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EUROPA
Philippe Samyn’s initial layouts, when he designed the architecture for the lan-
tern’s superimposed rooms, show his desire to produce an image of the diversity
of European cultures, which are both a principle and factor in the Union’s dyna-
mism. The interpreter booths support the load of a linguistic crisscross imposed
by the regime of a polyglot government with 24 national languages: all have the
right to speak in the European institutions, even if few are used as working lan-
guages. It is the duty of the architectural décor within the new building to convey
a visual and tactile message, of permanent creative effort and political debate
constantly expected to relax the constraints of its own historical complexity. As
it is difficult to resist the entropic tendency of large government apparatuses, it
is necessary, here more than anywhere else, to guard against the uniformity and
levelling out of identities. The Union’s image is not being served well by its blue
flag with its 12 stars, designed at a time when there were fewer members and
when the prospect of future abandonment of sovereignty, on the part of the
States, was barely conceivable. The circle of 12 stars is too bland an image of
the multiple institutional, social, cultural constellations that structure European
conscience. The more Europe expands, the more it has to protect the beginnings
of its partial and novice power against tensions resulting from inextricable herit-
ages. And yet, behind closed doors where the future of the continent is regularly
at stake, how to practise open-mindedness and make the critical resources of
diplomacy and community customs, essential to the Union’s progress, produc-
tive? And where are the conditions “from hell” of the face-to-face with “others”
ever overcome? In the theatre and only there. Therefore decorum, in these con-
ference room that are isolated for security reasons, creates theatres, where plays
can be performed with serious texts and with dramatic confrontations, but on
a stage favourable to intelligent outcomes. It is difficult to imagine a successful
play in a bland setting. The explosion of colour in rooms without windows, bal-
ances out the shiver of
in camera
proceedings.
For the décor of the conference rooms, the flags of the European Union inspired
a patchwork of colours and motifs from the very beginning. The flags of the
28 States of the Union (with Croatia) represent a wealth of colours and figures.
Horizontal or vertical stripes, equal or uneven proportions, enhanced with coats
of arms (Spain, Portugal), embellished with a crown (Saint George cross trimmed
in red for the flag of Malta; national crown for Slovakia; blazon for Slovenia, strad-
dled over its blue and white stripes). Colours are famous for carrying the symbols
of history (white for the monarchy; blue and red for the Municipal Guard of Paris,
who stormed the
Bastille
, in France). Their abstraction illustrates a geography,
i.e., blue for Finland conveys the image of its lakes, white that of its snow and
its polar nights. The five white stripes on the Greek flag represent the five seas
that surround the country (Ionian Sea, Mediterranean, Sea of Crete, Aegean Sea,
Thracian Sea). Here, the flag seals a destiny of national union: Romania and its
three historic regions Transylvania, Walachia, Moldavia. There, the flag sanctions
a civil regime, i.e., green for Catholics in Ireland; orange for the House of Orange-
Nassau; white for peace between communities. Between neighbouring coun-
tries, the nuances emphasise differences, i.e., navy blue for the Netherlands; sky
blue for Luxembourg. Colours and figures intertwine heritages, overlap imperial
DECKS, LANGUAGES AND COLOURS
