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the existing studio, while preserving the legibility of the
initial forms and complying with new requirements, not
only from an acoustics and safety standpoint, but also
ensuring profitability via multi-usage for the building.
For the new platforms of Leuven railway station, whose
development was part of a much larger urban planning
project
(01-389, 01-415 and 01-432)
, the entirely new
language could not eliminate the neo-Palladian dis-
course that characterises the architecture of nearly all of
Belgium’s small and medium-sized railway stations from
the nineteenth century. As with other architects who
worked on the site, Samyn’s building consisted of a
single juxtaposition that gave full visibility to both archi-
tectural expressions. Inside, the former Art Nouveau
glass and steel canopies are attached to eclectic stone
facades without clashing with them.
One cannot approach the issue of Philippe Samyn’s
treatment of architectural heritage without mentioning
the work done on his own offices
(01-265)
. These
are located in a once dilapidated farm that has been
completely restructured, while perfectly maintaining the
spirit of a timeless architecture – or perhaps one evoca-
tive of a time that never existed. The development of
the large central courtyard is reminiscent of a cloister,
and creates the impression of a haven of peace.
One of the most recent projects is for the European
School
iv
in Brussels
(01-471
; not included in the anthol-
ogy
)
, which will be constructed in the former officer
training school in Laeken, an eclectic nineteenth-century
structure with rationalist tendencies whose architecture
is close to that of Henri Beyaert. The discreet way in
which Philippe Samyn here works within the right-
angled frame of the existing structures, placing his edi-
fices low so as to preserve the majesty of the original
buildings, proves that it is possible to establish a stable
dialogue with architectural heritage without making
concessions or falling into pastiche. We can see from
these very diverse interventions that Philippe Samyn
does not adopt a passively archaeological stance. He is
respectful of the traces of the past and the documents
that ancient structures represent, and the overall struc-
ture that he generally chooses, whatever the era of
the original architecture, consists of using heritage as a
point of departure for a new creation, avoiding both blind
destruction and an excess of humility. One is struck here
by the attention paid to the genius loci, which outstrips
the purely archaeological dimension in the evaluation of
architecture of the past and even of the present. Rather,
it is included in the context of urban and rural sites,
which are themselves transformable, as one can see in
the Aula Magna project.
Finally, there are two projects that are steeped in
local architecture without the least hint of pastiche or
imitation. They are the Nouakchott water tower project
in Mauritania
(01-242)
and the architecture school in
Lubumbashi, in the Democratic Republic of the Congo
(01-537
; in progress
)
, which are described in the anthol-
ogy. In both cases, Philippe Samyn was faced with
the spirit of a different culture: that of desert tents and
extreme climates, and the traditional circular or oval
layout of African villages pre-dating colonial influence.
He did not think it necessary to impose Western-style
architecture with its specific forms and sophisticated
techniques, but remained mindful, as was fitting, of a
practical approach. This is a far cry from ‘Arabisation’
and other attempts (which are sometimes successful,
as was the case with Albert Laprade in Morocco)
2
to
appeal to local populations. For Philippe Samyn it is a
question of reinterpretation, a springboard in the direc-
tion of little-explored areas of architecture.
1
Françoise Choay, L’allégorie du patrimoine, Paris, Le Seuil, 1999.
2
Maurice Culot and Anne Lambrichs, Albert Laprade. Architecte,
jardinier, urbaniste, dessinateur, serviteur du patrimoine, Paris, Norma,
2007; see also François Béguin, Arabisances, Paris, Dunod, 1983.
01-389
Roofs for the platforms
at Leuven railway station,
1999–2001