HOUSE OSTEND

During the Belle Epoque period, Ostend basked in a history of prosperity and tourism, partially shaped by Leopold II. This rich past served as both a home and artistic hub for renowned artists such as L. Spilliaert and J. Ensor. The city was subjected to bombings in both World wars and the democratization of tourism which led to the construction of apartment blocks, forcing the city to undergo a significant transformation. However, in its rebuilding efforts, Ostend was fortunate to have enlisted the expertise of acclaimed architects such as Victor Bourgeois, Leon Stynen, Gaston Eysselinck, and others to reconstruct public buildings. During the heyday of the horse racing track, the bustling casino attracted stars from around the world, and a variety of restaurants and cafes sprouted up, contributing to the development of Ostend’s lively after-dark culture. The city was further enlivened by the daily arrivals of mail boats from England. Meanwhile, Ostend’s thriving fishing industry and active airport cemented its status as a true port city.

The diminishing connection to England has resulted in Ostend losing its status as a prominent port city. The former lively nightlife district has all but disappeared due to the decline of English tourism, an aging population, and the emergence of alternative forms of tourism. Additionally, the fishing industry is gradually being suffocated, as evidenced by the closure of the Ostend fish auction’s canteen. The distinctive north-facing quay houses are gradually being replaced by modern, horizontally arranged flat buildings with expansive glass facades. The city has been expanding to the east bank, ‘Oosteroever’, where various sea-related activities have been demolished to make way for a collection of new, towering buildings, none of which have any connection to coastal environment. Real estate developers of these luxurious new apartments are luring the best shops and restaurants away from the city center with irresistible conditions, further contributing to the deterioration of the once-vibrant heart of the city. As the new neighborhood is not directly connected to the city and is being provided with its own amenities, the city center is unfortunately falling into disrepair.

The clients, who were born in Ostend, made an unconventional choice by deciding to situate their home in the city center, only a short distance from the beach and halfway between the tourist axis, horse racing track, and casino. This area is still rich in Belle Epoque homes. Prior to purchasing the land, the request to construct an apartment block had already been granted. On the site, which measures 1,470m², there is an Eclectic mansion, built sometime between the 4th quarter of the 18th century and the 1st quarter of the 19th century, along with a small adjacent garage complex in the same style. The property includes a large gateway that leads to the grounds at the back where the doctor’s practice, along with parking and storage facilities, used to be located.

The project aims to renovate and extend the house for a family of four, including the addition of sports facilities and a multifunctional space that can be used as an atelier, library, and exhibition space featuring sea-related curiosities. Despite the clients’ suggestion to only preserve the front façade, the existing front house was completely retained. The Eclectic façade off the house was left untouched, with the exception of deleting the entrance door. The garage building has been transformed into the entrance building, serving as the gateway to the entire site. Behind the’ naked’ existing façade of the garage building , a new high entrance door in the alcove , along with a softly curved and inviting entrance made of glazed brick, serves as the main entrance to the new residence. The glazed brick material is also used for the facades of the new building behind. To create larger, more spacious areas while maintaining the original spatial layout, unused and small rooms on the ground floor were combined. All authentic features were preserved, relocated, or reinterpreted was revised to create more spacious areas. A transparent elevator shaft with a translucent roof was seamlessly integrated into the existing stairwell, providing natural, zenithal light to the five-story building. Ground-floor windows facing the street have decorative metal grilles for safety, and the garden wall facing the street has been raised for added security. Finally, the rear façade has been restored to its original state by removing previous alterations.

The existing patio, which used to be a closed area between the front house and former outbuilding, has been expanded, opened up, and now includes a tree. This was done to bring more light into the existing residence and to create a vibrant connection between old and new. The patio has become , with its various interactions between the different units the heart of the entire house. The style and impact of the new building aim to preserve the soul of the place. The outlines of the shared walls with the many owners around the site, including those of the new building , remain unchanged. As the new construction was built on the old brewery foundations, the footprint, including floor levels dating back to 1888, has been preserved. The floor levels were left in place, allowing the multifunctional space with a 2-story high ceiling behind, a former storage and garage area, to be accessed without entering into direct confrontation with the private quarters.

Given that the premises is enclosed amidst a high-rise apartment complex with many potential onlookers, the 5th façade plays a crucial role in ensuring the privacy of the residents. The new building is fitted with large canopies that provide a sense of protection to the residents while preserving essential daylight and garden views. Under the canopy, the concealed glazed areas offer multiple perspectives, creating a captivating living space that is flooded with natural light and allows for undisturbed living. The old garden murals have been whitewashed and reflect sunlight in the north-oriented living quarters, which are further supplemented with natural, zenithal light at various locations.
The canopies create a seamless connection between the old and new parts of the building, unifying them into a single story. One can circulate completely sheltered from the rain under the canopies, from the street-side passageway to the evening terrace at the back of the new building.
This design can be considered a nod to the venetian galleries located 200 meters from the property, built by the renowned French architect Girault to allow the king to move around in inclement weather from his royal villa to the horse racing tracks. The vertical, repetitive arrangement of the windows and the recurring suspension of the glass bulbous luminaires further enhance the walk and story. The canopies create within this inner-city residual volume several private outdoor spaces , garden rooms . ,what provide a more salvaged atmosphere.

The new building also features sliding decorative translucent panels that add to the cozy ambiance on cold and dark days. The 5th façade remains of utmost importance to the local residents, who cherish the existing greenery in the urban inner area. To further expand this greenery, the flat rooftop with dark roofing has been replaced with a green covering full of grasses and bushes. The canopies are fashioned in sand-colored concrete, which complements the paving in the garden . The garden itself has a serene atmosphere thanks to its calming color scheme dominated by sandy tones and complemented by sea-bound greenery. This urban sanctuary’s tranquil atmosphere is further enhanced by using sand-colored decorative concrete for the interior design, creating a harmonized transition between indoor and outdoor spaces.

Despite its humble character, the sense of nostalgia has always been present in Ostend. For the architect, the project holds special emotional significance as it allowed him to channel his personal attachment to the city into his work. The use of concrete, steel, and aluminum in the building’s design evokes a simple, raw aesthetic that captures the grandeur of the past in a contemporary way. In this sense, the project embodies the essence of Ostend as a small metropolis that seamlessly blends artistry with practicality.

Peter De Bruycker