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architectural expression that had little to do with pass-
ing trends. At the same time, technical progress, which
depended little on such fads, developed in interesting
directions, whether by the perfecting of previously
insufficiently-tested methods, the refinement of com-
patible techniques, or the application of knowledge
regarding the physical characteristics of construction,
allowing for control over the interior climate and thus
resulting in energy savings. Today, however, as many
works and architectural journals show, looks often take
precedence over content, with no reasonable limit in
sight. ‘The new,’ exclaimed Van de Velde in 1929, ‘why
always the new?’.
5
Nevertheless, a counter-movement
is in the process of emerging. What young architects
and engineers wanted, despite ever-increasing globali-
sation, was to ‘go elsewhere’ to see what was being
taught, thought and done, while at the same time
acquiring additional training in universities or design
offices. This is the case with Philippe Samyn, whose
cv
detailing his academic work can be found in the
appendix. It is as though recess is finally over for every-
one concerned. Over the last two decades, despite
the architectural ‘star system’, calm and serenity have
slowly returned, at least in most industrialised countries.
Far from the media frenzy, architecture appears to have
returned to the basics, to its first mission – which is to
contain, to shelter, to break new ground and to protect,
all using the most suitable techniques. A certain unity
seems to be developing between architectural offices,
with contacts and connections being established inter-
nationally, whether intentionally or otherwise.
6
Clearly, a large part of Philippe Samyn’s oeuvre is situat-
ed within this calm and rational direction for architecture
and engineering. The competition projects for Tirana’s
new parliament building
(01-522)
, for the administrative
centre in Rome
(01-526)
, the construction of the Aula
Magna in Louvain-la-Neuve
(01-291 and 01-268)
and
the development projects for Samyn’s immediate envi-
ronment all bear witness to this atmosphere of peace
and certitude. It is clearly linked to the mastery of the
technical means of construction. The ideological context
of this renewed architecture has resolutely distanced
itself from the polemics that characterised the inter-war
period. Only the ecological struggle can perhaps be said
to be pertinent, and here the distance between energy
efficiency and the means used to achieve it as designed
by someone like Philippe Samyn or Lucien Kroll seems
enormous. We see that the work of Philippe Samyn,
or that of any other architect, takes place within a com-
plex, multifaceted context, from which the aesthetic
and technical (and even philosophical) certainties that
seemed to guide the inventors of the modernist move-
ment have disappeared. Is all that remains the demands
and the passion of the profession, the ongoing research
and questioning as to the meaning and profound moral-
ity of the art of building?
1
On this subject, see the sections about the Hongkong Bank
in Daniel Treiber, Norman Foster, Paris, Hazan, 1994.
2
Maurice Casteels, L’art moderne primitif, Paris, Jonquières, 1930.
3
Peter Collins, Changing Ideals in Modern Architecture 1750–1950,
London, Faber & Faber, 1965.
4
Manfredo Tafuri, Architecture et humanisme, Paris, Dunod, 1981.
5
Henry van de Velde, Le Nouveau, son apport à l’architecture
et aux industries d’art, Brussels, Amis de l’Isad, 1929.
6
Several recent publications offer proof of this, including no. 13
(December 2006) of the review Acier – Stahl – Steel, devoted to the annual
construction competition organised by the Steel Information Centre. These
publications demonstrate the harmonious and often very refined style that
avoids gratuitous spectacle and recalls perhaps a new version of functional-
ism. It is regrettable that, in general, this architecture sees itself as beyond
all dialogue. However, even if this is the case, it is perhaps not inevitable.
01-526
Campidoglio Due,
Rome, 2007
01-291 and 01-268
Aula Magna and surroundings,
Louvain-la-Neuve, 1996–1999