Cite this article
Behilil, A., Mazouz, F. (2024) ‘The unique preservation of Yves Saint Laurent’s birthplace: A singu-lar cultural heritage in Oran’, Architecture Papers of the Faculty of Architecture and Design STU, 29(3), pp. 46-56. https://www.doi.org/10.2478/alfa-2024-0017
SUMMARY
In 2020, the Affane Mohamed Foundation initiated the project to restore the Yves Saint Laurent house, located in the city of Oran, Algeria. Led by architect Youcef Fernane, the vision of this project was not only to restore the genius artist’s place in his native city but also to bring to light his first private theatre, his first sketches, his drawing table, his study, and, in particular, his personal bedroom.
The Yves Saint Laurent residence—built in 1925—is located in the Plateau Saint-Michel district, now known as Hai Sidi El Bachir, in Oran. The façade of the house is a quintessential example of neoclassical architecture, while the balconies, supported by consoles adorned with intricate mouldings and geometric patterns, subtly hint at the Art Deco influences that permeate the interior.
The uniqueness of this restoration project is highlighted by the fact that, unlike in other Algerian cities, with the exception of the Palais du Bey, no other public figure’s house in Oran has been rehabilitated or made accessible to the public. This makes the Yves Saint Laurent residence an exception, as such practices are more common in other countries through foundations, associations, or private initiatives. The restoration of Yves Saint Laurent’s birthplace by the Affane Mohamed Foundation thus represents a pioneering effort in the preservation and promotion of cultural heritage in Algeria, setting a precedent for future initiatives.
Since its opening to the public in the summer of 2022, the Yves Saint Laurent residence has received significant attention, attracting a large number of visitors. Its international visibility has been further enhanced through social networks, making it a point of interest for both locals and tourists. This growing popularity underscores the cultural and historical significance of the site.
Here we pose the question: What feedback and testimonials were received from the visitors to the residence? We hypothesise that there is certain variability in the visitors’ testimonials, which serve here as constructive criticism of this first attempt to introduce tourism to the residence of an illustrious person in Oran. Our research has a dual objective: to shed light on the Yves Saint Laurent home, his living space, his studio, his first sketches, his drawing table, his desk, and, in particular, his private bedroom, and to provide information about visitors’ perceptions and attitudes towards this place of remembrance. From these objectives, several sub-objectives can be derived: examine the unique nature of the project, evaluate visitor perceptions and feedback; investigate the potential for developing additional memory sites in Oran; study the impact on cultural tourism, explore the broader implications for museography, and provide recommendations for future projects.
The methodology adopted in this research is based on a documentary study: research and readings on the Yves Saint Laurent residence. Recent documents related to the survey on the residence were collected from the Youcef Fernane design office, and photographs taken of the residence by photographer Sifeddine Kaddouri in 2022. In addition to the documentation, the methodology is based on qualitative data collection methods, including surveys based on an online questionnaire, which is a method of collecting and processing questionnaire data directly accessible on the internet, targeting visitors to the residence, as well as consulting and examining the visitors’ book—the signature register—made available to visitors to the residence.
The results of the online questionnaire show that feedback from the visitors of the house testifies to the importance of the Yves Saint Laurent residence in Oran as a world-renowned cultural and historical site. They also point to a lack of publicity for the house museum, which has a detrimental effect on its visibility.
Specific conclusions from the study indicate that the Yves Saint Laurent house museum significantly enhances the cultural landscape of Oran, drawing attention to the city’s rich heritage and potential for cultural tourism. Visitors’ testimonials highlight the emotional and educational impact of the museum, emphasising the unique opportunity to connect with the life and work of Yves Saint Laurent. However, the feedback also underscores the need for increased promotional efforts to improve the museum’s visibility and attract a wider audience.
Moreover, the study reveals the complex challenges faced in preserving a site of such cultural significance. Notably, the preservation process required careful attention to the architectural integrity of the building, ensuring that restorations were true to the original design while accommodating modern conservation standards. This balance between maintaining historical authenticity and meeting contemporary expectations is crucial for the long-term sustainability of the site as a cultural landmark. Future initiatives should consider these aspects to maximise the museum’s potential and ensure its continued relevance as a key part of Oran’s heritage.