. With permission from the author, we are sharing Maria Elkina’s post.
Treasure Hunting
The GAFA bureau, in collaboration with Tegola and Arkhitail, organized an expedition to the island of Kilpola in Karelia as part of Moskomarkhitektura’s “Open City” festival. There, amidst moss and rocks, the students sought answers to questions like: what is the sacred, where does it dwell, and what sustains it? Assisting the participants in this quest were landscape engineer Evgeny Levin, artist Nicholas Roerich, a moose, and the lack of cellular connection. Here’s how the story unfolded.
Depths of the Earth, Streams of Water
In the Malaya Okhta district, the Akzent building, designed by Stepan Liphart, was constructed. It follows a classic tripartite structure, yet it’s what you might call “hand-drawn”: each façade is unique in its form and details, some of which aren’t immediately noticeable. In this article, we explore the context and, together with the architect, delve into how the form was developed.
Fir Tree Dynamics
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​A Brick Shell
In the process of designing a clubhouse situated among pine trees in a prestigious suburban area near Moscow, the architectural firm “A.Len” did the façade design part. The combination of different types of brick and masonry correlates with the volumetric and plastique solutions, further enhanced by the inclusion of wood-painted fragments and metal “glazing”.
Word Forms
ATRIUM architects love ambitious challenges, and for the firm’s thirtieth anniversary, they boldly play a game of words with an exhibition that dives deep into a self-created vocabulary. They immerse their projects – especially art installations – into this glossary, as if plunging into a current of their own. You feel as if you’re flowing through the veins of pure art, immersed in a universe of vertical cities, educational spaces – of which the architects are true masters – and the cultural codes of various locations. But what truly captivates is the bold statement that Vera Butko and Anton Nadtochy make, both through their work and this exhibition: architecture, above all, is art – the art of working with form and space.
Flexibility and Acuteness of Modernity
Luxurious, fluid, large “kokoshniks” and spiral barrel columns, as if made from colorful chewing gum: there seem to be no other mansion like this in Moscow, designed in the “Neo-Russian-Modern” style. And the “Teremok” on Malaya Kaluzhskaya, previously somewhat obscure, has “come alive with new colors” and gained visibility after its restoration for the office of the “architectural ecosystem” as the architects love to call themselves. It’s evident that Julius Borisov and the architects at UNK put their hearts into finding this new office and bringing it up to date. Let’s delve into the paradoxes of this mansion’s history and its plasticity. Spoiler: two versions of modernity meet here, both balancing on the razor’s edge of “what’s current”.
Yuri Vissarionov: “A modular house does not belong to the land”
It belongs to space, or to the air... It turns out that 3D printing is more effective when combined with a modular approach: the house is built in a workshop and then adapted to the site, including on uneven terrain. Yuri Vissarionov shares his latest experience in designing tourist complexes, both in central Russia and in the south. These include houseboats, homes printed from lightweight concrete using a 3D printer, and, of course, frame houses.
​Moscow’s First
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Looking at the Water
The site of Villa Sonata stretches from the road to the water’s edge, offering its own shoreline, pier, and a picturesque river panorama. To reveal these sweeping views, Roman Leonidov “cut” the façade diagonally parallel to the river, thus getting two main axes for the house and, consequently, “two heads”. The internal core – two double-height spaces, a living room and a conservatory, with a “bridge” above them – makes the house both “transparent” and filled with light.
The White Wing
Well, it’s not exactly white. It’s more of a beige, white-stone structure that plays with the color of limestone – smoother surfaces are lighter, while rougher ones are darker. This wing unites various elements: it absorbs and interprets the surrounding themes. It responds to everything, yet maintains a cohesive expression – a challenging task! – while also incorporating recognizable features of its own, such as the dynamic cuts at the bottom, top, and middle.