Architecture 1 MA CULTURAL SCIENCES ESSAY 2015-2016 CC De Grote Post B-architecten DE RYCKER AARNOUD
Table of contents 1. Introduction... p.3 2. Personal observation... p.4 3. Conclusion... p.9 4. Bibliography... p.10 2
1. Introduction First tracks of the site can be found trough the 18 th century where the building marked the city s edge and managed the main entrance trough the old fortifications. Later in time, these were removed for city expansion and a green belt. To this day we can still read the edges of the old historic center trough the site s location. During WWII the previous building on the site was bombed and destroyed. Because of the importance of the site and location a new post building was required. Mainly known as an urbanist G. Eisselink was assigned for the new building. The building was so important to him that he even moved to Ostend. It was a long process with a lot of ups and downs, but in 1954 the building was finally there. Eisselink ignored a lot of the prescriptions to have some features that interact with the surroundings. For example, he designed a terrace facing the opposing park so the building wouldn t cast as a big shadow on its surroundings. He also chose to put an inner square in so the interior would receive enough daylight. While the architect chose for a very craftsmanship like building with specific materiality against the salt, the building wasn t received very well by the general public. It felt too much like a place for the dead, a mausoleum you could say. With the growth of the city over the years the main axis shifted a little whereby the building lost its important location. Still with the coming of the tram line, the building got interlinked with the Belgian coast. In 1981 the building got classified as a protected monument. Parallel to this, the usage of the building started to decline because of the rise in automation in the post business, the lack in parking place and the lack of proper access to the building. In 1999 the building even got declared vacant. Because of its important location and historic value in materiality and craftsmanship, an open competition was started and won by B-architects in 2000. 3
2. Personal observation I first came in contact with the project as part of a studio exercise. We were assigned with making an analysis an existing building that dealt with adaptive re-use in a unique way. From the long list I noticed that this was one of the only buildings that were located in Belgium and would be worth to visit. I also came in contact with B-architecten before so I had some insight in their design approach. Whilst there was a lot to be found on the internet of the project not everything was readable. They added elements yet so complex in plans and sections but so conceptually simplistically drawn that we couldn t make out what was added and what was already there. And maybe there lies the strength of the project. That we can t really call the border between the two entities. Knowing that I chose this project specifically so I could visit it I wanted to write and share about my experience and impressions whilst visiting it. I jumped on the train to Ostend which took about two hours from Antwerp-Berchem. What I always like about long train travels is that you get a pleasant working environment. It s an open office with big view on a changing landscape. I also took the opportunity to revise all the data and the analyses we already did to really know what I was getting in to. From arriving at the station to the cultural center took me about 10 minutes by foot. 11 minutes and 26 seconds to be exactly with a little sightseeing included. Because I was walking on the same side of the street as the building I was quite surprised when I walked next to it. You can only really see the building as a whole when looking from the opposing park. The building actually misses a mid-scale view. You can only observe from far away in the park or next to it on the street. To get a mid-scale view I chose to risk my life and took a picture while standing on the tram railroads. Because I believe that a building shapes its surroundings and the surroundings shape the building I chose to explore the area around the building. See what is going on the neighborhood and see how it relates to it. The building casts a big shadow onto its surroundings. There were some small shops around it but all the action is at the coast and shopping axis. The building also feels very closed off. The grayish materiality, while ideal against the salt, feels heavy. I could understand why people once said it was a mausoleum. The materiality did make me think about Adolf Loos. You could sense a certain craftsmanship and modernism vibe. It were the right materials for its climate and it had very specific detailing about it. 4
Picture 1, B-architecten, CC de Grote Post, Ostend (2010) Going in trough the rotating doors at the front I got surprised by the income. So open. You could sense a peaceful atmosphere. It wasn t just a modernist building. Just like on the outside you find a very specific materiality and craftsmanship like detailing. Entering the main foyer, I noticed that that the café and bar were crowded with people having a good time. I think it was originally a phone booth room which could accessed separated at night when the post office was closed. Something that also helped to get this atmosphere were good acoustics. I don t know if it was already there of that B-architecten added it, but you can sit in peace and quiet at the one end and have a cozy talking atmosphere on the other. What I really appreciated about the foyer is that it was an all-in design from Eisselink. Everything was integrated and even the smallest things like the clock on the wall were chosen or designed by him. B-architecten added a decent amount of sitting elements in subtle varying shades of blue to make it feel fresh and young again. It wasn t a foyer you could ever imagine when only have seen the outside. Behind the old post counter, which were now in use as ticket offices and information points, there is big open area of 10 meters wide to get a unique natural lighting behind the counters from the inner square. Light would come from all directions. I could see why the building became so big and heavy on the outside. I think Eisselink designed such an experience on the inside with a lot of natural lighting that the contours just had to become so big. B-architecten used this space as a waiting area for people who are attending a concert in de Grote post. You would get some in between zones this way which can be found multiple times throughout the building. They also added a personal touch here by adding wooden slats in correspondence with the existing tiles. From here I entered the tubes. I got quite excited to enter them because in plans they were not easy to track and I could only imagine that they must be quite an experience. It started out as a dim unnaturally lighted grey tube which was a big change from the foyer described earlier. But by walking the path I started to notice how it interacted with the existing structure. It finally became clear to me how it all worked. When walking the tubes there is this sudden moment that you come on the level of amphitheatre and this was magic moment to me. It felt a little like a sitting on a train which all of the sudden pops out a long tunnel and you get overwhelmed by a view. Maybe a little over exaggerated but it creates a unique experience. You also get these unique views on the surrounding while going up and even at one point a vista on the city. The only unfortunate part about this experience was that the path the panorama view was blocked. So I didn t get to experience the view over the park. After having walked the tubes up and down I took the old elevator and stairs to see the rest of the building. You could also get there with the tube complex but I wanted to see how the building gets used in all its aspects. Here I noticed that quite a lot of people actually prefer the elevator over the tubes. By taking the old stairs I noticed the translucent glass this circulation space. The whole reasoning behind this and why it feels so shut of is to keep the privacy of the people living around it. Also very noticeable was that every room was in use for open or closed exhibitions, performances, classes, etc Interesting here was how B- architecten, from what I could see, converted and made every space unique while maintaining the overall atmosphere of the building. 5
Pictures 2,3,4,5; B-architecten, CC de Grote Post, Ostend (2010) 6
Pictures 6,7,8,9; B-architecten, CC de Grote Post, Ostend (2010) 7
Having seen everything, I decided to have a walk to the Casino to see the shore and have a bit sightseeing in the surroundings. It was during this walk I reflected on the building and tried to draw the complex tube circulation. It s something that can t be read with plans and section and even a model wouldn t comprehend the unique experience and views it offers. After the walk I decided to enter the building one more time before jumping on the train to get a last good look and feel for it. I also got a little tour by a guide and got to see some closed of spaces and she also mentioned some insightful aspects of the older parts. It s quite remarkable how B-architects converted this entire complex to a cultural music center. The only remark I would make is that as a stranger you don t really know what is happening on the inside. But the argument could also be made that it wants to be hidden gem, a revelation when seeing the amphitheatre for the first time inside a heavy grey looking, but well thought trough, that is trying to be unique in an even greyer context. On that note I walked to station and jumped on the train back home. Picture 10, B-architecten, CC de Grote Post, Ostend (2010) 8
3. Conclusion The question was to repurpose the old building of G. Eysselinck to cultural music center. B-architects took a very held back approach by questioning what was being asked and what was already there. They saw that a lot of the existing already satisfies what is asked and needed. It just had to be proven and adapted to existing regulation and acoustic norms. The building knows so many qualities and richness in craftsmanship that it would be a shame to extinguish those. But they also saw that an overall element to comprehend everything was missing. From a respectful and thoughtful way of thinking and the fact that the building is classified as a protected monument they chose to tackle it at its heart to impact its surroundings. The concept to me would sound something like: By adding circulation, generating a new program for on old building. This translated to the addition of concert room, an amphitheatre on top and circulation tubes to comprehend it all. Using the stunted inner square as a starting point they designed de Grote post concert room at the heart. But B-architects did not only take from the building this way but designed an amphitheatre on top of it to give the open space back. To replace it with something better that could be uses as a tribunal space. This is B- architects seeing what the buildings lends itself too and not trying to force anything on it. The massiveness of the building what separates the amphitheatre and outside form an acoustic barrier between the two. From this extension they want to generate a new heart for the building that interacts with fabric around it. Furthermore, they respected the existing and craftsmanship but also made the translation to the new concert, practice and meeting spaces by subtle material translations between the two. This can mainly be found in the foyer rooms. To wrap this all up they designed an all comprehending element that highlights the potentials of the building. They keep the circulation that is already there, which is either vertical or horizontal, and added new a dimension to the building. This takes shapes in one sloping circulation structure which starts from the Big post all way down and connects the important elements the way up. These tubes are literal incarnations of the potentials and converts them to kinetic energy. It also wants to be more than just circulation in between these spaces. By making it open, creating a new view on the inner workings of the building and a unique vista on the city it becomes an experience on its own. What make this project so unique to me is that everything feels in place. The richness of what was already there and the thoughtfulness by B-architecten creates an extension that becomes an integral part of it, where the lines blurs between the two. 9
5. Bibliography List of images: Pictures 1-10, De Rycker, A., 2016, own image archive. 10