Cadbury's new £30 million development is an impressive reassertion of the company's commitment to art and design.
With the creation of its internationally renowned model suburb of Bournville, Cadbury's long ago handed Birmingham one of its greatest architectural glories.
Now, with last week's unveiling of Bournville Place, the £30 million redevelopment of the former 1920s dining block on Bournville Lane, it has created another jewel.
Unfortunately this one won't be accessible for the general public. But in creating a working environment of stunning quality for its employees, with a mix of spacious, light-filled open-plan offices and facilities including a cafe and canteen, Cadbury's seems to have made an emphatic statement that the enlightened employer isn't necessarily a thing of the past.
The eco-friendly scheme was designed by London architects Stanton Williams, whose previous work in the region includes the Gas Hall at Birmingham Museum & Art Gallery, the office block containing Bank Restaurant at Brindleyplace, the new gallery at Compton Verney and the extension to the Belgrade Theatre, Coventry, which has recently collected an RIBA Award.
I will be astonished if Bournville Place doesn't win awards, too. Perhaps its most spectacular features are the vast floor to ceiling windows which on a sunny day - I have been there twice and the sun shone on both - give an arresting sense of being simultaneously indoors and outdoors.
I was reminded of Tate Britain, while glass artist Eryka Issak, one of four artists commissioned to make new pieces for the building, compared it to the Museum of Modern Art in New York. That's how good it is.
Cadbury's have always had an ongoing relationship with art and design through packaging, even if the term "chocolate box" long ago - and perhaps unfairly - came to be one of critical dismissal.
When the building was originally built, it incorporated large murals on each floor depicting chocolate-related themes from various eras, and these have been restored to provide an element of period charm.
A fountain on the frontage facing the famous playing fields with their Gothic pavilion is still undergoing restoration.
Alongside these are the four new commisions, which were supported by Arts & Business's Reach programme. A decision was taken at the outset that the commissions would go to local artists, and the ones chosen were Eryka Isaak, Jo Naden, Matthew Robinson and Chris Keenan.
Erika Isaak, who has her own glass studio at her home in Kings Heath, already has other commissions installed at Aston Business School, the Vaults restaurant in the Jewellery Quarter and the Telewest headquarters in the The Mailbox. Customers for her more domestic pieces have included the late Dennis Potter and Anthony Minghella.
Her piece for Bournville Place consists of ten translucent and slightly irridescent sheets of glass which change colour subtly at different times of day.
"Chocolate has always been very close to my heart, so I was very excited to be able to do this project." she said.
"My original idea was to make a river of chocolate out of glass, using the metallic colours you see in Roses chocolates. Then I went on a factory tour to see how chocolate moves in a machine. I imagined a babbling brook, but it didn't really make any ripples - it's really very straight until it hits the mould."
Sculptor Jo Naden, who has a piece at Park Central and is currently making one for Russell's Hall Hospital in Dudley, has created a bronze sculpture for the entrance hall in which a giant cocoa pod sits on a stand reminiscent of Aztec temples. Her research included the role the plant played in ancient ritual, as well as a visit to Kew Gardens.
Matthew Robinson's digital montages combine vintage black and white photographs of the factory with a Technicolor riot of complicated graphic imagery brought together from a wide variety of sources, while photographer Chris Keenan's Purple Interventions take Cadbury's trademark colour as a theme in playful surrealistic images such as a purple drumkit on a deserted park bandstand.
Finally, alongside its programme of commissions from professional artists, Cadbury's ran a project with the housing charity St Basil's in which a group of young people were introduced to the basics of photography and invited to produce their own images of Bournville. The best of them have been blown up and found a place on the walls of the new building, with the most prominent position going to the overall winner, Stephen Hennessy.
Having been invited to select the winners of this competition I have to declare an interest, and perhaps claim a very small contribution to one of Birmingham's most impressive art and architecture projects of recent years.