The sterile cultural temple of GES-2 is one of those references that come to mind when analyzing similar architecture. Here’s another example: hidden in the small town of Meisenthal in eastern France, amidst the forests of the Northern Vosges, is an old glass factory. The industrial background serves as a marker of identity not only at the architectural level but also in the everyday life of the local population living in this picturesque area. Look at the little bird: operating since the 18th century, the factory remains a functional core of the settlement, preserving its production function, while the modern reconstruction emphasizes and enriches it with cultural and recreational meaning.
It is fascinating to see how the architects tackled the challenge of assembling disparate buildings into a flowing monolithic structure. First, it’s beautiful; second, the wavy form is a direct metaphor for the glass production process. Notably, unlike GES, there seems to have been no intention to cover every internal and external surface of the building with fresh plaster (which is typical for any renovation within the MKAD). It’s pleasant to observe and feel the sandblasted brickwork that remembers what happened a couple of centuries ago.
Returning to function, I note that one of the factory’s workshops has been transformed into a modular space for theater or concert hall, accommodating from 500 to 3,000 people when combining the indoor space with the open area. I haven’t seen projects that simultaneously address such an extensive list of tasks: museum, production facility, cultural center, urban forum, park, architectural monument, etc. A good example of investment in culture.