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COLOUR IN SPACE
Architecture is not solely the architect’s doing! The concept- It is very important that the architect should not limit his
ion of architecture is a process involving many actors under the actions to an abstract space but that he endeavours to master
architect’s direction. the integration of these signs of life into the building. One of the
most visible ones is the colour walls can receive. Philippe Samyn
Indeed, the architect alone conceives space, i.e. a volume and Partners’ architectural approach theoretically considers the
that is abstract to start with and materialises through materials very colour of construction elements as a work of art: the point
being deployed. is not to hang an independent work in front of a wall or a ceiling
to conceal them but to add a harmonious coloured composition
In this way, he develops and coordinates a multitude of to the walls lending themselves to this. The coloured work’s
construction aspects concerning the users’ five senses, soul support remains a construction element filling very specific
and spirit: acoustics, temperature and air dampness, the tactile functions within the building and obeying dimensional and
sensation when treading the floor, smells, visual harmony, etc. constructive rules resulting from it. It is the artist’s task to
respect the constraints resulting from this, particularly in terms
Regarding this last detail, in the Europa building as in most of layout and texture. Furthermore, he also has to magnify them
projects by Philippe Samyn and Partners, materials are shown to make that support reach a higher level of meaning through
in their natural appearance as much as possible and they are art, yet without negating its primary raison d’être.
chosen in a deliberately limited range: light oak, bead blasted
stainless steel and extra light glass. Moreover, when coating is Here, most large surfaces not having “natural” colour (such
to be applied, paint for instance, a pure grey tint (i.e. exclusively as wood floors and window areas for instance) are covered in
composed of black and white) is chosen. Eventually, when a the flat tints Georges Meurant uses to cause figural induction:
construction element is likely to accumulate dust (for instance, – tinted felt ceilings,
the atrium’s structure), the paint used is of a “dust grey” colour – tinted wool carpeting,
determined by a chromatic analysis of the dust present in the – door printed laminate coatings,
neighbourhood. – rigid printed PVC foam panels lift sheaths.
Each application takes advantage of specific supports and
But at this stage of the project development, the architecture causes for extensive and precise layout, as each element
is not complete yet because it is not “liveable”: it lacks signs is numbered.
of life. Not only the people living in the building but also the
colour, furniture, machines, fruit platters on the tables, floral
decoration, the lapping water of fountains, appetising smells
from the kitchens have a mighty evocative power, making the
difference between a cold “sculptural” space and a “liveable”
space, a genuinely architectural space.
