Sint Midardus & Gildardus church in Rossem, Belgium

Sint Medardus & Sint Gildardus Church, Rossem Master of Conservation of Monuments and Sites Academic Year 2020-2021

H00A5C – Integrated Project Work Course coordinator: Prof. dr. Gisèle Gantois

Farida Elghamry Fernando Polanco Palacio Laetitia de Theux Mustafa Can Terzi

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© Copyright KU Leuven Without written permission of the IPW coordinator and the authors it is forbidden to reproduce or adapt in any form or by any means any part of this publication. Requests for obtaining the right to reproduce or utilize parts of this publication should be addressed to Faculty of Engineering and Department of Architecture, Kasteelpark Arenberg 1 box 2431, B-3001 Heverlee.

A written permission of the IPW coordinator is also required to use methods, products, schematics and programs described in this work for commercial use, and for submitting this publication in scientific contests.

III

Aknowledgementes

W

e would like to thank everyone who have helped us during our learning and practice process.

We could not have made it without the knowledge and expertise of our RLICC professors.

Special thanks to Prof. Gisèle Gantois, who supervised this journey technically, practically an even mentally. Moreover, thanks for helping us meet our beautiful church and managing to raise our spirits up after our first IPW3 topic was taken away from us because of the pandemic situation.

We would also like to thank Prof. Krista De Jonge for valuable information about how to do proper research and, more importantly, for helping us through our deep historical analysis of the church tower. We also appreciate Prof. Christian Ost for teaching us about heritage economics and guiding us through our analysis. Finally, our warmest thanks to Prof. Thomas Coomans, Prof. Koen Van Balen and Prof. Dr. Francis Tourneur for their lectures and for accompanying us on site and helping us gain much information that we likely would not have uncovered without their expertise. Thanks to Maarten Bassier, Wietse Vervenne and Sam Degeyter for helping us with the survey work.

Thanks to Prof. Piet Standeart for his lectures and answers to our questions about our case, professors Silvia Naldini and Rob Van Heels for coming all the way from the Netherlands to give us the workshop on damage diagnosis, to Gust De Bondt, the president of the church fabric, and to architect Tom Callebaut for inspiring us and meetings with us and to dr.ir. Kris Brosens. Finally, thanks to Mrs. Ann Schram for answering all our emails and helping with the technical and practical needs as fast as possible. You are the RLICC backbone. We would also like to thank Joseph for opening the church for us every time we needed to go. Lastly, we would like to thank our families and friends for supporting us throughout our studies from different parts of the world.

Team Rossem.

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Team

FERNANDO POLANCO POLACIO

is an architect engineer from Madrid, Spain.

FARIDA ELGHAMRY

LAETITIA DE THEUX

MUSTAFA CAN TERZI

is an architect engineer from Cairo, Egypt.

is an architect from Luxembourg, Grand-Duchy of Luxembourg.

is a civil engineer, from Ankara, Turkey

1

Abstract

T

he integrated project work is an interdisciplinary approach to the practice of architectural conservation. RLICC students apply the competences of the first two semesters, seeking to deliver a holistic approach based on deep architectural, historical, technical, economical and environmental research. Moreover, in our case adaptive re-use is part of the conservation process. This team worked on a case study of an underused church in Rossem, a small rural village north-east of Brussels. The neo-Gothic building, called “Sint Medardus and Sint Gildardus Church,” houses a protected organ and is accompanied by a protected cemetery.

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Table of Content 10

2.4.1. The reforms of the Austrian Habsburgs in the second half of the 18th century 34

1.1. Description

10

2.4.2. Transformations and accounts of Rossem church: 17501790 35

1.2. Methodology

11

2.4.3. The evolution of Rossem parish’s status: private pastor and independency 37

1. Introduction

1.2.1 Research

11

1.2.2 Survey

11

2.4.4. Conclusions from the context and accounts

38

1.2.3 Critical analysis

11

2.5. From the Concordat to the new tower: 1801-1839

40

1.3. Documentation

2. Historical Analysis

12

18

2.1. Timeline

18

2.2. The medieval origins of the church: 12th-15th centuries

18

2.2.1. Archaeological justification of the 12th century foundation 19 The only remains of Rossem’s medieval church are the bell tower and the church typology it implies. The literature dealing with the origin of the church has been contrasted with further research on the architectural context of the period and the traces found in the tower.

19 2.2.2. Brick masonry in the tower: a second medieval building phase?

22

2.2.3. Definition of the medieval construction phases

28

2.3. The church from the 15th century to 1735

30

2.4. Sint-Medardus en Gildarduskerk between 1750 and the French Revolution 34

2.5.1. Religious heritage in early 19th century Belgium: management, reconstruction, support, and style 40 2.5.2. Contextualization of Rossem parish in the early 19th century 42 2.5.3. The rising of the tower in 1839

43

2.5.4. Conclusion

44

2.6. Historic context for Belgium: 1830-1914

44

2.6.1. Socio-political and economic characteristics of the new Kingdom of Belgium 44 2.6.2. The Catholic Church’s role in Belgium and the relevance of the parish organizations 48 2.6.3. Neo Gothic and Gothic Revival: aesthetics and ethics 49 2.6.4. Conclusion 2.7. Sint-Medardus en Gildarduskerk enlargement 2.7.1. Gustave Hansotte, the architect

53 54 55

2.7.2. The Neo Gothic extension of Sint-Medardus en Gildarduskerk: 1874 56 Hansotte designed a Neo Gothic, eclectic enlargement over

3

the previous church, that was demolished. The bell tower was the only element left standing of the original construction, certainly for the reasons we have referred previously, and it was integrated in the new project (figs 2.38-2.42).

56 2.7.3. The completion of the interior program of the church: 18771896 62 2.7.4. Conclusion

67

The intervention of Gustave Hansotte in Sint-Medardus en Gildarduskerk follows the patters common to his time, profession, and service.

67 2.8. Restorations and interventions in the 20th century

68

4.Technical Analysis 4.1. Structural Analysis

108 108

4.1.1. Tower

108

4.1.2. Nave

110

4.2.Material Analysis

117

4.2.1. Exterior

118

4.2.2.Interior

126

4.3.Pathologies

142

2.8.2. The 1904 restoration of the tower by F. Van Roelen

72

4.3.1.Exterior

142

2.8.3. The Art Decó decorative program

73

4.3.2.Interior

145

2.8.4. The church during the second half of the 20th century

73

4.4.Suggestions

154

2.8.5. The decorative phases: from 1874 to 1986

75

4.4.1.Exterior

154

76

4.4.2.Interior

155

2.9. Legal protection and recognition of Rossem parish church

2.10. The chronologic synthesis of Sint-Medardus en Gildarduskerk 76

3. Spatial Analysis

82

3.1. Macro Scale

82

3.2. Meso Scale

82

3.3. Micro Scale

84

5. Socio-spatial Analysis

160

5.1. Accessibility

160

5.2. Interactive walks

160

5.3. Interviews

160

5.3.1. Neighbours

162

5.3.2. Joseph

162

5.3.3. President G. De Bondt

162

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5.4. Ownership

166

8. Conservation project & Adaptive Re-use

5.5. Village ambiance

167

8.1. Conservation Masterplan

206

8.2. Restoration advice

206

6. Economic and Touristic Analsis

172

206

8.2.1. State of Conservation

210

172

8.2.2. First phase

210

6.1.1. Statement of cultural significance

172

8.2.3. Second phase

214

6.1.2. Use values

172

8.3.1.1. Sankt Bernarduskirche, Oberhausen,

216

6.1.3. Non-use values

176

Germany

216

8.3.1.2. Sint-Niklaaskerk, Willebroek, Belgium

216

8.3.2. Intervention zones and main requirements

217

8.3.3. Description of the proposal

217

8.3.4. Conclusion

220

6.1. The Church as economic good

6.2. Economic Landscape analysis

178

6.2.1. Cultural capital

178

6.2.2. Tourism potential

180

6.3. The Adaptive re-use

180

6.3.1. Stakeholder mapping

180

6.3.2. Implementation

184

6.3.3. Recommendations

184

7. Value Assessment 7.1. Values and significance

188 188

7.1.1. Heritage Values

188

7.1.1.3. Conclusion

192

7.2. Value & Authenticity Assessment

195

7.2.1. Nara Grid

196

7.3 Synthesis plans

199

Conclusion

226

Bibliography

228

5

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Heer, ik heb den luister van uw Heer bemind en de woonst waar uwe Heer heeft gewoond.

-Lord, I have loved the listening of your Lord and the house where your Lord had lived.

7

On Beautiful damages

T

he expression “beautiful damage” was mentioned in a workshop we had on damage diagnosis and decision support with prof. Rob Van Heels and Silvia Naldini from TU Delft. The words were spoken by prof. Naldini and referred to the beauty of details in the damages. It got stuck with us, because people tend not to appreciate damaged or warring (parts of) built heritage. We, however, see the beauty in the different damaged pathologies of the Rossem church (though we plan to restore it), and we used pictures of them on the starting page for each chapter. We hope you enjoy our project as much as we did working on it.)

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9

Introduction Description

Methodology

Documentation

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1. Introduction 1.1. Description

T

he parish church of the hamlet of Rossem is dedicated to the patron saints Gildardus and Medardus. The hamlet of Rossem is located 18km northwest from the center of Brussels and is part of the municipality of Meise. The first part of the tower could possibly date back to the 13th century, and has undergone several transformations in the 18th and 19th century.

The main transformation of the church was the enlargement of Figure 1. 1 North-west Elevation © Authors the nave, which caused the demolition of the former nave. The enlargement was executed in 1874 and designed by in a NeoGothic style by the provincial architect Gustave Hansotte. Since then the church has undergone another set of transformations, changing its exterior and interior aspects (addition of a cement render in the early 20th century, addition of Glazal panels in the 1960’s, re-arrangement of the liturgical furniture after the Second Vatican Council, the covering of the wall paintings in more neutral colors).

The church and its cemetery are protected as a monument since 2010. The church contains an organ of the 18th century by the Forceville manufacture that was protected as a monument in 1979. The village-scape around the church, includes the plots of

the former pastor’s house (built in 1767 and listed as architectural heritage in 2009) and the former municipal school (built in 1872).

These land plots are protected as a village-scape since 2010.

Although the cemetery is still visited frequently, the church is currently underused. The parish and the church fabric although very attached to the church only use it sporadically for important ceremonies such as funerals, weddings or baptisms.

The church is sometimes used as an exhibition space, but those are mainly about religious items and heritage and cannot be considered as sufficiently sustainable to provide the necessary financial incomes and interest in the community to ensure the maintenance and the future of the church.

1.2. Methodology 1.2.1 Research

T

he conducted research is based on numerous on-site visits, lectures and workshops conducted during our studies, and experts reports obtained from Prof. Gisèle Gantois about the building. In addition to literature and online readings, we also visited the provincial archives in Leuven for the historical research.

1.2.2 Survey

11 l Introduction

Brussels

T

he technical survey conducted in March aimed to measure all the necessary data digitally with Dr. Ing. Maarten Bassier and his team. We used the technologies of the total station, laser scanner and drone to capture as many measurements as possible. Consequently, we chose to measure by hand different details inside and outside for further accuracy. Additionally, we used Agisoft Metashape to rectify the glazed panels that we have in the church and we took over — 800 photos to get our perfect point cloud model. (See fig 1.00)

1.2.3 Critical analysis

I

n the economic research and valorization of our building, we tried to critically consider our buildings’ potential and what it can offer to the future generations. The building has plenty of pathologies and technical damages that were very educational and enriching to our experience in the conservation field. There are signs of warring on many different details Studying the different bricks of the church has led us to find out about the building chronology and archeology. (See Chapter 2)

Figure 1. 2 Three maps showing location of Rossem village in Europe © Mapbox

Our Adaptive re-use result is based on all those assessments and analysis that are structured in this booklet so to reach a safeguarded future for the church in a sustainable fashion.

Through studying other cases of adaptive re-use in churches and comparing relative cases, contacting practitioners and using what we have learned during our Conservation of architectural heritage: History, theory and practice we have proposed our last chapter on Adaptive re-use. (See Chapter 8)

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Figure 1. 3 Fish-eye photos obtained from the laser scanner. © Authors

13 l Introduction

Figure 1. 4 Working sketches © Authors

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Figure 1. 5 Group work pictures

15 l Introduction

Figure 1. 6 Rossem group in action

Figure 1. 7 Site visit with prof. Gantois and dr.ir. Brosens, second floor, tower.

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17

Historical Analysis Timeline

Research

Chronography

Historical Analysis

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Figure 2. 1 Timeline © Authors

detailed analysis and justification for the hypothesis proposed in this work, attending to every period identified.

2.1. Timeline

2.2. The medieval origins of the church: 12th-15th centuries

I

T

has been established by the study of archival sources, literature, and

Medardus and Gildardus Church are first referred in a manual dated to

professional reports; and its critical comparison with the information

15th June 1771, written at the handover of the church to Joannes Jerome

gathered from the monument itself.

de Bare: regular canon of the Abbey of Dielegem and vicar of Rossem.

n this chapter, we will present the results of our historic research on Stº. Medardus and Gildardus Church, in Rossem. The history of

the building and its construction phases, as well as its modifications,

Following the main events in our timeline (fig 2.1), we will present a

he first mention of Rossem as a parish is in February 1241, after a donation of land to the Norbertines of the Abbey of Affligem

by Egeric, son of Johan Van Robbroeck.1 However, the origins of St.

1 Cassiman 2019

19 l Historical Analysis

Verbesselt’s interpretation of the document dates the foundation of the parish, by the Duke of Brabant, between 1147-1220. 2 The accounts of a tithe area linked to Rossem in 1220 supports the hypothesis, proving that, by that date, the village had already its own parish.3 The foundation of Rossem parish would have happened, therefore, during the second half of the 12th century, presumably on former grounds belonging to the Norbertines of Jette, who had links with Wolvertem’s nobility. It would have been formed from the parish of Wolvertem, with full parish rights after its foundation but under the ministry of Wolvertem’s. The church was built among the fields of

Saint Gildardus (deceased ca. 514), bishop of Rouen; allegedly brothers who died on the same day; its festivity being 8th June.

2.2.1. Archaeological justification of the 12th century foundation

The only remains of Rossem’s medieval church are the bell tower and the church typology it implies. The literature dealing with the origin of the church has been contrasted with further research on the architectural context of the period and the traces found in the tower.

Kerkeveld, Robbeekveld, and Schriekveld, and it was well connected

The period defined in the previous studies –mid-late 12th century–

with the main settlement. 4

corresponds with the last stages of Romanesque. Attending to this

It was dedicated to Saint Medardus (473-560), bishop of Noyon, and 2 Verbesselt 1965 3 Cassiman 2019 4 Cassiman 2019

date, its location in Brabant, and its morphology, we can characterize the church following Canon Lemaire’s types5. St. Medardus en Gildarduskerk corresponds to the Mosan type: bell tower located in 5 Lemaire 1935

20

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the west end of the church, as a westwerk, and nave prolonging to the East (fig 2.2). Having lost the original nave, we cannot precise if it had side aisles or a transept. Nonetheless, future depictions of the church eliminate the possibility of a transept and do not hint differentiated side aisles (see 2.3).

The church tower has its two first levels built with Ledesteen (fig 2.3): an Eocene sandy limestone, the most common stone used for construction in Middle Age Brabant.6 However, the degradation of the stone and the several later interventions do not exclude other possibilities within the same type. The stone construction, yet clear in the west façade of the tower, presents a stepped profile in the north wing and façade, and only few rows from the ground in the south ones; the rest being built in brick (the tower’s side wings will be discussed later).

The stone phase, at least for the central body of the tower, hosts the entrance and the (nowadays) organ loft right above it. The organ

Figure 2. 2 Sint-Pieterskerk, Bertem © Authors

loft, opened to the nave with a wide, semicircular, triumphal arch,

fined as pointed, being noticeable the semicircular arch towards the nave.

lies under a quadripartite ribbed vault with two diagonal ribs –a typical Brabant vault7– resting on limestones consoles (fig 2.4). The webbings of the vault present single curvature, following that of the ribs. Assuming its construction in stone (the plastered intrados and inaccessible extrados do not allow confirmation) we could catalogue it, attending to its geometry and materiality, as a 13th century vault.8 This would date the core of the tower (or at least the vaulting of the space) almost one century after its alleged foundation. Nonetheless, the vault presents several issues that could redefine its dating: ·

The perimetral arches of the vault on the walls could not be de-

6 Smers & De Jonge 2009 7 Smers & De Jonge 2009 8 Smers & De Jonge 2009

·

The ribs are detaching from the webs, sound hollow, and they are like those featuring Hansotte’s plaster vaults of 1874 (see 2.7), but nonetheless an X-ray or thermal picture of the ribs will be needed to confirm it.

The former inputs have made us reconsider the chronology suggested by the characteristics identified by Smars & De Jonge (2009), since we cannot consider our vault a ribbed one (further testing would be needed to confirm). Together with the perimetral geometry and implying its stone masonry construction, the hypothesis is that ours is a Romanesque groin vault predating the 13th century, or from before 1220. It would have been later disguised as a Gothic vault during Hansotte’s Gothic Revival intervention in 1874, looking for a unity of

21 l Historical Analysis

Figure 2. 3 Buttress of Rossem tower © Authors

Figure 2. 4 Vault over the organ loft © Authors

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style.

We therefore regard the 12th century origins of Rossem church as plausible.

2.2.2. Brick masonry in the tower: a second medieval building phase?

The medieval core of the tower is completed with brick masonry, as can be seen in the side north and south wings, and the third level of the tower (fig 2.5). We can identify two types of brick formats, with a size ranging between 26-27.5 x 10-12.5 x 5.5-6 cm and 18-20 x 7-9 x 4-6 cm9; Figure 2. 5 The church tower from the north-east © Authors

in cross dressing bond (with areas where the bonding is not clearly structured), built on top of the previous Ledesteen construction, and with cornerstones in the edges of the same material.

The lack of accounts and depictions of the period, as well as the successive interventions that will be discussed later, render

·

In the north addition (fig 2.6), the limestone is arranged in such a way that it conforms a stepped profile starting higher in the western edge and going down diagonally until it reaches the limestone base, at the height (2.13 m) of the first window’s sill – this corresponds to the location, inside the wing, of the winding stair, but whether a relationship between the two features exist is just conjectural.

·

In the south addition (fig 2.7), the limestone is only used until it reaches the level of the first window’s sill (1.93 m), the rest of the wall being built with brick masonry (where we can see some corrective rows).

challenging the dating of the brick masonry construction. Again, by using the building as our main research source and comparing our findings with literature and other built examples, we aim to place this intervention in its time.

Whereas the west façade of the tower, until its second level, it is fully built with sandy limestone, the construction of the side wings is almost entirely consistent on brick masonry. In both cases, we can appreciate a similar phasing in the brick format, employing the smaller size

Both wings present a similar type of window, characterized by its

above the 3.50 m (N) and 3.60 m (S) mark – appearing cornerstones in

Balegem stone cornerstones: an Eocene sandy limestone, the same

the edges of the walls at that height as well. The limestone elements,

family as Ledesteen, which present thicker layers and can be more

although existent in both façades, present clear differences:

sharply cut than the latter. The two side pavilions feature a low window in a similar position, right above the end of the limestone

9 Cassiman 2019

base; however, the north one also includes a second window opened

23 l Historical Analysis

Figure 2. 6 North side wing of the tower: changes in masonry © Authors

Figure 2. 7 South side wing of the tower: changes in masonry © Authors

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to the stairwell, at a higher level (4.52 m).

The side pavilions are built against the tower’s north and south walls, 0.98 and 0.86 m deep, being their outer walls of 0.63 and 0.84 m. This results in two narrow rooms, again with differentiating characteristics: ·

The north room hosts the winding stair against its western wall, leading up to the organ loft, and it is lightened by two windows at different heights; the stairwell (fig 2.8) seems to be carved out from the walls themselves, perhaps after the construction of the masonry stair we can see nowadays.

·

The south room has a timber ceiling correspondent to the first floor, where a small opening has allowed us to investigate its upper part, finding traces of the previous nave roof in the east parament –reaching the south parament at the height of the outer brick transition– and a relief arch (fig 2.9) over the opening leading to the room (doorway transformed into a pointed arch in the 19th century); the ground floor also features a blinded oculus (fig 2.10) framed by limestone, not apparent in the façade, of origins and use unknown10, as well as fillings reducing the size of the room (probably 19th century).

The tower raises yet more questions, but as well chances to date the last stages of the medieval construction of the church. The third level of the tower is built with the bigger format of bricks (that we may

Figure 2. 8 Traces of a roof and relief arch in the south wing © Authors

call Spanish format) clearly on top of the first two Ledesteen levels.

Its outer façades present three large, blinded openings, of classic proportions and limestone frames, limestone cornerstones, and a band of small format bricks starting 80 cm under its cornice. The openings are blinded with the same small brick format.

The interior of the tower’s third level is also built with Spanish format bricks. However, the aspect of the openings differs: ·

The west opening (fig 2.11) is apparent, as it would have been

10 Prof. De Jonge mentioned that, sometimes, similar oculi were used to abandon babies, yet no comparison can be traced.

Figure 2. 9 The oculus in the south wing © Authors

25 l Historical Analysis

Figure 2. 10 The stairwell of the tower © Authors Figure 2. 11 Blinded west opening in the second floor of the tower © Authors Figure 2. 12 Blinded north gothic arch in the second floor of the tower © Authors Figure 2. 13 The entrance to the attic in the east wall of the tower © Authors

26

·

·

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entirely opened in the wall, and then blinded.

century, due to the increasing rarity of stones, they became frequent

The north (fig 2.12) and south classical openings are not present inside the tower, but instead we find, one each, smaller pointed arches filled with smaller bricks; the arches presenting some keystones.

substitutes, being the norm from the 16th century onwards. Initially

In the east parament, there are three pointed openings: a central, lower, blinded one behind the clockwork case, and two side windows at a higher level, the southern being nowadays the way to enter the roof (fig 2.13).

Several endoscopies were performed here by TRICONSULT within the surveys of the stability report11 for the management plan of St. Medardus and Gildardus Church.12 The endoscopies, 6 in total, perforated the walls considering three different suppositions: ·

·

·

Walls not presenting openings (E1, E4, E5): full brick masonry construction, around 80 cm deep, homogeneous, and beautifully executed.

Drillings through inner blinded arches (E3, E6): full brick masonry construction, around 55 cm deep, well connected yet rather crumbly.

Simultaneous endoscopy through inner wall and outer blinded arch (E2): 55 cm deep wall presenting two layers with two intermediate cavities (from the inside, at 17 cm and 32 cm), the second of them probably defining the transition to the outermost, poorer quality masonry like those in E3 and E6.

The building archaeology of the tower’s third level is the base to assess our proposed chronology not only for the medieval construction phase of the parish, but also for further interventions. For this chapter, we focus on the identification of the medieval phase.

used in modest constructions, their visible use in churches was not immediate.13 We have conjectured that the stone core of the tower may date to the interface between the 12th-13th century, which would leave a gap of two, in the best case one century between the stone and brick masonry works. The juxtaposition of the different materials is clear in the third level of the tower, built clearly on top of the Ledesteen base, and already presenting Gothic features such as the pointed arches.

However, the relationship between brick and stone is less clear in the side wings: whereas in both pavilions the limestone and brick reach to similar levels, it is clear to see in the northern volume the bonded use of the two masonries.

It may have been that the works on the tower were incomplete in the turning point of the 14th-15th centuries, clearly patent in the low rising of the Ledesteen used in the side wings –excepting the corner where the winding stair was to be located–, having prioritized the use of the limestone for the core of the tower and the disappeared nave. Rossem parish would have been an early adopter of the brick construction in churches.

On the other hand, it could be that, at the moment of the reintroduction of bricks, the church nave and tower were already fully built using only Ledesteen, with the height both for the tower and the side wings (probably nave as well) that of the stone. The north

Bricks, disappeared in Belgium at the end of the Roman period,

side wing would present a Ledesteen stair tower adjacent to the main

were reintroduced in Southern Brabant in the 14th century. In the 15th

tower, higher than the pavilion –reaching up to the current end of the stepped profile. At some point in the 15th century, it could have

11 TRICONSULT 2019 12 Gantois 2021

13 Smers & De Jonge 2009

27 l Historical Analysis been decided to raise the tower one level higher –which would be used for the bells, considering the thin holes for ropes perforated in the organ vault– as well as the nave, and hence the side wings, using bricks. The possible north stair tower would have been embedded in the brickwork, hence resulting in the stepped profile of the exterior wall, and the preexistent winding stair (presumably a timber one, as the central post suggests) may have been replaced by a masonry one (requiring the carving of the extant walls). The 15th century date can be supported by the small consoles on the ground floor doorways to the stairwell, as well as the door and its fittings14.

We believe that the latter is plausible, considering the previous assumptions on the Romanesque origin of the monument, the traces found, and the literature consulted. A comparative analysis between Sint-Medardus en Gildarduskerk and Sint-Hilariuskerk in Bierbeek (fig 2.14) could help address the accurate dating and building process of our parish.

2.2.3. Definition of the medieval construction phases

We therefore conclude that: ·

·

Sint-Medardus en Gildarduskerk was founded in the second half of the 12th century, before 1220 in any case, as is suggested in the literature and has been contrasted by further research and building archaeology; a Romanesque church.

The parish church underwent a second medieval construction campaign probably in the 15th century, and in no case before the 14th century, to rise the height of the original limestone building

14 Cassiman 2019

Figure 2. 14 Sint-Hilariuskerk, Bierbeek © Vertommen

28

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using brick masonry and featuring Gothic elements.

The next diagram aims to reconstruct the appearance of the church tower in the 15th century (fig 2.15).

2.3. The church from the 15th century to 1735

W

e do not have any sources referring to Sint-Medardus en Gildarduskerk during the 15 , 16 , and 17 centuries. Likewise, th

th

th

Figure 2. 15 The church of Rossem in 1714, from ARAB, Maps and Plans. nª1033

we cannot identify any traces from this period in what remains of the monument. The years of the Spanish Habsburgs rule (1515-1700) are a blank page concerning Rossem and its parish.

The first depiction of Rossem church dates to 1714 (fig 2.16) However, it is difficult to consider it as a truthful representation of the building: the inconsistency of the fenestration and the apparent unfolded elevation –as it were to show front façade of the tower and long façade of the nave– render it naïve, more akin to a stereotypical drawing of a church.

In the map book of the Abbey of Great Bijgaarden, dated 1735, we can find the first reliable depiction of Sint-Medardus en Gildarduskerk (fig 2.17). The perspective drawing represents a church with a west tower counting three levels (attending to its windows) and side wings, and a nave of the same width as the former, apparently with no side aisles (or at least, under a single-pitch roof). We cannot establish any

Figure 2. 16 The church of Rossem in 1735 Bijgaarden Atlas, from Verbesselt. (1965)

29 l Historical Analysis

Figure 2. 17 Reconstruction of the church tower in the 15th century © Authors

30

l Rossem Church

comparison between the nave portrayed in the cartography and

TRANSVERSAL SECTION DD' ROOF

its assumed medieval morphology –or indeed the actual building–; however, we can identify similar features to those defined in our previous characterization of the tower and follow the track of the changes the drawing shows with the material evidence gathered on site.

In the 1735 document we see that the south side wing of the tower is higher than what we established for its late medieval configuration, reaching the upper edge of its roof to the level of the west stone buttresses. Trusting the proportions of the representation, we acknowledge that the drawing portrays the side wing as it is now.

Comparing the two different stages with the material evidence, we see in both side wings how the aforementioned brickwork changes in size (to 18-20 x 7-9 x 4-6 cm) above the ca. 2.50 m mark up until the roof (figs 2.6/2.7).

Furthermore, in the drawing we see how the nave follows the height and pitch determined by the side wings. We hence assume that the nave was also raised before 1735. There is major archaeological evidence supporting this theory. Inside the roof structure of the 1874 extension, we find two traces of pitched roofs in what was the former east façade of the tower (fig 2.18). The lower one, prolonged until its contact with the side wing façades (intersection corresponding to the change in the brick format), gave us the profile of the assumed 15th century nave. The upper one, clearly delimited by the contrast of visible brick masonry below and a limewashed façade above, when prolonged corresponds to the profile of the actual side wings roofs (fig 2.19). The former east openings on the third floor of the tower, now

0

obstructed, would have been blinded.

SCALE: 1:100

This trace also is relevant to understand the interplay of the new roof

2.5 m

5m

10 m

Figure 2. 18 Location of the traces of the previous roofs. © Authors

31 l Historical Analysis and the tower in the first years of the 18th century. Crossing the very summit of the roof trace there is a line which indicates a change in the brick format of the tower (fig 2.20), defining a band of smaller bricks ca. 80 cm under the stone cornice between the third and fourth floor of the tower. The same band can be observed all along the perimeter of the tower at that height. Looking in the interior, we can find filled square perforations, regularly spaced, where the brickwork changes –possibly traces of a former timber floor, east-west tie rods remaining in its position.

The new, higher roof, already present in 1735 according to the sources and after its critical analysis, could have only been built if the tower would have been raised that little much, otherwise it would have interfered with the tower’s spire. The new, smaller brick format employed in both side wings and the rising of the tower corresponds to the ditch of the Spanish format in the 18th century. The lower care given to the masonry can also hint its possible white limewash.

Concerning the Gothic windows of the third level of the tower, we believe they were left as such during the 18th century. Although blinded with a similar brick format and featuring nowadays a classic design, we consider that they appeared in the 1839 intervention (see 2.5) since in the 1735 depiction shows small, narrow openings.

Figure 2. 19 First roof trace in the eastern façade of the tower. © Authors Figure 2. 20 Traces of the eastern former roofs (previous page). © Authors 21 Limewhased façade and brick change. © Authors

32

l Rossem Church

To conclude, as you can see in the following sketch (figs 2.21), we hypothesize that in the early 18 century, and always before 1735, the th

side wings and nave were raised using a smaller format of brick, hence establishing a new roof. The former implied the rising of the tower using the same material. It is possible that, attending to the quality of the new masonry and the traces found, the church was limewashed during the 18th century. There is a similar representation of our church in a document dating 1755 (fig 2.22), but it is likely a quick copy of the one from the map book of Great Bijgaarden Abbey.

ond half of the 18th century

The second half of the 18th century in the Austrian Netherlands is defined by the reforms enacted during the reigns of Empress Maria Theresa and Charles Alexander de Lorraine, governor of the Low Countries (1744-1780), and Emperor Joseph II (1780-1790), which aimed to the modernization of the state following the principles of the Enlightenment.17 These reforms would severely affect the religious, cultural, and socio-economic reality of Brabant, and may explain some of the accounts referring to Rossem church.

2.4. Sint-Medardus en Gildarduskerk between 1750 and the French Revolution

First of all, the time of the Counter-Reform, and therefore of Baroque, was coming to its end, being replace in the Southern Low Countries and Liège by Neoclassicism (fig 2.23). Promoted by the government by requiring the abbeys to employ court architect Laurent-Benoît

T

Dewez for their works (1760-1780), Neoclassicism was regarded as an he second half of the 18

th

century is a period of changes in the

expression of a new order. Besides his work in monastic complexes,

religious panorama of the Southern Low Countries , under the 15

government of the Archdukes of Austria since the beginning of the century. It is, as well, a period for which we can find several accounts

17 Coomans, Neo Gothic… Unpublished

referring to Sint-Medardus en Gildarduskerk16 after hundreds of years of silence. We will present the cultural and political context, followed by the first reference sources consulted, to understand the situation of the parish church from 1750 to the French annexation of the Austrian Low Countries and the Prince-Bishopric of Liège by the National Convention in 1795.

2.4.1. The reforms of the Austrian Habsburgs in the sec15 Coomans, Neo Gothic… Unpublished 16 Cassiman 2019

Figure 2. 22 1755 depiction of Rossem, from ARAB, Maps and Plans, nª 896/0

33

Figure 2. 23 Reconstruction of the church around 1735 © Authors

l Historical Analysis

34

l Rossem Church

Dewez also converted several medieval churches to the contemporary taste. 18 The reforms, nonetheless, did not only affect the artistic dimension of religious life. The institutions on which the Counter-Reform had been supported were gradually eliminated: the Society of Jesus was expelled from the Austrian Netherlands in 1773 and many contemplative orders were suppressed in 1783.19 The expulsion of the Jesuits, champions of the Counter-Reform and a supranational society responding only to the Pope, had started in the Portuguese Empire in 1759, and by the 1773 it had been already outed from France (1764) and the domains of the Spanish Bourbons (Spanish Empire, the Kingdom of Two Sicilies, and the Duchy of Parma in 1767). The suppression of the contemplative orders, regarded as useless, freed the land from mortmain, revitalized the construction sector, and injected liquid capital in the economy.20 Figure 2. 24 Abbey of Vlierbeek © Roger Stuyven, Heemkundige Kring Vlierbeek

2.4.2. Transformations and accounts of Rossem church: 1750-1790

We have available several first reference sources mentioning our church and its development for this period. However, more often than not we have not been able to relate them with material evidence.

The second half of the 18

th

in Rossem starts with the mention of a

newly built classicist church in 1750, from which there is no recorded

or material evidence.21 We have proof, nonetheless, of the funeral of the Lord Count of Wolvertem, which was held in Rossem according to a document dated 11th August 1755.22 From this event may be preserved in the parish some of the candles used for the ceremonies embellishing today’s altars, as well as the gravestone of the lord – currently in the tower’s ground floor, certainly relocated, dated 1755.

Our uncertainty about the situation of the nave in the second half of the 18th century is yet again increased by the representation of Rossem church in the Ferraris map (1771-1778), where a closeup of

18 Coomans, Neo Gothic… Unpublished 19 Coomans, Neo Gothic… Unpublished 20 Coomans, Neo Gothic… Unpublished

21 Cassiman 2019 22 RAL, INV 800/129 1771-1785

35 l Historical Analysis the village shows a church with a well-defined transept (fig 2.24), a feature which did not appear either in 1735 or 1755. Since there is no documental or archaeological evidence of the latter, we cannot verify this information.

The transformation of the parish church following a Neoclassic design would be supported by other period interventions like the ones we have discussed in the previous section, even more considering the links of Rossem with the Norbertine order. However, the lack of complementary sources and traces does not allow to accept this statement in our research. The few remains that can be found from

Figure 2. 25 Ferraris Map (1771-1778) © KBR, J.

a previous classicist phase are the Rococo communion benches (fig 2.25) located now in front of the side altars.23 Besides the aforementioned pastor’s manual dated 1771, there are some accountability notes between 1772-1790 from which we can infer that some interventions were performed, despite being very fragmentary records and the impact of this works unknown.24

23 24 25 26 27

·

1772: purchase of lime and 2500 bricks.25

·

1773-1774: recast of a cracked bell, commissioned by Pastor Stoefs (Rossem and Wolvertem) to N.J. and B. Van der Laer (Brussels). The cracked bell arrived at Brussels city hall to be weighed on 4th November 1773, where it was later weighed after reparations. The recast bell and a smaller one were installed in the church in March 1774, after four days of work.26

·

1779: delivery of lime and stone by the stonecutter Johannes Van Fracken, and bricks. Payment to Metser Franciscus Van Campenhout.27

Cassiman 2019 Cassiman 2019 RAL, INV 800/129 1772 RAL, INV 800/129 1774-1777 RAL, INV 800/129 1779

Figure 2. 26 North chapel and communion bench © Anneleen Cassiman

36

l Rossem Church

·

1782: purchase of lime, paint, slats, nails, and lime for plaster.28 Payment to Painter Geens for his work on the altarpiece, possible roof repairs, and a considerable purchase of beer for the workers.29

·

1788: payment to Fr. Smets (organ maker) to install in Rossem the Forceville organ (fig 2.26) coming from the church of Wolvertem30 (made in Brussels, 174431). The organ was protected as a monument in 1979.

·

1789: restoration and cleaning of the stained glasses, repair works by a carpenter and a locksmith.32

We do not have the means to follow the track of the possible interventions made with the related purchased materials and craftsmen. The only element of the list that we can identify is the Forceville organ; however, the adaptations required for its installation are not mentioned. The organ is one of the most valuables assets of Sint-Medardus en Gildarduskerk.

2.4.3. The evolution of Rossem parish’s status: private pastor and independency

The successive changes in Sint-Medardus en Gildardus parish within the religious organization may be explained by the reforms enacted by the Habsburgs during the second half of the 18th century. Even though it is not stated in the consulted literature that those reforms motivated the evolution of Rossem parish’s status, its simultaneity could, perhaps, be representative of the tendencies of the period.

In 1767, Rossem was granted a private pastor, having been until now 28 29 30 31 32

RAL, INV 800/129 1782 Cassiman 2019 RAL, INV 800/129 1788 Cassiman 2019 RAL, INV 800/129 1789

Figure 2. 27 The Forceville organ (1744, installed 1788) © Authors

37 l Historical Analysis the priest of Sint-Medardus en Gildarduskerk that of Wolvertem. In the same year, the Abbey of Dielegem built a presbytery in the hamlet, and the church was given a vicar.33 The arrival of the private pastor could have had material implications in the church, probably related to the purchase of construction materials previously presented; however, the destruction of the nave in 1874 does not allow to follow them. On the other hand, the construction of the presbytery and the

policies (1744-1790).

We have not been able to identify, for this period, any elements beyond the organ and some furniture elements. Likewise, the lack of archaeological evidence and dubious cartographic representations do not allow a reconstruction of the church from 1735 onwards. Our assumption is that the tower –only part remaining of the monument

vicar’s house (in front of the church, demolished in the 1960s) have

before 1874– stayed as it was defined in the previous chapter.

had relevant urban and social impact.

The 18th century reaches to its end in the Low Countries after Rossem

It is worth mentioning how one of the most detailed documents on

parish’s independence. The successive conflicts between the Austrian

the history of Sint-Medardus en Gildarduskerk is precisely the manual written in 1771 for the handover of the church to Father de Bare, vicar

Netherlands and the revolutionary France in the first years of the 1790s finished with the annexation of those territories (and the Prince-

of Rossem.34

Bishopric of Liège) by the National Convention in 1795.

Finally, the parish church of Rossem becomes independent from the

The enlightened reforms radically affected the religious heritage,

parish of Wolvertem by decree on 9th October 1790.35

2.4.4. Conclusions from the context and accounts

The second half of the 18th century is characterized, in Rossem, by its

especially that linked to the monastic orders. The later warring and revolutionary periods were terribly harmful to it. At the end of the 18th century, and as a result, nearly every convent in the Southern Low Countries was pillaged, recycled, or destroyed36 (fig 2.27) –not so the parishes, Sint-Medardus en Gildarduskerk being one.

inexistent, confusing, and in the best-case fragmentary accounts.

For very few of them traces can be found on site. Nonetheless, three events referred in the literature –the arrival of a private pastor (1767), the purchase of the Forceville organ (1788), and the independent status of the parish (1790)– can be considered as defining features of the Sint-Medardus en Gildarduskerk in the years to come. Arguably, these episodes could be framed in the Habsburg reform context and

2.5. From the Concordat to the new tower: 18011839

T

he Concordat of 1801-1802 between Napoleon and the pope Pius VII (fig 2.28) redefined the relationship between Church and

State.37 The following years were characterized by a progressive return

33 Cassiman 2019 34 RAL, INV 800/129 1771 35 Cassiman 2019

36 Coomans, Reconquering… Unpublished 37 Coomans, Reconquering… Unpublished

38 to normality of the old urban and rural parish churches.

38

l Rossem Church

The first

decades of the 19 century witness the first approaches to a religious th

resignification of the space, after the secularization dynamics of the end of the 18th century.39

2.5.1. Religious heritage in early 19th century Belgium: management, reconstruction, support, and style

Church fabrics became the responsible for the management of their respective parishes, the material organization of the public worship.

They were to initiate the projects by acting as the client, and in agreement with the public authorities. The new constructions were funded by public money, drawn by municipal or provincial architects, and countersigned by civil authorities; after 1835, they had also to be ratified by the Royal Commission of Monuments.40 The issue of the completion of church towers appeared as early as 18101812 for those of the cathedral of St Paul in Liège.41 Between 1830-1857,

Figure 2. 28 Allégorie du Concordat de 1801, P. J. C. François (1st quarter of 19th c)

no less than 1200 churches were built, restored, on enlarged in Belgium due to the demographic growth42 –also including the small towns and rural areas.43 Since 1840, the Royal Commission of Monuments was

as the first steps leading to the heavy religious resignification to come

actively promoting the restoration and enhancement of churches

in the second half of the 19th century.

not because its religious dimension, but rather acknowledging the

Architecturally and artistically, this period is still defined by

relevant urban presence of these monuments and their ability to

Neoclassicism. The style had survived the succession of political

improve the quality of the public space. The former can be considered

regimes and socio-economic reforms –a longevity perhaps due to its

44

universal character and use in every type of buildings. In fact, the first 38 39 40 41 42 43 44

Coomans, Neo Gothic… Unpublished Coomas, Reconquering… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Reconquering… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished

generation of churches built after the independence of the Kingdom of Belgium (1830) were still neoclassical.45

45 Coomans, Neo Gothic… Unpublished

39 l Historical Analysis

Figure 2. 29 Abbey of Villiers © Authors

40

l Rossem Church

2.5.2. Contextualization of Rossem parish in the early 19th century

February 1839, the parish received a grant of 2000 francs (half by the Government, half by the province of Flemish Brabant) to fund the works.47 The intervention would have been design by the provincial architect Louis Spaak,48 yet there are no archival records of the project.

This is the context in which the next major intervention in Sint-

The 1839 intervention consist in the addition of a fourth level to the

Medardus en Gildarduskerk happens: the rising of the tower as

tower, crowned with a slate spire resting on top of a stone entablature,

we can see it today. The parish’s priest in the overlap of the 18th-

built in brick masonry with whitestone and bluestone details. It

19th centuries had been Bernardus l’Artilly (1789-1824), who was

features four large openings, one on each façade, characterized by

succeeded by Josephus Benedict Van Zeerbroeck (active between

their semicircular arch profile and classicist design; the openings

1824-1876)46. It is under his management that the church will undergo

closed with shutters covered in led and slate (fig 2.31). The brick

the transformations leading to the current state of the monument.

format used for the new construction is similar to that employed in

There were some restoration works for the roof of the nave performed

the 18th century enlargement, but we can confirm –after comparing

between 1831-1832.

the literature, depictions, and traces among them– that they belong

The urban context of Sint-Medardus en Gildardus parish in well and

to different building campaigns.

accurately represented in the primitive cadaster plan of Belgium (ca.

The new body of the tower is divided from the previous level –15th

1835, fig 2.29) and the Atlas Van Der Buurtwegen (1841, fig 2.30). The

century Spanish format brick masonry with a small rising in smaller

consistency in the representation between both depictions, before

bricks before 1735– with a stone cornice. The edges of the new level are

and after the rising of the tower, lend us to believe that the nave did

also built with limestone cornerstones, and it is worth mentioning that

not experimented changes during this period: it is a long, slender,

the cornerstones used both in the 18th century and 1839 interventions

apparently single nave church, with a tower in the west as with as the

are bigger than the ones dating to the medieval phase. Although

whole, and a bottle-shape end in the eastern choir. The cartography

this could be interpreted as if the brickwork above and below the

also features the fence surrounding the parish and the volume of the

intermediate cornice comes from the same campaign, we discarded

vicar’s shed in front of the church.

this supposition following the conditioning factor of the rising of the side wings and nave roof evidence in the archival research (see 2.3)

2.5.3. The rising of the tower in 1839

On 20th September 1838, the church factory of Rossem was given

Besides, we believe that, if that 80 cm band below the cornice did not exist before 1839, it would have made more sense placing the dividing cornice on top of the Spanish format brickwork (the last recognized

permission, by royal decree, to raise the height of the tower; on 15th 46 Cassiman 2019

47 Cassiman 2019 48 ‘T Kint 1985

41 l Historical Analysis

Figure 2. 30 Primitive cadaster of Belgium (ca. 1835), from KAB

Figure 2. 31 Atlas van Buurtwegen (ca. 1841), from Geopunt

42

l Rossem Church

phase).

The rising of the tower offers no further questions –but the nowadays coherent style of the fenestration does. We defined that the church tower, even after the 18th modifications, preserved its Gothic bell windows of the third floor. The apparent reproduction of the same type of classicist window in the upper brick levels allows two possible interpretations: ·

Either the openings of the third floor had already been modified by 1839, and hence they were copied in the new level.

·

Or the actual design of the openings belongs to the 1839 project, and the architect modified the Gothic arches to turn them into reliefs carved in the 15th century walls, offering a unitarian composition.

Assuming that the Gothic arches remained opened up to 1735, and without any account relating their modification, we cannot confirm that they were redesign any time before 1839, hence proving their role as a given compositional asset for the rising of the tower.

We hypothesize that the common features are brought by the 1839 project. The blinding of the Gothic arches would make sense considering that the bells were going to be lifted to the new level, having the chance to redesign the façade in the neoclassical taste and offer a coherent image –a unitarian style.

The height of the nave would be of the 1735 depiction: the previously mentioned roof traces in the attic, visible in the east façade of the tower, do not hint a third rising of the nave. The limewash traces, also covering the new extension of the tower, indicate that the brick masonry (at least) was entirely whitened from 1839 to 1874.

Figure 2. 32 Atlas van Buurtwegen (ca. 1841), from Geopunt

2.5.4. Conclusion

43 l Historical Analysis

2.6.1. Socio-political and economic characteristics of the new Kingdom of Belgium

The elevation of the tower, both in terms of architectural style and urban strategy, is coherent with the situation of the early days of the Kingdom of Belgium and the initiatives of the Royal Commission of Monuments. The date of the intervention is clearly stated in the sources consulted, and although there are no plans preserved, the material evidence and the comparison with earlier period representations confirm it.

The urban representations of Rossem, which we can consider reliable and accurate, still present a very narrow, slender nave.

The secularization reforms enacted by the Habsburgs –importantly the suppression of the contemplative orders by Joseph II– and the French revolution had effects beyond the religious sphere. The confiscation and later commodification of lands belonging to the monastic orders, besides the capital influx it achieved, shaped a new order in the public space and its social dynamics. Although starting after said events, it was a generational, gradual process, characterized

The following reconstruction drawing (fig 2.32) represents the tower

by the frequent changes in ownership of the new real estate actives.49

raised in 1839 with the roof we assumed it had –the same as in the

The way in which these lands were treated differed between the cities

previous years.

and the countryside: ·

In the cities, the grounds of the former orders where quickly converted in new real estate or industrial developments, inspired in the Enlightened principles of urban planning and economy, empowering a new Liberal urban elite.50

·

In the countryside the process was slower, and the ruins of the monastic complexes populated the landscape; on the other hand, the availability of new fields brought a new rural, landowner class and reinforced the nobility –both conservative forces.51

2.6. Historic context for Belgium: 1830-1914

E

volving from the situation inherited from the revolutionary period, after the foundation of the new Kingdom of Belgium (1830) the

Catholic Church attempted –and achieved– the reconquest of the visibility and relevance it had lost since in the previous century. The socio-political and economic context, with a specific insight in the new Church-State relationship and forms of religious organization, and the impact of the construction of a national identity through the architectural production are the contextualization parameters for its study. Our aim is, by referring to the context, later explain the interventions in Sint-Medardus en Gildarduskerk in the late 19th century

(see 2.7).

The dichotomy city-countryside is one of the pillars to understand the future development of 19th century Belgium, and its roots can be found in their different approach to the recently released religious heritage.

Belgium was early industrialized and experimented a major urban 49 Coomans, Reconquering… Unpublished 50 Coomans, Reconquering… Unpublished 51 Coomans, Reconquering… Unpublished

44

l Rossem Church

growth in the 19th century. The fast development of the cities and

The Catholic Church retained a lot of the power it had lost in the

its industrial power, needed of workforce, resulted in a rural exodus,

rural areas even after the suppression of the monastic estates: the

which was enhanced by the relative proximity of the countryside to the

countryside had traditionally been the pool for the recruitment of

cities and the construction of new communication infrastructures .

new vocations, and its links with the rural elites ensured the relevance

Belgian peasants emigrated mainly to the industrial centers of

of the institution within the new order. The life in rural Belgium was

northern France and those already active in Belgium:

kept under the control of the Church: “the heart of the village”.57

52

·

Liège, Charleroi, and Mons for the coal and steel industries.

The urban-rural differences generated a polarized approach to the

·

Ghent as the main center of textile industry.

construction of the public space, which crystallized in the political division of Belgium between the Liberal urban elites and the Catholic

The urban and social organization of the working class was addressed

nobility and landowners.58 The conflicts became strongly patent in

in different ways: whereas in Ghent new, controlled settlements were

the second half of the 19th century, when agenda of the Liberal Party

created by the companies to absorb the demographic growth, the

(ruling since the foundation of the State) started been contested by a

adjacent settlements to the industrial cities of Wallonia received the

revigorated Catholic Church and Catholic Party. Among them we can

immigration and expanded, being later absorbed by the latter.53 This

highlight the issue on the laicity of cemeteries (1849-1879) resolved

explains both the differences between the landscape of the regions, as

favorably to the Liberal demands of no segregation59, and the School

well as the socio-politic tendencies of their working classes –Wallonia

War (1879-1884) which ended with a double system of public secular

was dominated by industrial buildings, and the Church was displaced by the Socialist Party (1885) among the proletarians.54

education and private Catholic institutions.60

The rural areas of Belgium –still many at the time– sailed among

In 1880, the Catholic Party entered the Belgian government, holding into power until the Great War. The period was characterized by the

adaptation and resistance to modernity.55 In the countryside

influence of the Catholic Church and the Ultramontanes, but as well

industrialization consisted in the mechanization of agriculture –

the eruption of the Socialist Party (1895). But most importantly, those

increasing its productivity– and the establishment of small factories

were the years were the great economic and industrial power of

related to the resources of the area: for cereal and sugar beet,

Belgium, the definition of its national identity, and the full reconquest

breweries and sugar refineries; but as well small forges, sawmills56,

of the public space by the Catholic Church.61

and brickyards needed for the local development. The profits of the land were collected by the nobility and new estate owners.

52 53 54 55 56

Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished

57 58 59 60 61

Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished

45 l Historical Analysis

1839

Figure 2. 33 Reconstruction of the church in 1839 © Authors

46

l Rossem Church

2.6.2. The Catholic Church’s role in Belgium and the relevance of the parish organizations

medieval and Counter-Reform ones.66 These routes, together with the landmarks of the bell towers, will structure the rural landscape of Belgium.

Parish churches had survived the secularization processes previously

There were two main strategies for the construction of new parish

referred. The relationship Church-State, and therefore the situation

churches: the adaption or enlargement of an existing one, or the

of the parish churches, will be determined by the Concordat of

construction of a new one (due to the dilapidation of the former,

1801-1802, the most relevant aspects being the management of the

its inadequate location, or a change in taste).67 In rural settlements,

church fabrics and the support of the public Administrations, both

they were often rebuilt in the grounds of the medieval church, still

responsible of the availability of parishes.62 The Belgian Constitution

surrounded by the cemetery; the same orientation forced by the

of 1831 and its recognition of the freedom of association offered the

urban conditionings. Nonetheless, new infrastructures arriving to the

church fabrics, but also the suppressed religious orders and other

village could generate a new attraction pole to which the new church

Catholic organizations, a chance to regain the visibility lost during the

would move.68

age of reform and revolution.63

The preservation of the old churches was common (not only in

The reconstruction of churches in the 1830s was joined in the 1840s

Belgium). Especial relevance was given to the church tower for two

by the Royal Commission of Monuments, intending to enhance the

main reasons: they were needed to install the bells, and they were

spatial qualities of the new urban developments, using them as

powerful landscape and identity references.69 We have an example in

structuring and referential landmarks.64 The city of Brussels presents

our church in Rossem, and in fact mentioned how the question of the

several examples, e.g., St Joseph (1842-1849), St Mary (1845-1893), and

reconstruction of the towers was early addressed.

the royal pantheon of Our Lady of Laeken (1857-1909, fig 2.33). As a result of this policy, which affected cities and towns, the Catholic Church reappeared in the public space, at times stablishing conflicting urban relationships between the earthly and eternal powers.65 The countryside, which remained as we have seen under the vigilance of the Church, also experimented a similar process. The Catholic nature of the rural areas was further reinforced by the new Marian pilgrimages of the 18th century, which were added to the traditional 62 63 64 65

Coomans 2003 Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished

66 67 68 69

Coomans, Reconquering… Unpublished Coomans 2003 Coomans, Reconquering… Unpublished Coomans 2003

47 l Historical Analysis Any architectural work related to parish churches was competency of the municipal or –in the case of the rural areas most likely– provincial architects. The budget was a relevant parameter, and it would define the ambition and strategy of the design. The Royal Commission of Monuments and the Ministry of Justice had to approve the plans, which were also evaluated by the church fabric of the parish. For this reason, we have preserved accounts of these interventions.70 The cemeteries surrounding the churches were a point religious, social, and political conflict which finds its roots in the late 18th century: they were removed from the towns by order of Joseph II (1784), and during the French rule they were managed by the State. The Belgian Constitution granted the church fabrics certain competencies in the management of the cemeteries. Effectively, they were divided according to the religious identity of the deceased against the criterium of the bishops –who consecrated the ground around the cathedrals. The Liberals pressed, in 1849, to end the division of the graveyards, which was abolished in 1879. Again, the confronting nature of the city and the countryside can be seen in the cemeteries: whereas in the villages they feature a church, in the cities they do not (Laeken being an exception).71 The growth of the parish churches is an effect of the demographic changes and Catholic revival of the mid-late 19th century72 –except for the most urban working-class areas. The restoration of the visibility 73

of the Church was funded by the church fabrics and adhered by the Royal Commission of Monuments (1840 onwards) and the Catholic governments (1880-1914). The reconquest of the public space by the 74

70 71 72 73 74

Coomans 2003 Coomans, Reconquering… Unpublished Coomans 2003 Coomans, Reconquering… Unpublished Coomans, Reconquering… Unpublished

Figure 2. 34 Our Lady of Laeken, Brussels, from Wikipedia

Catholic Church in Belgium was built upon the strict application of the precepts of the Concordat of 1801-1802, the benevolence of the Catholic Party, and the unconditional support of the Ultramontanes.75 Half of the buildings from the 19th century still preserved in Belgium are parish churches, which represent almost all the churches built in 75 Coomans, Reconquering… Unpublished

48

l Rossem Church

this period.

76

The architects of the early-mid 19th century, liberal practitioners and municipal and provincial civil servants alike, were educated –and

2.6.3. Neo Gothic and Gothic Revival: aesthetics and ethics

believed– in the Beaux Arts system, characterized by the practice of different styles (once reacquainted with the historic architecture in the Romanticism), the lack of specialization in the diverse building

The Catholics in Belgium occupied almost all the religious sphere

types (churches relevant for our study), and the openness to the

during the 19

century, as they did in the previous periods. For this

technical advancements of the industrial world.80 The conception of

reason, Catholicism did not need to identify with any particular style,

architecture as a compositional process relying on previously defined

since there were church examples in everyone. As we have seen, the

spatial and organizational patterns of Durand’s “Précis Leçons

architectural production of the early 19 century was still influenced

d’Architecture” (1802-1805) layered with the new styles rediscovered.

th

77

th

by Neoclassicism –no matter the project.

The most relevant eclectic architects of Belgium were Joseph

The restoration of medieval monuments boosted by the Royal

Poelaert, architect of the city of Brussels (1847-1895) and designer of

Commission of Monuments after the foundation of the Kingdom of

St Catherine’s and the pantheon of Our Lady of Laeken; and Henry

Belgium, performed by academic architects who will become the

Van Overstraeten, who wrote about the combination of the historic

first generation of restoration architects, rediscovered Gothic.78 The

references with contemporary construction methods and designed

artistic panorama of the 1840s lead to a romantic approach to the

St Mary’s in Schaarbeek (1848-1894, fig 2.34).81

medieval aesthetic.

76 77 78 79

Royal Commission of Monument’s strategy differed attending to

The need to define a national style for the new country finds its first

their location: whereas for the urban landscape they promoted

attempts in the academic works of Antoine Schayes, dealing with the

monumental and prestigious productions, the rural churches were

history of ogival architecture in Belgium (1841) and the broader history

budget conscious and standardized.82 The latter would be designed

of architecture in Belgium (1849). The result was the definition of the

by the provincial architects –not always Catholic and in the terms

Belgian Gothic as the national style, the unquestionable architectural

previously exposed– and controlled by the Royal Commission and the

reference in the 1849-1890s period.

The professional and academic

church fabrics.83 Their approach was severely criticized in the 1850s by

approach to it, however, will evolve attending to the sociocultural

the archaeological movement, judging it as trivial and lacking identity.

context of the forthcoming years.

Gothic Revival was not imposed on churches until the 1860s.84

Coomans 2003 Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished

79

80 81 82 83 84

Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans 2003 Coomans, Neo Gothic… Unpublished

49 l Historical Analysis Two publications were highly influential in the mid-late 19th century

national medieval art as a way of creating authentic Christian art.88

understanding of Gothic in Belgium:85

The model of the Middle Ages transcended the artistic dimension:

·

·

idealized by the Ultramontanes, who considered the medieval

“Dictionnaire raisonné de l’architecture française du XIe au XVe siècles” (1854-1868) by Eugène Viollet-le-Duc, a rational initiation to medieval architecture and construction. Violet-le-Duc was followed by practitioners and academics, but it was excluded of the Catholic circles due to its secular character.

community of the 13th century as a harmonious interaction of religion and society89, it served as an inspiration for further Catholic organizations –such as the “guild” structure of the Belgian Catholics socio-professional corporations of the mid-late 19th century.90

“Vrais principles de l’architecture ogivale ou chrétienne” (published in Bruges in 1850, written between 1836-1844) by Augustus Pugin, a reflection on aesthetics through morality. He was embraced by the new Catholic environment of Belgium yet disregarded by the Academy.

Architecture, considered the mother of the Arts, led the development of Christian art; the overarching genius of the architect being implemented by the craftsmen. In this context, the Sint Luke schools

Pugin’s postulates, very influential in the Belgian Ultramontanes and

were the main tool to form and expand the new rebellious art.91

their stylistic reference, Baron Jean-Baptiste Bethune, crystallized

The ethic and aesthetic referent for Sint Luke were Pugin and

in the 1860s revitalization of Christian art in Belgium, which was

Bethune, who interpreted the English author in the Belgian context.

developed thanks to the decentralization measurements of the

The definition of the Bruges and Flemish Gothic Style (14th century-

period and the new Catholic organizations and institutions: the Chair

based) by the baron in the late 1850s, notably represented in Loppem

of Christian Art in the Catholic University of Leuven, Sint Luke School,

castle (1858-1863, fig 2.35) and Vivenkapelle (1859-1867) –model not

and the Guild of Sint Thomas and Sint Luke.86

only of the archetypical rural church, but also paradigm of an urban

Christian art, according to Pugin, had to be true, based in authentic

and social traditional village–, became one of the pillars of Sint Luke Gothic. The teaching, based in the drawing and study of medieval

materials and forms, and inspired in the Middle Age:

architectural fragments. An antithesis of eclecticism and modernity,

“Christian or Gothic art is not one of the several styles that are

Sint Luke’s first generation of architects (rigorist followers of Bethune

equally beautiful and suitable, but he only one that, as Catholic

like Van Assche) considered themselves as “crusaders” against

Christians, we can use in a rational way to build our churches.”87

Liberalism.92

The aforementioned institutions and their Belgian referents adopted

In 1875, Pierre Van Kerkhove –the first graduated architect from Sint

this philosophy and promoted the archaeological approach to a

85 Coomans, Neo Gothic… Unpublished 86 Coomans, Neo Gothic… Unpublished 87 King 1850

88 89 90 91 92

Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished

50

l Rossem Church

Luke (Ghent)– was commissioned to design the new townhall of Sint-Niklaas (fig 2.36): a turning point in the history of the institution and a public recognition of the value of its professionals and their philosophy.93 The Catholic Party governed Belgium with absolute majority from 1884 to 1914, in what was the heyday of the country’s economy and industry –but as well of social movements, historicism denial, and the birth of modern arts. Of course, Sint Luke Gothic shifted from being a combative style to being the national style. 94 The Gothic Revival generation after 1884 evolved to a gradual opening of historicism and rationalism the contemporary techniques –acknowledging Belgian industrial production– without neglecting Pugin’s theory.95 The most relevant figure of the period was Joris Helleputte, ultramontane engineer (and older than Bethune).

Professor at the Catholic University of Leuven since 1874, he became an influent member in the Administration and Government of Belgium: member of the Royal Commission of Monuments since 1885 (and vice-president between 1895-1925), member of the Parliament (1889), and Minister of Public Works (1907-1918).96 This enabled Sint Luke architects to be promoted, since 1884, to all the monumental projects and parish churches, which were rebuilt or restored in Sint Luke Gothic and finance by the public budget. The Catholic government also encouraged the development of full urban cores: church, pastor’s house, parish house, and Catholic school.97 The position of Helleputte as a minister definitely expanded the Sint Luke 93 94 95 96 97

Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished Coomans, Neo Gothic… Unpublished

Figure 2. 35 Church of Saint Mary, Schaarbeek, frm Brussels Hoofdstedelijk Gewest

51 l Historical Analysis style to every public work, transcending the religious buildings.98 A total conquest of the public space.

However, the peak of Sint Luke also coincided with a critical –internal and external– period. The new generation of 1884 was allowed to embrace violletian approaches (already overcame at the time). The death of Bethune, reference and promotor of Sint Luke, died in 1894, the same year as Henry Van de Velde published “Déblaiment d’art”. During the 1890s the Belgian Gothic started its dissolution in the regional schools –for which Louis Cloquet laid their scientific foundations–, abandoning the idea of a national style.99

2.6.4. Conclusion

The foundation of the Kingdom of Belgium in 1830 and the need to define a national identity and order the public space led to the

Figure 2. 36 Castle of Loppem, Bruges, from discoveringbelgium.com

recuperation of the previously decimated visibility of the Catholic Church as a byproduct of the policies enacted by the Royal Commission of Monuments and the Liberal governments. The Catholics, under the precepts of the Concordat (1801-1802) and the Belgian Constitution (1831) used the assets they provided –the institution of the church fabrics and freedom of association– to grasp the opportunities offered by the Royal Commission of Monuments and the demo-economic growth situation: many parish churches were restored or rebuilt since 1830.

Architecture developed in the terms of the search for a national style, characterized by the contact with medieval architecture during the first restoration works, and the debate between the academic education 98 Coomans, Neo Gothic… Unpublished 99 Coomans, Neo Gothic… Unpublished

Figure 2. 37 Sint-Niklaas townhall, from amazingbelgium.be

52 and practice of the early-mid 19

th

l Rossem Church

century versus the scientific and

aesthetic theories of the 1850s-1860s. The Catholics, and particularly the Ultramontanes, played a very active role in the configuration of the Belgian national style, formulated in the true Christian art of Sint Luke schools, critical with the previous Beauxartian approaches.

en Gildarduskerk.100 This brief introduction to the enlargement works of our church summarizes almost all the characteristic elements of the construction of rural churches in Belgium during the mid-late 19th century that we have presented previously –thus our aim to offer the reader a complete

The Catholic government period of 1884-1914, heyday of Belgium’s

context on the issue. In this section we will return to Rossem to

power, institutionalized Sint Luke Gothic. The visibility of the Church,

describe the enlargement intervention, supported by the biography

after reforms and revolutions, was fully recovered by this time.

of the architect and the actual construction.

Perhaps, the most relevant conclusion for us is how an aesthetic

2.7.1. Gustave Hansotte, the architect101

and moral theory, taken by extremists and using the democratic mechanisms regarded in the Law, was able to recover the Catholic Church from the ashes of the Revolution and, using art as a message

Gustave Hansotte (Paris 25th May 1827, Vilvoorde 22nd March 1886)

and a weapon, campaign from the outskirts of the public space,

studied architecture in the École des Beaux Arts in Paris, where he

achieving the political presence necessary to fully recover their

was a student of Hypolyte Lebas (1847-1852). Arriving in Belgium in

hegemony and impulse their agenda.

the 1850s, he married in Andenne (1st October 1857) Eugénie Lapierre – daughter of a potter– and became the architect of the town in 1863.102

2.7. Sint-Medardus en Gildarduskerk enlargement

T

His first known work in Belgium was the covered market of Schaarbeek (1865, replaced in 1901). However, his most relevant work of this period was the completion of the dome of the Church of Our

he church fabric of the parish of Rossem, in a session held 22

Lady in Schaarbeek (1868) retaking the works of Van Overstraeten.

February 1873, decided to enlarge the existing church of Saint

He was appointed provincial architect of Brabant in 1869 and built

Medardus and Gildardus: the temple had become too small in

an extensive ouvre during this period following the precepts of the

relation to the increase of population in Rossem. The impossibility of

Academy and in the eclectic styles:

adaptation of the historic nave forced the dilapidation of the nave, only

·

In Flemish Neo Rennaissance: schools (Lindebeek, Halle) and townhalls (Lindebeek, Londerzel).

·

In Neo Louis XVI: an administrative wing with amphitheater for

saving the tower. With an estimated cost of 35966 francs, the church fabric was especially concern about the construction costs and the possible subsidies that could be requested. The provincial architect of Brabant, Gustave Hansotte, design the new project of Sint-Medardus

100 Cassiman 2019 101 Celis 2003 102 Javaux 2000

53 l Historical Analysis

·

the Provincial Government of Brabant (Eikstraat, Brussels, 1884) and Le Maronniers kindergarten and elementary school (Etterbeek, 1875).

The plan includes two rooms at both sides of the choir: the sacristy

In Neo Gothic: the rectories of Essenbeek and Lombeek; and the churches of Sint-Servaas (Schaarbeek, 1871-1876, fig 2.37), Sint-Gertrudis (Etterbeek, demolished), and those of Machelen, Rossem (1874),103 Diegem, and Affligem.

The transverse section shows how the difference of height between

(south) and a technical room (north). the nave and the aisles is not fully corresponding to the archetypical basilica section, where the height difference enables to introduce light in the central space; in its place, some blinded openings in the

As we see, the labor of Hansotte in the civil service relates to the

upper walls of the nave give the impression of windows. The space is

profile of the early-mid 19th century architect coming from the Beaux

defined by three ribbed vault bays over pointed arches –wider in the

Arts academies, both in his approach to the question of style and the

nave, which extends into the choir finishing in the polygonal, ribbed

lack of typological and functional specialization in his catalogue. A

half dome of the apse (figs 2.43/2.44).

position that, as we now know, was being challenged by the Sint Luke school and its Gothic Revival –the church of Rossem designed and built one year before Sint-Niklaas townhall, first public commission granted to the lineage of the Catholic institution (1875).

2.7.2. The Neo Gothic extension of Sint-Medardus en Gildarduskerk: 1874

The extension was constructed in brick masonry and lime mortar, with some stone details in the virtual delimitation of the plinth.

Regarding this feature, prof. Tourneur, after visiting the site, pointed that the plinth cornice in the walls was of a different stone –probably coming from the previous site– than that of the buttresses – Savoniers. In the exterior we can appreciate the detail of the low transept, with prominent gables reinforced by corner buttresses (yet not standing prouder than the roof). The architect controlled and

Hansotte designed a Neo Gothic, eclectic enlargement over the

displayed a variety of resources to signify the new building within

previous church, that was demolished. The bell tower was the only

the urban contexts. The fenestration is composed by pointed arch

element left standing of the original construction, certainly for the

windows, both in the walls and the apse. The roof was built higher

reasons we have referred previously, and it was integrated in the new

than the previous one, as the traces in the tower show, and it consist

project (figs 2.38-2.42).

in a timber truss structure, with a unique gable roof for nave and

The extension is composed by a main nave finished in a polygonal

aisle, covered in slate (fig 2.45).

choir, and two side aisles flanking the main space. A low transept,

The construction of the interior, besides the masonry walls, presents

without a spatial effect inside the church, crosses the nave and aisles

four columns supporting the two central walls of the nave, opened

in front of the choir, and it is used to place the confessionals (north

with pointed arches springing from the classical capitals. We have

and south walls) and mark the end of the side aisles, headed chapels.

observed (listened) that the columns may be hollow: perhaps they

103 Celis 2003 mentions Wolvertem and not Rossem, so we have corrected the information

have a narrower core of masonry, achieving the final shape with

54

l Rossem Church

some sort of barrel-like cladding in wood or plaster. The vaults are always a timber and plaster construction, and the ribs of the nave are of the same design than the ones in the organ vault –another reason to believe in their simultaneity.

Of the original interior decorative program only remain the sculpted elements, featuring an eclectic style based in classical and gothicist motifs; and the floor tiling,104 consisting of a hexagonal pattern which complexifies the closer we get to the altar (a differentiation that we also perceived in the level of the floor). Sint-Medardus en Gildarduskerk would have displayed a complete Neo Gothic painted interior,105 characterizing the different spaces. We only have remains in few parts of the choir (fig 2.46).

For the exterior, we assume that Hansotte washed away the white limewash of the tower, exposing the masonry, to make it coherent with his proposal –Hansotte buildings, when in brick masonry, always feature a full brick masonry appearance, even for the plinth.106 After the completion in 1874 (fig 2.47) and consecration of the church in 1877, the perimeter of the cemetery was encircled, using the same format, later than 1880.107 The plans drafted by the architect in 1873 –which we have replicated with the accurate on-site measurements– match the actual construction, with two exceptions: the design of the spire, and the profile of the tower’s buttresses (contradicting the 1735 depiction and its current morphology).

104 105 106 107

Cassiman 2019 Ornaments 2019 Ornaments 2019 Cassiman 2019

Figure 2. 38 Sint-Servaaskerk, Schaarbeek © Motty

2.7.3. The completion of the interior program of the church: 1877-1896

55 l Historical Analysis

The church interior program was conceived by Hansotte as a Gesamtkunstwerk. He designed the three whitestone altars of the nave and the chapels in 1877 (figs 2.48-51) and were installed in 1878.108 In these years, the portal of the tower was also covered by a stone imitation, the gravestones (fig 2.52) of the previous church were reinstalled in its floor, and perhaps the original water basins were relocated in the gateway as well.109 On 9th december 1880, the church fabric was allowed to replace the furniture.110 On 22nd March 1882, they were allowed to place a pulpit and two confessionals (one of them belonging to the previous church, dating to the early 19th century, fig 2.53). 111 In 1887, the five stained glass windows of the choir, by the workshop of Samuel Coucke (1833-1899) in Bruges, were installed. The central one depicts the revelation of the Holy Heart of Jesus to Saint Margaret Mary Alacoque, flanked by the preaching of Saint Medardus and Saint Gildardus (fig 2.54).112 On 12nd January 1894, the Diocesan Committee of Monuments rejected the main altar decoration design by Bresser-Blanchaert (Ghent), judging more appropriate for the budget and coherency of the works giving the commission to Hansotte.113 The same year, Leonard Blanchaert presented the designs for the new Gothic Revival confessional (fig 2.55) and pulpit (figs 2.56/2.59), which were approved 108 Cassiman 2019 109 Cassiman 2019 110 ‘T Kint 1985 111 Cassiman 2019 112 Cassiman 2019 113 Cassiman 2019

Figure 2. 39 Hansotte’s 1874 west elevation. from KCML Brussel

56

l Rossem Church

and made in oak.

The church that we know today is mostly the result of the 1874 project.

114

The stained glasses of the chapels were designed in 1895 by the atelier of Louis Grossé-De Herde (1840-1929) in Bruges: for the chapel of the Holy Family with a representation of the Holy Family (fig 2.57), and for the chapel of Our Lady, the Virgin of the Rosary with the Dominican (fig 2.58). They were installed in 1896. Father Eduardus van Zeebroeck gifted them to the parish.115 At some point in the late 19th century, a new sacristy cabinet was restored with recovered panels (fig 2.60).116

The

2.7.4. Conclusion intervention

of

2.8. Restorations and interventions in the 20th century

T

he new extension of Sint-Medardus en Gildarduskerk needed very early restoration. In the technical report of this project, we will see

how the poor quality of materials and execution may have led to said interventions –and still represent a major concern for the future of the

Gustave

Hansotte

in

Sint-Medardus

en

Gildarduskerk follows the patters common to his time, profession, and service.

The enlargement of Rossem church is, to us, impressive when compared to its rural context. The concerns on the urban presence and interior spatial quality –achieved through the compositional, stylistic, and constructive procedures of the Academy– might had been excessive for the budget of the church fabric and the subsidies granted (if any): the quality of the materials and the execution led to major issues in the years to come.

The interior of the church was planned as a total work of art, from the furniture to the mural paintings. Sadly, the iconographic program has disappeared almost entirely.

114 Cassiman 2019 115 Cassiman 2019 116 Cassiman 2019

Figure 2. 40 Hansotte’s 1874 south elevation. from KCML Brussel

57 l Historical Analysis

Figure 2. 41 Hansotte’s 1874 plan. from KCML Brussel

58

l Rossem Church

church. Besides, the changes in taste and fashion, the new liturgical

plaster covering the original brickwork. The coating had been painted

evolution, and the adaptation of the building to new technologies

with an imitation of brick masonry: red bricks and white joints.

have left an imprint which has utterly veiled the meticulous interior

Similarly, the plinth of the church has been protected with a thick

conception of Hansotte.

cement plaster imitating stone, covering the walls from the ground to the limestone cornice (fig 2.61). We do not know the specific dating

2.8.1. The cement plaster over Hansotte’s enlargement

The parish church present nowadays a very badly degraded cement

Figure 2. 42 Hansotte’s 1874 slongitudinal section. from KCML Brussel

of this intervention since there are no existing accounts referring to it, however we can exclude it from the intentions of Hansotte: the architect always left exposed the brickwork in his other masonry

Figure 2. 43 Hansotte’s 1874 transverse section. from KCML Brussel

59 l Historical Analysis

Figure 2. 44 View towards the choir. © Authors

Figure 2. 45 View towards the organ loft. © Authors

60

l Rossem Church

projects117 and there is no use of cement in the 1874 construction, only lime mortar.

We therefore conclude that it must have happened after the building was finished, around the end of the 19th century or beginning of the 20th. It is remarkable how such a relevant transformation has left no accounts whatsoever.

2.8.2. The 1904 restoration of the tower by F. Van Roelen

In 1904, the architect F. Van Roelen, from Schaarbeek, designed and performed the restoration of the tower of Sint-Medardus en Gildarduskerk. The works were carried out by the contractor firm Peeters-Van Schil (Vilvoorde).118 In the west elevation of the tower, we can see how the west elevation (fig 2.62) differs from Hansotte’s and the contemporary state: ·

The buttresses of the tower are now stepped, contradicting Hansotte’s design but corresponding to the previous representations and the actual stepped profile.

·

The spire has the same design has in Hansotte’s, but it does not relate to the contemporary spire.

·

The design of the gateway and organ loft window is different from Hansotte’s and todays.

·

The allegedly 1839-blinded west opening of the third level is now open.

The main interventions in the tower were the cleaning of the brick 117 Ornaments 2019 118 Cassiman 2019

Figure 2. 46 Neo Gothic mural paintings in the choir. © Authors

61 l Historical Analysis

Figure 2. 47 View of the choir and apse from the street (south east). © Authors

62

l Rossem Church

and stone masonry, the repointing of the limestone with Portland cement, and the reconstruction of the plinth with a natural stone imitation in cement plaster.119 Regarding the tower plinth, we can see that it is still made of limestone –perhaps the sources consulted confused the tower with the nave, and so the cement plaster covering the church dates to 1904 restoration.

There were also works performed in the upper windows of the tower – the level of the bells. The existing masonry on the opening was raised, cleaned, and the interior plaster restored.120 The existing plans referring to the modifications of the gate (fig 2.63), when contrasted with the building, hint that they were probably not executed. It is stated that a new crowning for the gate was provided, resulting in the elevation of the window opened in the organ loft.121 It is difficult for us to ensure this, since the representations are not always clear. Nonetheless, the doorposts of the gate were replaced by monolithic jambs in Pierre de Meuse122 (bluestone, fig 2.64): although following a classic design, the reparation in their base, the size of the stones and absence of stone cutter marks implies a different period. A new crowning could have been finally added, attending to the type of stone and its weathering, but the window above it could have stayed in place.123 The question of the reopened window in the third level is unclear.

Van Roelen’s plans show it glazed. However, a postcard (fig. 2.65) from the collection of Gust De Bondt (president of Rossem church fabric) dating supposedly to the turning of the century portrays it 119 120 121 122 123

Cassiman 2019 Cassiman 2019 Cassiman 2019 Cassiman 2019 Cassiman 2019

Figure 2. 48 Commemorative stone in the façade of the apse. © Authors

63 l Historical Analysis

Figure 2. 49 Side altar

Figure 2. 50 Main altar

Figure 2. 52 Altar design by Hansotte

Figure 2. 51 Side altar

Figure 2. 53 Reused gravestone

Figure 2. 54 18th century north confessional © Authors

64

l Rossem Church

Figure 2. 55 Stained glassed of the apse featuring St Medardus, The Holy Heart with St Margaret Mary Alacoque,, and St Gildardus © Authors

65 l Historical Analysis

Figure 2. 56 1894 confessional © Authors

Figure 2. 57 1894 pulpit © Authors

Figure 2. 58 The Holy Family © Authors Figure 2. 59 O.L. of the Rosary © Authors

66

l Rossem Church

blinded –the surroundings of the church seem to be fairly urbanized for that time. This mystery will come back when explaining future interventions.

To conclude, the new mechanism for the church clock (fig 2.66), built

by Edward Michiels (Mechelen), was installed in 1904.124

2.8.3. The Art Decó decorative program

In the walls of the choir, we can see four medallions depicting the Four Evangelist in an Art Decó style (fig 2.67), dating to the Inter War period (1918-1939).125 The stratigraphic research has located them within the third decorative phase, characterized by its the yellowbeige palette.126

2.8.4. The church during the second half of the 20th century

A painting by Van Loo (fig. 2.68) from the collection of Gust De Bondt, dated to the end of the Second World War, shows our church with its characteristic red plaster, the blinded window of the third level opened only in the upper part (the arch), and the vicar’s house in front of the church (where currently is the parking lot). Again, the precise sequence of the interventions in the blinded window is not possible to decipher. Nonetheless, we can see in the interior of that level how the interior of the window is plastered in cement, and the semicircular arch part is in bare brickwork: it is plausible that, at some 124 Cassiman 2019 125 Cassiman 2019 126 Ornaments 2019

Figure 2. 60 The interior of Rosem church © Authors

67 l Historical Analysis point around the first half of the 20th century, the opening was as portrayed in the picture.

The restoration works in the interior of the tower in 1954 resulted, after the removal of the plaster of the walls, in the rediscovery of the gothic pointed arches127 that we have dated in the 15th century. The addition of timber planks with cement on top of the whitestone steps of the winding staircase (fig 2.69) might have happened during this intervention.

At some point around 1957, a local builder placed in the nave and choir asbestos panels from the brand Eternit –Glasal façade panels– in a red marble imitation. 128 A new timber partition covered with the same panels was built in the western end of the north aisle, including an elevated marble-imitation tile floor: it is currently a storage room. We cannot assure its date, but we believe it was likely part of the Glasal

Figure 2. 61 The interior of Rosem church © Authors

installation.

After the Second Vatican Council (1962-1965) and the liturgic changes it introduced –most importantly the mass in the vernacular language and the closer relationship between the priest and the faithful during the celebration– the stepped timber platform was installed in the edge of the choir, surmounting the step designed by Hansotte and invading the nave to locate the altar. A couple of black and white pictures of the interior of the church from KIK/IRPA (figs. 2.70/2.71), dated to the late 1960s and probably linked with the inventorying started to avoid the loss of movable religious heritage rendered useless after the council, shows the church with the Glasal panels, the central platform, and a modern altar.

At some point in the 1975, according to De Bondt, the vicar’s house 127 Cassiman 2019 128 Ornaments 2019

Figure 2. 62 Cement plaster with stone and brick imitation © Authors

68

l Rossem Church

was demolished. Nowadays that place is the parking lot, and the hamlet has lost the public space generated between the shed and the parish.

Some reforms were made in the sacristy before 1975: new floor made with flammé tiles, new exterior door, new cabinet under the window, raising of the wall cabinet. Likewise, the technical room was equipped with a new concrete floor.129 Allegedly, the current central altar was brought in the 1970s from a church in Mechelen.

The 1980s concentrate the last interventions on Sint-Medardus en Gildarduskerk:130 ·

1982: application made for the restoration of oak panels in the sacristy cabinet portraying Our Lady and the Salvator Mundi; installation of central air heating.

·

1985: urgent repairs to the organ by the organ builder J. P. Draps (Erps Kwerps) related to the bellows and the fan.

·

1986: paintings and restoration works in the plaster, directed

by Luc De Boe (diocesan architect) ending in a complete repainting in beige and pink with a especial mineral with good adhesion and suitable to damp conditions; painting executed by Emiel Meskens.

·

Bert Van Der Broeck made the paintings located at both sides of the entrance to the nave, with recycled frames (according to De Bondt).

·

The whitestone altars were painted white, and the letters golden traced (changing the “Es”).

2.8.5. The decorative phases: from 1874 to 1986131 129 Cassiman 2019 130 Cassiman 2019 131 Ornaments 2019

Figure 2. 63 Painting of Rossem dating IIWW by Van Loo, from Gust De Bondt.

69 l Historical Analysis

Figure 2. 64 Van Roelen’s 1904 elevation, from AAMB.

Figure 2. 66 Postcard dating to the change of century, from Gust De Bondt.

Figure 2. 65 Van Roelen’s 1904 gate, from AAMB.

Figure 2. 67 1904 clockwork.

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Figure 2. 70 Planked treads. © Authors

Figure 2. 69 Art Decó medallions of the St Marcus and St Mathew. © Authors

Figure 2. 68 Monolitic bluestone frame. © Authors

71 l Historical Analysis

Figure 2. 72 The church in 1975 (organ loft), from KIK/IRPA

Figure 2. 71 The church in 1975 (apse), from KIK/IRPA

72 ·

l Rossem Church

Phase 1 (after 1874): coherent and complete Neo Gothic interior, with different designs attending to the several parts of the church, being the most richly decorated the choir and apse.

2.10. The chronologic synthesis of Sint-Medardus en Gildarduskerk

·

Phase 2 (end of 19th century): adjustment of the first Neo Gothic phase, brightening the polychromy of the ribs in the nave.

·

Phase 3 (Inter War period): abandonment of the Neo Gothic iconographic program, substituted by an interior in light yellow colors featuring Art Decó motifs –most importantly the visible medallions of the Evangelists in the choir.

S

Phase 4 (1957-1960s): installation of the Glasal panels, featuring red marble imitation surface and reliefs; also, a palette based in light yellows and beige.

The tower, eldest of the remains, is a silent witness of the evolution

·

·

·

Phases 5 and 6 (1980s): first interventions restricted to local repaintings; 1986 repaint of the walls in pastel tones, the columns in white, and the vaults in pink.

Final phase consisting of the repainting in white of the columns and the nave asbestos panels.

int-Medardus en Gildarduskerk, in Rossem, displays in its masonry the changes undergone after, perhaps, more than 800 hundred

years of existence. in the constructive procedures and architectural design, but also of the development of what is now long lost –the nave. Barely having accounts or depictions of the parish during the centuries were church and tower were together, we have addressed its dating and phasing by the means of building archaeology and critical comparison of archival sources and material evidence. Silent witnesses may very well be

2.9. Legal protection and recognition of Rossem parish church

T

willing to talk.

The enlargement of the parish, although dilapidating the former nave, creates a unique composition. More recent in time, it tells us

he protection of Rossem parish church has followed a stepwise

another complex story: that of the 19th century new Kingdom of

approach, starting with an asset regarded of value, and then

Belgium, its social and economic order, the strategies and policies on

expanding the protection to the building. The pioneer heritagization

the development of the public space, the architectural and artistic

process of Neo Gothic architecture in Flanders has probably enhanced

panorama… And, of course, the recovery of the Catholic Church after

the recognition of Sint-Medardus en Gildarduskerk.

the revolutionary period. The figure of Hansotte and his project for

·

1979: protection of the Forceville organ as a monument by Flanders.

Sint-Medardus en Gildarduskerk synthesize the characteristics of the

·

2009: recognition as an architectural site of Sint-Medardus en Gildarduskerk by Flanders.

happening in the 1880s –and the debates both can stablish through

·

2010: protection of Sint-Medardus en Gildarduskerk as a monument by Flanders, and of the surrounding cemetery and fields as a village-scape.

Belgian Liberal period, right at the edge of the change of paradigm architecture. All of this, from the countryside.

The relative novelty of the 1874 project has as well suffered some interventions, that we can divide in those due to the poor material and

73 l Historical Analysis

construction quality, and the changes in taste related to decoration.

The Neo Gothic Gesamtkunstwerk designed by the provincial architect has disappeared, and the current interior reflects a very

Historical Analysis

active, layered history.

The following diagrams synthesize all the different phases we have identified in Sint-Medardus en Gildarduskerk, according to the research previously presented and justified by them (figs 2.72-2.76).

2.1. Timeline

I

n this chapter, we will present the results of our historic research on Stº. Medardus and Gildardus Church, in Rossem. The history of

the building and its construction phases, as well as its modifications, has been established by the study of archival sources, literature, and professional reports; and its critical comparison with the information gathered from the monument itself.

Following the main events in our timeline (fig 2.1), we will present a detailed analysis and justification for the hypothesis proposed in this work, attending to every period identified.

2.2. The medieval origins of the church: 12th-15th centuries

T

he first mention of Rossem as a parish is in February 1241, after a donation of land to the Norbertines of the Abbey of Affligem

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75 l Historical Analysis A’

B’

B

12th century 15th century early 18th century late 18th century 1839 1874 1877-1896 late 19th century 1904 1918-1939 mid 20th century

A

Figure 2. 73 Chronology: ground floor plan © Authors

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77 l Historical Analysis

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l Rossem Church 12th century 15th century early 18th century late 18th century 1839 1874 1877-1896 late 19th century 1904 1918-1939 mid 20th century

Figure 2. 74 Chronology: transverse section (west) © Authors

Figure 2. 75 Chronology: longitudinal section (north) © Authors

79 l Historical Analysis 12th century 15th century early 18th century late 18th century 1839 1874 1877-1896 late 19th century 1904 1918-1939 mid 20th century

Figure 2. 76 Chronology: west elevation © Authors

Figure 2. 77 Chronology: south elevation © Authors

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81

Spatial Analysis Macro-scale

Meso-scale

Micro-scale

82

3. Spatial Analysis

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l Rossem Church

he aim of the spatial analysis is to find the relationship of the project topic with its surrounding in different scales according

to different parameters. In order to conduct a proper methodology, spatial analysis is divided into three different scales: macro, meso, and micro scales.

Rossem church is also administratively linked to Meise. Of course, Rossem church is not the only church of Meise, so the decisions made related to church follow the framework by the municipality or to keep the harmony in total. That framework is called Kerkenbeleidsplan. In the Kerkenbeleidsplan, churches and their conditions are analyzed.

According to those analyses, a vision in a broader frame is placed2.

3.1. Macro Scale

T

3.2. Meso Scale he macro scale is chosen as Meise since the historical and current dynamics between the municipality and Rossem church (figure

3.1).

First of all, Meise combines different villages and hamlets, and Rossem is one of the hamlets. It means that regulations are passing from Meise municipality. The urban planning of the hamlet is controlled by the municipality itself. In other words, Meise is the one who applies the regulations such as Bouwshift to the Rossem.

Meise’s goal as a municipality is to keep and improve its heritage texture. In order to achieve that goal, between 2015 and 2019 inventory of its heritage has been created. During that inventory-creating process of the heritage, 85 new objects are added. It means that the 1

municipality is taking concrete steps to protect its heritage texture. It will give priority to the works related to heritage.

1 Inventaris onroerend erfgoed Vlaanderen, https://id.erfgoed.net/gebeurtenissen/1149 (Accessed 19 March 2021.)

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he meso scale is chosen as Rossem hamlet due to the Rossem church’s direct relationship with the hamlet (figure 3.2).

In the hamlet map, it can be noticed that space is developed on the main road, and Rossem church is placed in the heart of that space.

Hamlet has different routes to enter or pass by. One of the routes is entering the hamlet from the north. By that route, the passers or comers are welcomed by three monumental buildings of the hamlet. Those buildings are the previous pastor’s house, previous boys’ school, and church in order (figure 3.4). Those monumental buildings are protected as village-scape.3 According to the hamlet scale, those buildings have a relatively bigger volume than the rest of the settlement.

2 Gemeente Meise 2017, p. 7-37 3 Inventaris onroerend erfgoed Vlaanderen, https://id.erfgoed.net/themas/14288 (accessed 19 March 2021).

20 m

83 l Spatial Analysis

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Figure 3. 1 Macro scale. © Authors

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In the hamlet, other monumental buildings are listed. One of the

the attention. The tower is the main opening of the church for

listed places is a former girls school. Back in time, this place was used

its comers. In other words, it is a connection between the 1874

as a girls’ school. This school is acting as a gathering space and café

enlargement and the outside world for the visitors.

4

right now.

After the tower, a three-aisled Neo-Gothic nave is welcoming. From

By the agreement done by the church fabric and municipality, the

the entrance of the nave, high vaults, windows, altars, and decorations

surrounding lands of the church are protected lands. It means that

are striking (figure 3.5).

5

those lands can only be used for agriculture without any infrastructure on them.

On the walls, fake inner windows are enhancing the Neo-Gothic appearance of the nave.

On the tower, the protected Forceville organ is located at the first

3.3. Micro Scale

T

level (figure 3.6).

Before the altars, low transept, which is not increasing the volume but

he micro scale is chosen as Rossem church and its cemetery since the project mainly focused on that spot (figure 3.3).

3.3.1. Architectural description At first, a brick site wall is welcoming the visitors of the church. In order to enter the site, there are four gates, two of them located on the west side of the church, one of them located east side of the church, which is directly connected to the main road, and the last one is located at on the north-west of the site which is connected to a side road.

F

rom the west part of the church, the tower is located. From the outside main door, several windows and its spire is grabbing

4 Inventaris onroerend erfgoed Vlaanderen, https://id.erfgoed.net/erfgoedobjecten/305499 (Accessed 19 March 2021.)

5 Inventaris onroerend erfgoed Vlaanderen, https://id.erfgoed.net/aanduidingsobjecten/35 (Accessed March 19, 2021.)

increasing the holy feeling of the place, is hosting the confessionals (figure 3.7).

On the other hand, the north side altar is dedicated to our lady; on the other hand, the south side altar is dedicated to the holy family. Those altars are completed with stained glasses .

In the choir, the main altar can be found. Stained glasses surround the choir (figure 3.8).

Next to the choir, two other rooms are located. Those rooms can be reached from the choir and outside but only by church fabric. On the north of the choir, the technical room is located, which holds the technical infrastructure of the church. On the south of the choir, the sacristy is located.

The graveyard of the church is located on the north (figure 3.9). The graveyard is still in use, and several visitors are coming daily.

85 l Spatial Analysis

Figure 3. 4 view of the interrior from the organ level. © Authors

Figure 3. 5 The organ level and Forceville organ view from choir. © Authors

Figure 3. 9 Main altar by G. Hansotte. © Authors

Figure 3. 6 Cemetery and northern facade. © Authors

Figure 3. 7 Main entrance, western facade. © Authors

Figure 3. 8 Street view towards the east facade of the chruch. © Authors

86

l Rossem Church

3.3.2. Survey methodology

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can be seen in figure 3.10 and 3.11.

During the photogrammetry process by professional photograph machines, the roof structure could not have been appropriately captured. In addition to that, the cemetery and the perimeters of the

urveying of the church and cemetery is separated into different

site were not clear. Therefore, to obtain high-quality data and build

days and different methods.

up our works on it, drone flight has occurred. Several images have

Firstly, the survey is started by photogrammetry. After the first meeting with the Rossem church, by professional photograph machine, outside of the church is captured to create a 3D model of the church.

More than eight hundred pictures are taken and processed during

been captured from the sky with that flight, and another 3D model is obtained. During the drone flight, a GIS data collector was used. By that tool, the coordination of several locations is obtained and placed on the 3D models.

that process to obtain a high-quality 3D model. This model is later

After the creation of two 3D models for outside, they are compared.

used to obtain orthophotos.

After that procedure, the first model is used for elevations, and the

Secondly, a total station and laser scanner survey has been executed

second model is used for site plan, roof, and spire drawings.

on the site in two days with professional help. Two teams are created

After digital survey methods, to obtain more precise measurements,

during those survey days, and outside and inside of the church are

hand measurements are applied to some areas.

surveyed.

First of all, since there was no chance to take a laser scanner or total

By total station, crucial points of planned drawings are captured,

station to the roof structure, hand measurements were applied to get

such as corners of the building for the plan, section cut point for the

the information of the traces on the East façade of the tower. Those

section. In addition to that, some points have been captured to create

hand measurements are tried to be combined with photos, but

a network between indoor and outdoor total stations. Finally, outside

unfortunately, limited photos could be obtained due to the stability

total station points are used on the photogrammetry model to have a

and safety issues.

coordinately corrected model and geometrically correct orthophotos.

The entrance of the tower and side rooms are surveyed via hand

By laser scanner, the spaces where the laser scanner can go are

measurements. Since there are some special floor elements, precision

scanned. Due to the mobility issues, the roof and the spire could

played a crucial role.

not have been captured. The data obtained by the laser scanner is

The landing of the staircase at the organ level is measured by hand to

generally used for the creation of drawings. In order to validate the data of the laser scanner coordination-wise, the points from the inside total station were used. The laser scanner and total station locations

understand how the staircase is carved.

The tower’s spire could not be measured by hand, and it is survey is done by limited photographs taken on site.

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101 l Spatial Analysis

TRANSVERSAL SECTION DD' ROOF

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Figure 3. 31 Street Section including the church and cemetery. © Authors

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Technical Analysis Surrounding

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4.Technical Analysis

l Rossem Church

4.1. Structural Analysis

I

n this part, the structural elements of the church are analyzed.

The analyses are placed on a sound basis concerning the material properties. Related load-carrying elements and their behavior is tried to be understood. It should keep in mind that the structural analysis here is a basic type of analysis. In order to have a detailed analysis, different parameters like type and magnitude of loads, characteristics of materials need to be known.

4.1.1. Tower

4.1.1.1. Outside

Examinations on-site designated some facts about the tower.

Firstly, by looking outside the tower, up to two meters in height, the tower is raised with sandy limestone on the North and South facade. Moreover, the West facade is raised almost seven and a half meters with sandy limestone. However, the foundation of the tower is unknown. It is assumed that the same type of stone is used, but the depth of the stone could only get with onsite drillings. The stonemasonry of the tower is connected with mortar. However, the type of mortar is unknown. Since it is the oldest part of the church and dating to the 12th century, it can be assumed as lime-based mortar, but further analyses need

to be done to obtain the exact characteristics of the mortar. On the north and south facade of the tower, three windows are glittering. The lower windows on the north and south facades have a similar type of stone, and they are connected without mortar. However, on the north facade, the window at the organ level has a different kind of stones and structure, and that stone is constructed with mortar.

From sandy limestone, the structure continued on brick masonry. As it is going to be discussed in the materials part, that brick masonry has some diversities. According to TRI Consult's site investigations, the thickness of the brick masonry is going up to 80 centimeters on the tower. 1 When the tower's south facade is analyzed, the crack along the brick masonry is striking. It is located on the bottom part of the tower and close to the 1874 enlargement part. The reason for the crack is assumed as during the demolition of the previous nave; a problem occurred, like during the existed wall of the previous nave was dismantling, at that specific location the support of the wall is removed, and the existing brick masonry was broken.

To fix that problem, the existed layer of bricks was rejoined, and the difference of brick levels and the crack line is formed.

1 TRI-Consult 2019, p. 18-23

109 l Technical Analysis

Besides the wall structure, two pillars are located on the west facade of the tower. Those pillars have the same sandy limestone masonry as the wall, and they are going higher than where brick masonry starts. The width of the pillars is around one meter.

Those pillars are not a direct relation to compressive force.

The visible anchors on the facade give some hints about how the flooring in the tower is. On the north and south facade of the tower, the lowest anchors are placed to increase the wall's stability where anchors are attached. Moreover, according to the same site investigations, the brick pillar is visible. That pillar is located just under the wooden beam. For the second level, two anchors on the east and west facade are visible. Those anchors are holding two wooden beams. Those beams are carrying the floor of the second level. The other anchors under the cornices connect the wall structure and wooden beams to provide the floor at bell level. Next to the tower clock, two anchors with short distances are placed. These anchors are the connection point of the spire structure and the brick masonry wall.

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On the west facade, a 20th-century door is welcoming the guests2.

When the traces next to the existing door are investigated, it is assumed that the door is renewed and the current door is smaller in width than the previous door. Due to the lack of documentation, there cannot be a solid hypothesis about the door.

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4.1.1.2. Entrance and South Room of the Tower

Figure 4. 1 The crack on the south façade of the tower © Authors

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elements are grabbing the attention. Nevertheless, since those elements are covered, and there is no documentation related to them, there is no solid assumption.

In the entrance south room, a pointed arch at the height of almost 2 meters is placed. The arch is closed by a later addition door connected to brick masonry with wooden elements.

On the west wall of the room, the wall section is enlarging towards to ground. Therefore, it is assumed that enlargement also contributed to the stability of the tower.

On the south wall of the room, an oculus shape is found. On the edge of that shape, there are two rectangular shapes.

Unfortunately, no related hypothesis about that shape has been made.

4.1.1.3. Staircase Landings and Carved Staircase

The entrance of the north room of the tower has an almost 2.7 meters high arch. The thickness of the arch is around 80 centimeters.

In the same room, an unusual type of stair is grabbing attention.

According to the TRI Consult's report, the staircase is a later addition to the tower.3 The staircase was carved through the existed brick masonry.

At the organ level, a vault is placed . In order to understand the material on-site, a very basic procedure, knocking on the material is tried, but the result remained unknown.

3 TRI-Consult 2019, p. 8-9

Above the bells, a brick vault is placed . It is the only found out brick vault of the entire complex. The brick vaults are working to hold bells. There are several holes in the vault, but the reason for the holes is unknown.

The spire structure is tried to be constructed according to limited photographs due to lack of accessibility. By the photos, the structure of the spire is constructed as a hexagonal structure.

The truss timber system is designed and placed as the loadcarrying mechanism. The roof's load is transferred via this system to masonry walls, and connection between the timber structure and masonry wall is obtained by anchors as described.

4.1.2. Nave

The nave is dating to 1874. The structural load-carrying part of the church is made of bricks. Outside walls and pillars of the nave are embedded in the soil ground. According to the Tri Consult's report, the pillars' foundations are 60 centimeters, and the walls are 50 centimeters embedded in the soil. According to investigations, the foundation was found out stable; however, the materials found out wet. It shows that the foundation's water penetration isolation is weak and can cause some issues.

Unfortunately, there are no investigations carried about the inner columns of the nave. Therefore, it can be assumed that they are also in the soil up to 60 centimeters. 4 When the structural elements of the nave are investigated, two pointed brick arches are grabbing attention. One arch is the connection between tower and nave, and the other is located 4 TRI-Consult 2019, p. 24-25

111 l Technical Analysis

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Figure 4. 2 On the left drawing of the current door and previos door frame is traced on red, on the right current view of the door © Authors

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Figure 4. 3 Pointed arch at the entrance level of the tower © Authors

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Figure 4. 5 Inner view of the tower entrance and unknown structural element © Authors

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Figure 4. 4 Oculus structure at the entrance level of the tower © Authors

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113 l Technical Analysis

between the main aisle and choir. Those pointed arches are not indirect relation with any compression forces. In other words, those arches are not contributing to the structural stability in compression. Instead, they carry themselves, and their mass is directly transferred to the foundation .

On the other hand, the one between the tower and the plaster vaults creates connection points between the new and existing parts. In addition to that, the one located between the aisle and choir is a connection between other vaults. So the arches are created to have the final form of the vaults and contribute the Neo-Gothic appearance of the nave.

Another load-carrying structural element in the nave is the column and pointed arch structure located between the main aisle and side aisles. The structural element of the columns are unknown. When knocked on those elements, a hollow sound is heard. In order to understand its structural material, an X-Ray test on-site needs to be done. Those columns are reaching four meters in height, and the pointed brick arch is starting. Those pointed arches are carrying an almost four meters long bricklayer.

This structure is one of the most important connection points of the roof structure. The dead load of the structure and wind, snow loads, are passing through that load-carrying element.

Moreover, with the structure's help, the nave's neo-gothic appearance is obtained thanks to its connection with vaults.

Outside walls and pillars are one of the other vital elements of the load-carrying system for the roof. The load-carrying mechanism

is obtained by masonry structure. The partial load of the roof structure is transferred to soil by that mechanism. Besides that mechanism, the walls and pillars are partially carrying the vaults.

4.1.2.1. Plaster and Timber vaults

Although load-bearing parts of the nave are brick, it is found out that the vaults of the nave are made up of timber and plaster.

According to the close view of the vaults, the mechanism is working with wooden arches. Those wooden arches are working as beams, and they are carrying the load of the plaster part the area is surrounded by. Every wooden arch is sharing a tributary area with the neighborhood arch, and the mechanism is working. According to measurements taken by photos, due to safety measurements, the distance between wooden arches is obtained as 30 centimeters. According to the load-carrying theory of the beams, those wooden arches are carrying the 15 centimeters left of their area and 15 centimeters right of their area . Thanks to the light design of wood and plaster, wooden beams are working without failure.

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Figure 4. 6 From left: Column structure at the nave, Roof structure of the nave, pointed brick structure. Schematic drawing is created to explain the load carrying mechanisms of the nave. Drawings are not scaled. © Authors

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The slope of the roof is calculated as 40 degrees. The roof is mainly affected by its dead, rain, and wind load. With the structural mechanism of the roof, those loads are transferring to the foundation.

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Figure 4. 8 The view and of the brick vault on the bells level © Authors

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Figure 4. 7 View of the vault and holes at the organ level © Authors

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Column structure is connected to the foundation, and the connection is behaving like fixed support and the lateral and vertical load, which is a dead load of itself, vault, and roof structure. Those loads are transferring to the foundation. The roof structure connected with the column is accepted as roller support since the vertical load is significant. As it is noticed, arch structure is mainly transferring its dead load to the foundation.

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LONGITUDINAL SECTION116 AA' without panels l Rossem asbestos Church

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Figure 4. 10 West Transversel Section - Structural elements © Authors

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Figure 4. 11 Longiditunal Section - Structural elements © Authors

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4.2.Material Analysis

A

s it is discussed in the historical analysis, the Rossem church has several phases. The collection of different times is increasing the variety of the materials is used in the church.

In other words, it is creating a composite appearance of the materials.

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In this part, materials and finishings for the entire church are tried to be assessed. In order to improve the visual content of this chapter, photos of the materials and finishings are included, and the material content of interior and exterior can be found on material atlas drawings.

Although the used material is numerous, the church is mainly built up of bricks. When the brick dimensions are investigated, two types of brick had been determined. One of the types of brick is in Spanish format, and the other one is in a smaller format.

The Spanish format bricks are observed on the tower until a certain level from inside and outside. Those bricks dimensions are various but in general; 11-12 x 25-26 x 5-6 centimeters. On the other hand, another type of brick is observed on the higher level of the tower from inside and outside, in the small cellar of the tower, and 1874 enlargement. Those bricks' dimensions are various, but in general; 7-9 x 18-20 x 4-6 centimeters.

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Figure 4. 12 EastTransversel Section - Structural elements © Authors

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According to investigations and researches had been done, different main periods were found out for bricks. Those periods are tentatively mentioned on the (brick atlas) Unfortunately, the resource of bricks could not find out from historical research.

However, the church is located near Lbaz and Lcaz type of soil beds.5 Therefore, it is assumed that, in order to reduce the cost, bricks and mortar could be prepared from the soil extracted by the site.

According to Ornament's report, the mortar used in the enlargement of 1874 was based on lime and sand. Which is also intersects with the use of the soil from Lbaz and Lcaz for construction. However, using loamy sand for masonry brings some structural and material problems, such as very soft mortar and low moisture resistance. Because of that, it is unusual to use for large structures like churches. Moreover, sand mortar needs a wide variety of particle sizes. If that high variety is not provided, the binding duty of mortar will not be fulfilled, and erosion due to weather conditions and frost attack can accelerate.

4.2.1. Exterior

4.2.1.1. Tower

According to a site visit with Francis Tourneur, some assessments about the stone have been made. First of all, with the close look of the stone on the tower facade, the structure of the stone has lime and quartz particles. Due to that structure, those stones are 5 Ornament 2018, p. 4-5

named sandy limestone. Therefore, those stones can be sorted as Brusselien deposit which is located surrounding Brussels.

However, in order to identify stones correctly, lab analysis needs to be done.

On the stone, some layers have been found. With a closer look at the fallen particles from the stone layer, hair is seen. It is most probably a remaining from a previous plaster on the sandy limestone. On some parts of the stone masonry, smooth surfaces are observed. Those are indicating the paint remainings.

At the church entrance, a wooden 3.2 meters tall 1.8 meters width door is welcoming the visitors of the church. That door is framed with a bluestone. On the above of the door, the opening through the organ level is also covered by a bluestone frame.

On the tower's ground level, there are two small windows on the south and north facade. Those windows are surrounded by Balegem sandy limestone. Since this type of stone is a masonry stone, they are strong enough, and there is no mortar between them.

On the organ level, on the north facade, there is another window grabbing attention. This window is most probably placed to provide enough light for the staircase. This window is covered with sandy limestone. It is assumed that it is the same type of sandy limestone as the rest of the tower.

On the higher level of the tower, different corniches with architectural shapes are identified. Since the materials are further, a final decision is hard to make. However, according to the cut of the stones and appearance, those stones are assumed as Savonnieres.

119 l Technical Analysis

On the East and West facade of the tower, a black background painting after the clock was noticed. The reason for the painting is to increase the readability of the clock.

The material of the roof is tried to analyzed by drone flight picture. According to those analyses, it is assumed that the main material of the roof is slate, and the corners, where flexible materials are needed, the material is zinc or lead.

4.2.1.2. 1874 Enlargement

The soft mortar is most likely caused by loamy sand usage and creates some material problems, which will be discussed in the pathologies part. In addition to the soil characteristics, the particle size variety of mortar might not be met during the construction phase. According to Cassiman's research, during the construction of 1874, some reductions in the budget were noticed.6 Those reductions could affect the work quality. As a butterfly effect, it might cause a low variety in particle size. Due to the facts, some failures and damages might be observed, and that might force the architects and engineers to find a solution for the failure.

It is assumed that, after a particular moment of completing the construction of the 1874 enlargement, the cement plaster was placed as a sacrificing layer to provide an idealized condition for masonry. In other words, the idea was to cover the masonry with cement plaster and inhibit its relationship with rain, wind, and snow.

6 Cassiman, A. 2019, p. 24-37

In the investigations done on the site, inside the tower second level, a brick imitation pattern for cement plaster was found out.

According to that pattern, red brick and white mortar appearance tried to be imitated. So, to create that composition, red cement plaster was applied on the masonry, and white mineral painting applied on red cement plaster to obtain brick imitation.

The red color of the cement plaster could be provided with C4AF ingredients of cement. Thanks to its Iron Oxide Ferrite content, the red color appearance can be obtained. Moreover, a high amount of C4AF leads to a rapid hydration process. On the other hand, the strength contribution of C4AF is very limited on the contrary to the other components. 7 Due to the same reason of cement plaster application, it is assumed that cement plinth is created as a sacrificing layer on the lower level of brick masonry. The cement plaster and cement plinth are assumed to date the same times, but lab analyses need to be run for the exact results.

Between cement plinth and cement plaster, a stone layer is placed. That stone layer is covering all around the enlargement.

By a closer look, it is observed that there are two types of stones with different dimensions. Almost on every corner, oolitic limestone can be found. That stone is assumed as Savonnieres limestone because of it is plane cuts and its structure. However, in between the corners, another type of stone has been observed. That stone has no regular dimensions, and according to observations, it is noticed that the stone is more deformed than the cornerstones (foto?).

7 Domone, P. 2010, p. 87-99

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Latex Beige Painting

Timber

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Brick

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Slate

Art Deco Painting

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East Facade - Material Atlas © Authors

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EAST ELEVATION - MATERIAL ATLAS

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Therefore, it is assumed that those stones are reused by the previous church nave. According to the site visit with professor Francis Tourneur, the reused stone is assumed as Gobertange limestone. In other words, the stone layer between cement plinth and cement plaster is a collage of oolitic limestone, which is assumed as Savonnieres limestone, on the corners of the nave, and limestone, which is assumed as Gobertange limestone.

The same oolitic limestone of the lower layer has been noticed on several spots from a distant look. It is observed that, on the head of pillars, at window keystones and lintels, at the connection point of the masonry work and roof structure on low transept and east and west of the side aisles, at technical room and sacristy openings the same type of stone is used.

At the entrance of the technical room, bluestone is found at the door lintel. However, at the sacristy door, the door sill is found out as a concrete block. It is assumed that, with the latest renovation works, a concrete block could be placed.8

On the South and East facades, there are several tombstones linked to the church's main body. Those stones are dating different times, and they are made up of petit granite.

On the East facade of the nave, there is a plaster statue of Jesus Christ and a wooden cross. A wooden roof structure covers that structure.

8 Cassiman, A. 2019, p. 43-44

4.2.2.Interior 4.2.2.1. Tower

At the entrance hall of the tower, several tombstones are placed on the floor . Many of the information on the tombstones are not readable anymore, but some crucial information could be obtained from the remaining part. Some of the stones are dating to 1766. It is assumed that those stones were reused stones because of their traces. For example, on the stone, there are some holes to hold a door.

Nevertheless, the previous place of those stones is unknown.

Those stones are petit granite. According to their places and relations with the surrounding square floor tiles, it is assumed that those tombstones were the center of the design, and the surrounding is placed according to them.

Stone imitation is found out on the wall of the entrance. It is most likely to enhance the Neo-Gothic appearance of the church and impresses the visitors with a stone appearance. Two holy water fonts are placed on the North and South walls. Those fonts are carved bluestone, and they are in good shape and condition. A false ceiling is placed on the top of the entrance.

On the south room of the tower entrance, the pointed arch is created with bricks. The mortar used in between the bricks is assumed as cement mortar due to its color and hardness with nail scratch. In order to have exact results to assign the period and characteristics of the pointed arc, advance tests are needed.

127 l Technical Analysis

In the same room, plasterwork on the South wall has been found. Moreover, that plasterwork is continuing through the wall. In other words, a continuous part of the plaster is covered with bricklayer which is added later in this space.

On the staircase, according to report of Cassiman, there was probably 20th-century restoration works. With those works, steps are finished with wooden elements.9 On the organ level, vault and rib are found out. The vault and ribs are painted with latex paintings with different colors. Due to the lack of accessibility to the vault and painting on the vault, the material used for the vault is unknown. In order to assign the material, an X-ray test needs to be done.

Above the organ level, a brick masonry room is found. The room was plastered until a certain moment, and today that plaster is removed. Two different dimensioned bricks are found at that level, as mentioned at the beginning of the chapter.

On the level of the bells, a brick vault is placed over bells. Due to the accessibility issues, measurements of the brick are unknown.

4.2.2.2. Nave

At the entrance of the nave, on the north and south wall, two epitaphs are placed. Those epitaphs have drawings of H. Medardus and H. Gilardus. According to Ormanent's analysis, there are at least 4 phases on those elements. 10 In general, the walls of the nave are covered with glasal panels 9 Cassiman, A. 2019, p. 11 10 Ornament 2018, p. 20

until 2.7 meters high. Those panels are colored to match with the rest of the church interior. It is assumed that, those panels are placed to hide the results of rising damp and avoid the problem.

On the walls and the columns, a beige latex painting can be found. On the ceiling, a pink latex painting is used as finishing. According to stratigraphy analysis on the paintings by Ornament, there are seven phases in the church's interior. Those phases are sometimes minor restoration works, sometimes significant changes. According to those analyses, Gisele Gantois is reconstructed the 1st phase of the church11.

The vault ribs are observed as wooden material, and they are painted with white latex painting.

The place where vault ribs are connected on the wall is painted wooden elements.

The capitals of the columns are stucco elements. Those elements are painted with a bronze latex painting.

On the columns at the level of 4.7 meters, circular columns are placed. Those columns are painted bricks.

The head and foot of those bricks are painted wooden elements.

The massive walls carried by the columns are brick masonry walls.

On the brick masonry walls, in order to increase the Neo-Gothic appearance, blinded cleristories are placed. Those windows are closed with wooden elements, and the lintels of the window elements are again wood. On the nave floor, hexagonal floor tiles with a side length of 13 centimeters are used with cream 11 Ornament 2018, p. 9-19

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and black color in general .

At the side altars, two natural stone carved altars are found out. The type of stone is unknown since the stone is painted.

That spaces have improved with stained glasses. Those stained glasses are ordered from Samuel Coucke from Brugges. 12

4.2.2.3. Choir

On the walls of the choir, there are different glasal panels that have another color of the painting. It is found out that those panels are in red color with some patterns. 13 Under the glasal panels of the south wall of the apse, a historic dark green Neo-Gothic wall painting is placed. Under the glasal panels of the east wall of the apse, the higher part of the same wall painting can be seen .

The stained glasses are used on the apse are also coming from Samuel Coucke.

The floor tiles of the choir are hexagonal with a side length of 11 centimeters. Contrary to nave tiles, those are in the color of black, cream, and terra cotta.

The main altar is a design of G. Hansotte, like the side altars. The altar is carved in stone, and the finishing of the altar is a white painting. Due to the finishing, the stone of the altar could not be assigned.

The sacristy has a high wooden cabinet embodied to the West wall and a wooden lower cabinet on the East part of the room.

12 Cassiman, A. 2019, p. 34-35 13 Ornament 2018, p. 18-19

On the cupboard, some figures are seen. It is assumed that the parts of the cupboard are reused.

The tiles of the room are dating to a recent period than the other parts. 14 The technical room does not have specific materials. Instead, space is hosting the technical pieces of equipment of the church like the heating system. The heating system of the church is an old air-heating system. Currently, it is only used to have 7 oC inside the church because of the cost issues.

4.2.2.4. Roof

The roof is covering the plaster and timber structured vaults and brick masonry.

The structure of vaults is relatively thin, and the weight of the vaults is smaller than the same size of brick vaults. From the nave, the structure of the vault can be seen. When plaster is examined, the difference in the pink painting can be noticed.

The lighter parts indicate the timber part of the vaults, and the darker parts indicate the plaster part of the vault.

The roof structure is timber. It can be the reuse of the old nave with some additions, but it is not clear and assessed due to the lack of documentation. The connection of timber elements is created by nails. In other words, timber members are linked to each other with nails .

The circulation at the roof is provided by wooden elements without a handrail .

14 Cassiman, A. 2019, p. 43-44

131 l Technical Analysis

Figure 4. 27 Paint finishing limestone © Authors

Figure 4. 25 Sandy lime stone © Authors

Figure 4. 26 Close look on sandy lime stone © Authors

Figure 4. 28 Hair reamining from stone plaster © Authors

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Figure 4. 30 Mortar with (Savonnieres?)© Authors

Figure 4. 31 Oolitic limestone (Savonnieres?) © Authors

Figure 4. 32 Close look on oolitic limestone © Authors

Figure 4. 29 Cementplaster© Authors

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Figure 4. 35 Balegem © Authors

Figure 4. 33 Bluestonedoor© Authors

Figure 4. 36 Close look ofalegem © Authors

Figure 4. 34 Stone imitation © Authors

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Figure 4. 37 Reused tombstone on the floor © Authors

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Figure 4. 38 Reused tombstone on the floor © Authors

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Figure 4. 41 Epitaphs© Authors Figure 4. 39 Timber and plastered vault. The structure can be seen through dark spots © Authors

Figure 4. 40 Colored stucco structure

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Figure 4. 42 Floor tile of choir © Authors

Figure 4. 43 Painted glasal panels, latex painting, art deco paintings, stained glass © Authors

Figure 4. 44 Sacristy cabinet © Authors

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Figure 4. 45 Floortilesoftowerentrance©Authors

Figure 4. 46 Petit granite © Authors

Figure 4. 47 Timber and plaster structured vault © Authors

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Figure 4. 48 Stained glass placements.

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Figure 4. 51 Stained glass C

Figure 4. 52 Stained glass D

Figure 4. 53 Stained glass E

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Surface Change - Crust Biological Growth - Lichen

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4.3.Pathologies

I

n the pathologies part of the chapter, the framework of the Monument Diagnosis and Conservation System (MCDS) is used. First, the damages are separated as exterior and interior, and later they are classified as tower structure and 1874 enlargement. Different damages are sorted according to the materials, and possible hypothesizes are placed accordingly.

Finally, the damages are supported with photos, and damage atlases are created for the exterior part to improve visual content.

In the pathologies chapter, in addition to the authors' observations, Monumentenwacht's report, which is provided in 2011, Ornament's report, and TRI-Consults report has been addressed. Although the report of the Monumentenwacht is dating ten years earlier than the day of writing this report, it is observed that some of the suggestions of them are not realized or reoccurred.

Before going deep into the pathologies part, it should be reminded that the foundation of the church is found wet. It means that groundwater is penetrating through the brick structure due to the capillary. That movement is creating rising damp and causing some damages, which is going to be discussed. Moreover, the heating of the church is keeping on the lowest level, which is 7 oC, due to the maintenance costs.

4.3.1.Exterior 4.3.1.1. Tower •

Natural Stone – Disintegration – Loss of cohesion – Erosion – Selective Weathering

The lower part of the tower is built on Brusselien deposit type of stone. Most probably, the characteristic of that specific stone used on the tower is that the edges of the stone have loose material; however, the core of the stone is well compressed and bonded well. Due to environmental conditions like rain, wind, and frost attack, the loose part of the stone on edge was affected by the erosion. In addition to that, some repointing on the stone mortar has been noticed . It is assumed that the mortar chosen is stronger than the stone edges, and it is also increasing the erosion of the edges. Due to the facts that, todays rounded shape became the result.

•

Brick – Disintegration – Loss of cohesion – Crumbling

Mainly, on the higher part of the tower, from 18th-century extension, some conditions are observed on the bricks. First of all, the cohesion of brick colors is not at a good level. The variety of different tones of brown, orange is visible. That shows that on the facade of the tower, under burnt bricks were used. Those bricks have low compressive strength and high-water absorption.

Also, from a distance, a change of the mortar is observed. Most probably, repointing has been done on several spots. Due to the characteristics of the bricks and the wrong type of repointing

143 l Technical Analysis

mortar, failure has happened. In other words, inappropriate mortar creates extra tension between bricks; since under burnt bricks are not working well with the increased compression, they failed and broken. However, that failure seen on light-colored bricks was also seen on dark-colored bricks. Which is a result of the inappropriate type of mortar selection.

•

Masonry – Structural Damage – Cracking – Cracking in wall – Vertical crack

On the south facade of the tower, a large crack is observed.

The reason for the crack is assumed as during the demolition of the previous nave; a problem occurred, like the existed wall of the previous nave collapsed at that specific location and the existing brick masonry was broken. In order to fix the problem, existed layer of bricks was repaired, and the difference of brick levels and the crack line is formed.

•

Natural Stone and Masonry – Biological growth – Higher plants and Lichens

On the different parts of the tower facade, biological growths are seen. On the stone, lower part, higher plants are seen. Due to the rounding of the stone, joints are getting bigger and mortar getting loose. With that effect, there is enough space for a plant to grow. With the rain and minerals provided from ground level via rising damp, good condition for a higher plant is created .

On the bluestone of the window frame, biological growth is seen . After the rain, this spot is most probably is staying wet and in

good condition for biological growth is created.

On the masonry, the intersection parts of brick and natural stone corniches, biological growth is seen. The water is probably collecting on those spots after rain or snow, and it is increasing the water content. With that high water content, good condition for biological growth is created.

4.3.1.2. 1874 Enlargement •

Cement Plaster and Cement Plinth – Disintegration – Loss of cohesion – Crumbling

It is assumed that, after the construction of the building, authorities had observed the poor condition of the mortar, and they tried to eliminate some conditions like water penetration from outside and wind. Therefore, the cement layer is designed as sacrificing layer on the masonry. After placing the cement layer, the goal of water penetration was achieved; however, the existing problem on the masonry had not been solved. Water and salt stay existed and lead to frost attacks. With frost attacks, tensile force on the cement layer was created. Since the cement layer is weak on the tensile force, loss of cohesion is seen and resulted in crumbling.

•

Cement Plaster and Cement Plinth – Lacuna

Due to the crumbling of cement plaster and plinth for a long time, some parts of the cement plaster is missing .

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Cement Plaster – Surface Change – Chromatic alteration – Fading

The cement plaster is originally placed with brick appearance imitation. As mentioned in the material part, the red color of bricks is obtained by the iron-oxide part of the C4AF. Due to the weather conditions like rain and wind, those particles lost their cohesion in time and faded slowly. With the gravity effect, the disconnected particles slide down. The mineral painting absorbs those slide particles since that painting is another layer on the cement plaster. In other words, that mineral painting creates a bump on the surface, and the slipping particles accumulate there. Due to this accumulation, white mineral painting is changing its color from white to red while the red part is losing its color, and it is creating the contrast appearance of the brick imitation at some spots.

•

Cement Plaster, Cement Plinth and Natural stone – Surface Change – Transformation – Crust

Cement plaster is containing a significant amount of lime.15 There is a small wooden roof structure on the East facade of the nave to cover the Jesus Christ statue. That structure is protecting the statue against rain, and the water access to the specific place is limited. Due to the limited water access to the surface of the cement plaster, and polluted environmental conditions, calcite of the lime is transformed to gypsum. As a result of this reaction, black appearance on the cement plaster has happened .

On the brick pillar's head, the formation of the crust is noticed.

15 Domone, P. 2010, p. 87-99

The place of the crust is where the water is not passing through.

Moreover, on the cement plinth deposit transformation is observed •

Mortar – Disintegration – Loss of cohesion – Sanding

It is indicated that during the construction of the nave, sandy loam is used as mortar. Although it is providing better workability to workers, it has low compression strength. In general, it is not used in big buildings like churches. Moreover, particle size variety is important in mortar. It is assumed that, due to the economic facts, the quality of ingredients was not followed closely, and it affected the particle size and quality of the mortar as a consequence. In addition to that assumption, according to the site visit with Francis Tourneur, fossils remains are seen in the mortar. It is indicating that the mortar was not burnt in proper heat. It can be linked to economic reasons as well. In combination of sandy loam usage and poor quality of ingredients caused the loose mortar. Different agents like rain, wind, mortar bees and frost attack accelerated erosion and caused sanding.

•

Natural Stone and Masonry – Biological growth –Higher plants, Lichens, and Mosses

The most affected area is observed the first pillar from West on North facade. On the pillar, several types of biological growth can be seen. The main reason for this biological growth is assumed as the gutter over the pillar is not working properly, and there is constant water leakage from the gutter to the pillar.

On the North and East facade of the cement plinth, the formation

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of lichens is noticed . It should be noted that those spots are getting less direct sunlight than the rest. Since these plinths are located just above the ground level, the rising damp increases the water content. With the high water content without direct sunlight, good conditions for lichen are created.

Besides those specific cases, other biological growths are noticed on different spots.

•

Natural stone – Cracking – Crack

Due to the structural movements, the first stability of materials are lost. Because of the stability lost, different types of tensions are created on the materials and in the materials. Some brittle materials are not capable of new stresses created, and cracks are observed. Sometimes those stresses are causing displacement after crack because of the lack of supports. For example, some minor displacements are noticed on the window sill due to those cracks .

4.3.1.3. Roof •

Roof Slate – Biological growth –Lichens

On the North East side of the spire roof and East side of the low transept roof, the biological growth on the slate is noticed. It is assumed that these spots are not getting enough sunlight to evaporate the water content and creating a good condition for biological growth.

•

Roof Slate – Lacuna

Inside of the roof structure, light passage from outside to the inside is observed. Most probably with the effect of some birds, some slates are get removed from the roof structure and the lacuna is created.

4.3.2.Interior 4.3.2.1. Tower •

Floor tile – Cracking and Lacuna

At the circulation space of the tower, discontinuity and crack of the floor tiles were noticed. It is assumed that, due to the settlement, towards North West of the tower, stability on the floor is lost, and tension on the floor tiles is increased. As a result, some of the tiles are damaged completely, and they are replaced with terra cotta elements, and functional ones remained on the spot no matter how cracked they are.

•

Masonry – Structural Damage – Cracking – Cracking in wall – Vertical crack

From the staircase beginning till to bell level, a vertical crack on the North wall is noticed. According to TRI Consults, the reason of the cracking can be assumed the old window opening and settlement.16

16 TRI-Consult 2019, p. 7

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Masonry – Mechanical damage

At the second level, displacement of the brick was observed on the South wall. The reason is unknown.

4.3.2.3. Roof •

4.3.2.2. Nave •

Latex Painting – Disintegration – Detachment – Blistering

Due to latex-based painting's impermeable structure, the water content between the wall and painting cannot evaporate and get stuck in between. Therefore, with the increasing amount of water, the latex painting starts having bubble shape particles and losing its connection with the surface.

•

In the timber structure of the roof, some holes are noticed.

According to TRI Consult's report, several insect damages are observed, and currently, an insect invasion should be treated.17

Latex Painting – Disintegration – Detachment – Peeling

The moisture is assumed as one of the most significant issues of the church. It is assumed that because there was no test run on-site, but after tracking the results, that assumption has been made. Due to the high content of the moisture in the church, the latex-based painting is losing its connection with the surface.

•

Timber – Insect

•

Timber – Fungi

and Tri According to the Monumentenwacht’s report18, 19 Consultant’s report , in the timber structure of the spire, some fungi growth is observed. It is assumed that from the Monumentenwacht report, there was no action taken. The type of the fungi is not known but the timber structure is most probably affected by the moisture and good conditions for fungi is created.

Stained Glass - Surface Change – Chromatic alteration – Fading

Due to the bad quality of the grisaille of stained glasses, the colors are losing their coherence. In addition to that, when the stained glasses are inspected, on the southern ones, fading is more significant than the northern ones. It is a result of UV lights.

17 TRI-Consult 2019, p. 10-12 18 TRI-Consult 2019, p. 4 19 Monumentenwacht 2011, p. 15-16

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Figure 4. 60 Crumbling of mortar and biological growth on natural stone © Authors

Figure 4. 61 Sanding on the repointing mortar © Authors

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Figure 4. 63 Crack o oolitic sandstone © Authors

Figure 4. 62 Crack, biological growth and crust on the cement plinth © Authors PRODUCED BY AN AUTODESK STUDENT VERSION

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Figure 4. 64 Fading, disintegration of cement plaster © Authors

Figure 4. 65 Disintegration of cement plinth © Authors

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Figure 4. 66 Crust on bluestone, bioligical growth on sandy limestone © Authors

Figure 4. 67 Bioligical growth on savonnieres and masonry © Authors

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Figure 4. 68 Black crust on cement plaster © Authors

Figure 4. 69 Black crust on cement plaster, lichens on savonnieres © Authors

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Figure 4. 71 Disintegration of cement plinth © Authors

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Figure 4. 70 Disintegration of cement plinth © Authors

LONGITUDINAL SECTION AA' without asbestos panels

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4.4.Suggestions

I

n this part of the book, suggested measures and their positive and negative outcomes will be discussed regarding mainly the state of conservation issues. The value assessment chapter will provide insights on the heritage values to be considered to come up with the final restoration advices in the adaptive reuse chapter.

4.4.1.Exterior •

Replacement of bricks

On the tower's facades and 1874 enlargement, some damage mechanisms caused failures on the bricks, and those bricks lost their cohesion. In order to improve the state of the brick masonry, the existing bricks should be replaced with high-quality bricks with hydraulic lime mortar to provide flexibility for the existed brick masonry.

•

Removing the red cement plaster

As mentioned, the red cement plaster is an addition as a sacrificing layer and assumed as placed after a certain moment of finishing the construction. If the reason for the need of sacrificing layer is going to put away, the red cement plaster should be removed. With that removal, the maintenance of the plaster layer does not need to be considered.

•

Desalination

One of the reasons for the sanding of the mortar is assumed as the salt content of the masonry. In order to eliminate that factor, a desalination process can be done. In order to have a complete desalination process, it is suggested to remove red cement plaster to reach every point of masonry.

•

Repointing

At the exposed part of the masonry and higher point of the tower, masonry mortar is losing its cohesion. At some crucial points, the mortar lost is observed up to 8 centimeters. In order to provide cohesion of the masonry, repointing with hydraulic lime is suggested. Hydraulic lime will provide flexibility to the existed bricks and avoid future failures on the bricks.

•

Limewash

After the removing of the cement plaster, the brick masonry of the nave will be exposed to outside conditions. Although the cement plaster is a good sacrificing layer, the maintanence of that layer brings some difficulties. If the previous suggestions are followed, the existing failure mechanism of the brick masonry would be eliminated. With the limewash layer, the brick masonry can be protected against weathering.

In order to keep the red appearance of the church, red lime was can be obtained with the presence of alkali earth pigments.

•

Replacing the cement plinth and injection for rising damp

Some parts of the cement plinth are already lost, and the other parts have some failures due to existing water content by rising

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damp. In order to eliminate the rising damp issue, the water penetration should be stopped from the foundation. In order to stop water transfer, an insulation layer should be injected into the masonry wall. After the injection is done, the damaged part of the cement plinth should be replaced. + created a perimetrical drain system that will permit to evacuate the water from the bottom of the foundation. On top of the permiterical drain at the level of the outise floor pavement, the selaement of the floor surface should be avoided. The pavement should stop approximately 30cm before the façade to allow the drain to be effective.

•

Fixing of the gutter

The broken gutter on the North facade is supposed to be renewed to stop the leaking issue to the first buttress from the west.

•

Monitoring the crack

The vertical crack that occurred on the South facade of the tower could be problematic in the future. Therefore, in order to understand its behavior, that crack should be monitored.

4.4.2.Interior •

Removal of glasal panels

Glasal panels are placed to hide the moisture problem and its results in the interior. Since those panels contain asbestos, they are life-threatening under some circumstances. In order to eliminate that risk, those panels should be removed by

professional teams with safety measures.

•

Renewing of the latex-based painting with silicone-based painting

Current paintings of the nave are latex-based paintings, and with the humidity presence, they are disintegrating from the surface. In order to eliminate the same future failures, the existing latex-based paintings should be removed, and siliconebased paintings should be placed. Although it can increase the cost, the porous structure and water content resistance would prevent future failures.

•

Stained glass

Existed stained glass are losing their paintings and the story on them. In order to keep their value as it is, the painting should be restored. In addition, the protective layer outside and the frame itself should be checked, and if there are some missing parts, those parts should be renewed.

•

Heating and Ventilation

The heating of the church is provided by an old machine which is heating the air. However, that system is not productive. In order to provide a better heating system for the church, a water heating-based system should be used. If the heating can be achieved from ground to higher level, and a cool air forced to enter from the higher point, natural ventilation of air can be created.

•

Thermal insulation on the roof

The current roof structure has no thermal insulation, and it is causing heat loss. On sunny warm days, the dark-colored

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church roof is getting warmer by solar radiation. The warm air keeping inside, and the cooler air is circulating in the nave structure. In addition to that, in winter time, the poor heating system is working, and the heated air is transfering to roof space.

Due to that transfer, heat lose is happening and relatively small temprature difference is occuring. However, that heat difference can reach significant amounts. In order to prevent those actions, a new roof insulation system should be placed.

•

Creating a safe accessibility path for roof

In order to provide better accessibility for the roof structure, the existing path should be improved by handrails and safety lines.

•

Surveying and curing the timber elements

Since roof structures are mainly made of timber elements, the possibility of fungi and insect attack on the timber elements can cause vital failures. In order to prevent that failure, a detailed survey needs to be done, and according to the results of the survey, special treatment should be started if it is needed.

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5. Socio-spatial Analysis Life in the village

5.1 Accessibility

R

ossem is easily accessible by car through the A12, one of the main two highways between Brussels and Antwerp.

Therefore, residents of Rossem have relatively quick access to the rest of the country. Most importantly, the capital city is less than 20 kilometers away. The De Lijn buses 250 and 251 also pass by (See fig 5.01). The train stations of Merchtem and Londerzeel are also not far off, both reachable after a 15 to 20 minute biking tour. Sports fans can even cycle through the remote landscapes all the way to the capital city in an hour or so.

5.2 Interactive walks

W

alking and working in a small village like Rossem had the added advantage that we were often noticed by the village’s inhabitants. Sometimes, people came to us, asking what we were working on. Other times we took the initiative, asking locals questions about the church. Moreover, we took several extensive walks in order to get a better understanding of

Figure 5. 1 A Hand sketch in Rossem. © Authors

the geography space in which the church is embedded. While mapping the area, we tried to capture the rural landscape. The different smells are of course difficult to capture here but suffice it to say that a range of odors, from flowers to heavy rain and agricultural fertilizers, engulfed the atmosphere. We did sketch the different sights from which you can observe the church in the distance (see fig 5.03).

5.3 Interviews

O

ne result of this interaction was that we had the chance to talk to people with some knowledge of the building’s history and/or the parish’s recent history. Throughout these chats, we inquired about their relationship with the church and cemetery.

Additionally, we took stock of what they expected to happen with the church after restoration. The sanitary crisis made deep, one-on-one interviews with the inhabitants difficult, but we did have several encounters that brought to light some anecdotal local knowledge about the church.

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Figure 5. 2 Map showing ways of accessibilty to the church. © Authors

5.3.1 Neighbours

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On the 6 May, 2021, when we were on site, the city council of Meise organised an ice-cream day as a comprise for a bigger event for seniors that normally takes place annually in the municipality. That day, we had several encounters with some of the neighbours and learnt from them how they value their defunct church. All in all, there was a sense of proudness about the building’s beauty. Additionally, we got the impression that the inhabitants of Rossem really like the quietness of the village.

5.3.2 Joseph

Joseph is the care-taker of the church. He was kind enough to always open the door of the church to us whenever we needed to go on site. Needless to say, he has been a long-time inhabitant of Rossem, which makes him an interesting oral source for the community’s recent history. Every time we went to the church, we had a chance to have a small chat with Joseph before he left us with our work in the church (see fig. 5.02). He talked to us about folkloric events from his childhood. He also mentioned purchasing agricultural land, which he intended to cultivate until the introduction of ‘Betontop’ or ‘Baupause’ rules.

This legislation made it often illegal in Flanders to build new constructions in open lands unless the new structure replaced another building. From his point of view, he lost a lot of money because of this regulation.

Figure 5. 3 Conversation between the team and Joseph. © Farida Elghamry

5.3.3 President G. De Bondt

One day, the president of the church fabric, G. De Bondt, passed by the church and came to talk to us. He told us that at some point the old barnyard/porter’s house (which had already been unused for a long time) was removed in order to make space for the car parking. On the inside, he also solved a riddle about “Juliet and Jules,” two names that were written on the front board on the alter (see fig 5.00). He dispelled out initial guess that this concerned a recent wedding and instead explained that they were the names of newborns who were baptised

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Figure 5. 4 Interactive walk hand sketches showing the church from different point views in the village. © Authors

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Figure 5. 5 social media posts on instagram showing life in Rossem.

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Figure 5. 7 Instagram account of a dog’s life in Rossem.

Figure 5. 6 social media posts on instagram showing life in Rossem.

Figure 5. 8 Laetitia’s Instagram post showing her cycling route from Brussels to Rossem. © Laetitia De Theux

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in 2019. De Bundt also told us that some of the statues of the saints inside the church came originally from Mechelen and were transferred to Rossem more than 500 years ago. He was also knowledgable about some of the historical events that took place in and around the church. According to him, the tombstones in the church’s entrance room, too, are of a secondhand nature and were originally from prestigious people of the Abbey of Dielegem. Finally, he mentioned that the church fabric of Rossem is financially comfortable, just like the church fabric of Merchtem but in contrast to the smaller churches in the area.

In his opinion, this is because Rossem has always been inhabited by successful, independent farmers.

5.4 Ownership

T

he municipality of Meise had been the owner of the church since the French Revolution. After the separation of church and state, the latter seized the property - and maintained it ever since. For a rural village, Meise actually has more to offer in terms of heritage than just the defunct church of Rossem.

Therefore, there are plans in the making of turning Meise into an 'erfgoed gemeente' (heritage municipality), which would make the city council more independent from the Heritage Agency of Flanders in terms of its heritage policy. For the restoration of the Rossem church, the city council is nevertheless supported by the Flemish government, since it is a member of the Heritage Agency. More specifically, 40% of the bill will be presented to the municipality, whereas 60% will be subsidised by the government of Flanders.

Figure 5. 9 Sketches of houses in Rossem. © Authors

167 l Socio-Spatial Analysis

Figure 5. 10 Current vs. future model for urban planning of Flemish villages. ©Leo Van Broeck

5.5 Village ambiance

E

ven though it is located relatively close to the capital city of a densely populated country, the sense of remoteness is never far off in Rossem. The fact that there are no shops, cafes, offices, schools or pretty much anything other than the hundred-or-so houses attest to that. The church’s tower looms over the village, as it is by far the highest point in the landscape, making it a distinctive node for the village. The church cemetery moreover offers room for contemplation. The alternating sounds of the ravens inhabiting the tower and the church bells inspired us to think of the village as a calming soundscape, providing an opportunity for visitors and passersby to reflect on life and death,

time and space and the evolution and changes of life. It makes us wonder: who are the future generations that will take care of this place?

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Figure 5. 11 Bird eye view Rossem ©facebook -- Rossem Leeft.

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Figure 5. 12 Hand sketch showing the rich number of cylers passing by the church in the weekends. © Authors

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171

Economic and Touristic Analysis Heritage building

Landscape

Adaptive-reuse

172

Economic and

l Rossem Church

Touristic Analysis 6.1. The Church as economic good

T

he integration of heritage economics in Urban conservation is listed on UNESCO’s sustainability report of the new urban agenda, itself embedded in the UN 2030 Agenda for sustainable development. The Urban cultural heritage is defined as cultural ecosystem that includes not only the tangible built heritage, but all cultural items that makes the place a unique and appealing place for all the urban stakeholders. In this chapter, we define the economic potential in relation with the Church and our 3 scales; macro, meso and micro. We follow what we have learned with professor Christian Ost during the Heritage Economics lectures in our the course of Conservation policies.

6.1.1. Statement of cultural significance

T

he church has religious, historical and architectural values, among others. Attesting to that, the church, the cemetery surrounding it and its organ are all listed as protected in the

heritage inventory of Flanders. The residents of Rossem are proud of their church. For instance, while browsing Rossem’s location on social media, we found a Facebook page, called “Rossem leeft” (i.e. “Rossem lives”), where residents post old and new pictures and make announcements for future events.

The village of Rossem presents agricultural and landscape heritage or “Ruritage,” i.e. heritage for Rural Regeneration. We, as heritage experts and advocates, try not to marginalise rural heritage or consider it mere city backyard. We fully acknowledge the significance of this land as people’s own homes and understand its potential as use and non-use value that can be enjoyed by its mere existence.

6.1.2. Use values

B

ack in the 18th century, the church was expanded by Hansotte. Therefore, we can assume that in this era it was heavily visited. This is not the case anymore. The community is small, and the church is severely underused. Currently, it is only occupied for occasional funerals, weddings and baptisms. The municipality and church fabric also use the building for special occasions. For instance, they collaborated on setting up an exhibition of religious art inside the church, but, unfortunately, these plans were postponed because of the sanitary crisis.

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Figure 6. 1 checkpoints of cycle routes. © Farida Elghamry

Figure 6. 2 Macro scale map of cycling routes around Rossem. © Authors

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Figure 6. 3 A group of cyclers in front of the church. © Farida Elghamry

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Figure 6. 4 cyclers resting on the back side of the church. © Farida Elghamry

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In spite of the decaying church community, residents often visit their loved ones in the cemetery, which upkeep to this day is regularly maintained. Yet, some tombstones are showing signs of falling apart, while other old graves have no real historical value but nonetheless are not removed because the whole land is protected.

Given the fact that routine services have been discontinued, there is currently no priest for the church of Rossem. However, when needed, priest Jan Lagae covers the masses, baptisms, funerals and weddings in the church. In 2015, Het Laatste Nieuws described Lagae as one of Flanders busiest pastors, since he oversees a total of 11 parishes.

6.1.3. Non-use values Non-use value refers to everything surrounding the heritage site that is of symbolic, artistic, historical value. It comes from knowing an environmental feature will continue to exist in future, irrespective of any expectation of actual use.1 We know through social media that there is already a big community of artists living in Meise and Rossem (see fig 6.00). A great number of cyclers and hikers pass by daily as well, but especially in weekends, as there are many mapped out routes passing the church for both professionals and enthusiasts. One of them is a route of Eddy Merckx, the most famous cyclist in Belgian history (see fig 6.00).

According to Flanders heritage report for the willingness of the Flemish to pay for the preservation of architectural and landscape heritage is based on recognizability, continuity, and 'sense of place' for the local. When citizens are attached to the local built heritage, a 'reality check' or additional motivation for the policy decision is achieved.

1 Nzier, 2018. P.i

6.1.4. Externalities Externalities are third factors that impact the heritage building, be it positively or negatively. They are indirect economic values that can easily be overlooked. Where positive externalities are identified, they can help to find a financially realizable adaptive reuse for the building. Negative externalities, however, can have a negative effect and will constrain the options for a qualitative restoration.

Positive externalities

·

Approximate distance to the capital city.

·

Strong sense of community.

·

Large flux of cyclers passing by.

Negative externalities

·

Constraints on building regulations (it is not allowed to build on land listed as protected).

·

Area unknown for international visitors.

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Figure 6. 5 Church network on the Macro scale. © Authors

Figure 6. 6 Cultural capital on the Macro scale. © Authors

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6.2. Economic Landscape analysis

C

reating heritage landscapes (or ‘heritagescapes’) has been an emerging interest for academics. Urban cultural heritage is defined as a cultural eco-system that includes tangible built heritage as well as intangible items, which together make a place unique and interesting for all the stakeholders with respect of its morphology, history and habitat. In this way, such heritagescapes analyses can uncover the economic resources of the site.

AMATEURKUNSTENAARSROUTE 1 en 2 mei 2021 - 10u tot 18u DEELNEMERS MEISE KERKDORP ROSSEM • •

KERKDORP WOLVERTEM • • • • • •

• • •

• • •

6.2.2. Tourism potential

Maurits Van Den Eynde, Kleine Wouwer 75 acryl Annemie Verwilghen, Kleine Wouwer 75 poëzie Ingrid Vandenbroeck, Blauwenberg 28 acryl Vinciana Ferrante, Hollestraat 17 schilderkunst Maria-Helena Gabriëls, Sikkelgemstraat 6 tekenen pastel en potlood Karin Wijnand, Bruinborrelaan 14 keramiek / glaskunst Antoinette Gruijters, Strombeek-Beverselaan 132 mixed media

KERKDORP SINT-BRIXIUS-RODE • •

Meise has a considerable cultural capital. The famous Botanical Garden, rural landscapes and sub-urban cities within Meise offer a rich variety of nature. Tangible cultural assets include landscape fields, the Botanical Garden, castles, rector houses, chapels mills and farms. Intangible cultural assets include religious heritage, agriculture activities, craftsmanship for restoration and the parish network.

Marc De Prins, Godshuisstraat 4 fotografie Philippe Vanhove, Godshuisstraat 33 acryl, kalligrafie, kartonnage Emma Pollet, Godshuisstraat 33 pastel Ludo Van Den Heuvel, Godshuisstraat 33 aquarel Iris Keiser, Oppemstraat 8 schilderkunst Tine Belmans, Oppemstraat 8 mixed material - installatie

KERKDORP MEISE

•

6.2.1. Cultural capital

Paul Gregoir, Rossemdorp 22 beelden in inox René De Cort, Kleinendries 28 keramiek

Linda De Vuyst, A. Van Campenhoutlaan 20 keramiek Piet Van Aken, Schriekkouterbaan 20 aquarel

KERKDORP WESTRODE • • • •

Marcel Cloots, Breemweg 17 wilgenvlechtwerk Laurence Durieu, Breemweg 23 Marina Lenaerts, Jan Hammeneckerstraat 47 aquarel en textiel Guy Vankerckhove, Jan Hammeneckerstraat 47 keramiek, glasramen, tekeningen

KUNSTJACHT

WANDELING | FIETSTRIP | AUTOTOCHTJE

Figure 6. 7 mapping of artists in meise ©meise.be

179 l Economic and Touristic Analysis Hardware Spatial

Location

characteristics

Software Robustness

Appeal

Experience scape

Organisation

Policy

Management

Stakeholders

The primary attraction now is the peaceful and natural atmosphere

Nature and sports lovers are mainly attracted to site.

The municipality of Meise is the owner and single overriding agency.

The main aim of the stakeholders now is to conserve the building

The village and church are presented as is with little comodofication

(See chapter 6.3.2.

Stakeholder mapping)

Currently the village has a lot of passersby but no place for them to stop by and rest.

Fame prior to designation

It presents rural villages in Europe

Mix of public and private ownership.

Its currently closed.

There is currently no local legislative rules for the management of tourism.

There is no management plan for the site itself as a touristic destination.

no intentiontions for desecularizing the church.

Ability to manage impacts

Realistic assessment of tourism potential

An experience of contemplation and quietness appreciation can be sought.

Both Meise municipality and Flanders Heritage are involved with the protection of the church.

A management plan for the conservation of the church is already existing.

Power balance between stakeholders

Possess necessary attributes for success

Tourist connectivity to the site

Revenue source for conservation is present and not relying on tourism.

Level / efficacy of stakeholder decision making

Focus on “edutainment” or education

The role of tourism can be complementary to other functions.

The village is not integrated into an urban landscape.

Fragility of The houses in tangible asset.

Rossem are loosely organized with aprox. 100 houses.

The village is not paprticularly connected to a main touristic destination.

The church size is huge for such a small village and acts as a main landmark.

The village is easily Accessibile.

The quietness and rural landscape is an iconic features within the landscape.

The village is Proximit to other heritage buildings and sites within Meise.

The church, cemetery and corrseponding land are all protected with no buildings allowed around it.

The village is a contiguous destination area for cyclers and Hikers.

Tourist

Orgware

Figure 6. 8 Jansen Verbeke model for tourism analysis ©Authors

Strong

Medium

Weak

The Jansen Verbeke Model (see fig. 6.00)

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F

or some, regional development through tourism is an elusive, almost unrealistic goal for many rural and peripheral regions.

Indeed, it has been branded “agains the odds” by researchers and is said to dependent on the development of other sectors of the local economy. Despite the tenacity of tourism in rural areas, this economic perspective has been promoted as a preferred strategy to counter the rural urban drift. Tourism promotion can revitalise local communities and provide an experiential justification to continue traditional lifestyles, festivals and traditions.

The main challenge for rural areas is to invent a new economy.

This new economy may be based on new industrial activity (located in nearby small towns), or on agri-food activities alone (agriculture associated with processing). But wherever resources can be found to attract tourists (starting with the sun), the combination of tourism and other development factors is needed. Most of all serious reflections on the social impact of tourismification of traditional rural communities and their habitat should have a high priority. (bourdain, 2019)

6.3. The Adaptive re-use The Jansen Verbeke model is a method to assess tourism potential.

It decides the challenges in three distinct dimensions: hardware, meaning the location, spatial characteristics of the site and robustness, referring mainly to the tangible heritage; software, i.e. the perspective of the tourist (appeal and experiencescape); and, importantly, the Orgware. This euphemism analyses how well the place can be managed (existence and style of managing organization, presence or absence of formal policy, on site management plans and stakeholder evaluation). Based upon this three-pronged analysis, the model seeks to anticipate the opportunities and threats for the future.

6.3.1. Stakeholder mapping

T

he power-interest grid (see fig 6.8) is useful to determine which stakeholders are significant to the church, who is financially and/or emotionally interested in the heritage of the church, and who is most likely to affect the decision making.

The most powerful and interested parties are the ones at the top right side of the graph, in which we will need to manage closely.

The powerful, but perhaps, less interested are those at the top left and we need to make sure are kept satisfied. The group at

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Figure 6. 9 Illustration showing the result of the power-interest analysis. ©Authors

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the bottom right of the graph are highly interested but less powerful and therefore we need to keep them informed. Finally, the group at the lower left side are those who have the least power and interest but are still within the main stakeholder that we will need to monitor.

The Stakeholders

Church fabric: has a direct relationship and decision making power. It is the main manager of the church and is the responsible body for any activities and services.

Meise Municipality: has a direct relationship and decision making power. It is the sole owner of the church.

Flanders Heritage: has a direct relationship due to the listing of church, cemetery and organ as protected in their inventory. They are the main regional department responsible for the protection of heritage in Flanders, and therefore they have decision making power as well, since a huge percentage for funding of the restoration will be provided by it.

Rossem residents: the inhabitants of Rossem have a direct relationship and contact with the church as well. They will be directly affected by the future function of the church, and therefore it is important to maintain a steady communication channel with them and keep them informed about the project.

Cyclers/hikers: there is a significant number of passersby at the church, mainly cyclers and hikers.

Though their relationship is indirect, still it is important to realise this group’s potential and keep them monitored.

Visitors: people visiting the inhabitants of Rossem (or for other reasons) have an indirect relationship with the place. They have no decision making power but might use the services of what the church will be providing in the future. Therefore, it is good to keep them monitored.

possible future businesses: have an indirect relationship with the church and no decision making power. Yet, it is smart to keep them informed and monitored as they are an example of non-use value and their willingness to invest can be a possible benefit to the project.

Artists and Craftsmen: this group of stakeholders has an indirect relationship with the church and no decision making power. However, they would be interested in the church’s future function and therefore keeping them informed will involve them in the safeguarding of the church.

NGOs: Organisations such as Like Future for Religious Heritage, Open Churches network, Ruritage, etc. have no decision making power but can have a direct relationship with the church in the future.

6.3.2. Implementation

In this case, we tried to use the SWOT analysis and the multi-criteria decision making tool to predict the sustainability of our proposal and it’s successful implementation.

6.3.3. Recommendations As there is often a lack of experience in rural communities about the dynamics of tourism and the methods, tools and technologies

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SWOT analysis Strategic Alternative Matrix

(O)

(T)

1.

The popular cycling routes that pass through the village.

1.

The high cost of the conservation work due to the high damage.

2. landscape.

The qualities of the rural

2. small village

Impact of traffic raise in a

(S)

(SO)

(ST)

1.

The physical beauty of the spacious interior

1.

Promote the church to welcome passerby as visitors.

1.

Tickets to the church may not provide enough money.

2.

The furniture of the space kept as a historical and and educational testimony.

(W) 1. The building is underused.

2. Deteriorated air heating system 3. The place is remote from other populated areas.

Figure 6. 10 SWOT analysis. © Authors

2.

Engage local community.

3.

Keep good quality of life and area quiet for the locals. price

(WO) 1. Revenues from ticket sale can provide enough money to pay back for the conservation work in the future.

2.

Enjoyment of the visit.

3.

Branding of Rossem.

4.

Possible increase in rent

(WT) 1.

May need to adapt the building to multiple functions instead of only for entertainment.

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to monitor and manage a sustainable development (Sun et al.

2011). Therefore, A step-by-step evolution is recommended for the reconvention of the church. A multifunctional land-use is recommended to counteract the problems of marginalization and land abandonment.

In a case study of “Gers” a rural village in France, presented to us by professor Alain Bourdain, the agricultural department also was neither of a large city, nor was approximate to the sea or high mountains, which made the heritage elements the heart of the village’s image. All this of course will need a territorial project and specialized actors who are interested to promote it.

185 l Economic and Touristic Analysis

CRITERIA

SCORE

Social Benefit For the community (1:Low, 5:High)

5

Cultural Benefit (1: Low, 5: High)

5

Infrastructure Need (1: High, 5: Low)

2

Long Term Economical Benefit (1:Low, 5:High)

4

Environmental/Landscape Affect (1:Harm, 2: Enhance)

2

Historically Respectful Use (1: Not respectful, 5: Respectful)

5

Conservation of building (1: High level of intervention, 5: Low level of intervention)

3

Figure 6. 11 Multi criteria analysis. ©Authors

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187

Value Assessment Significance

Authenticity Assessment

Synthesis Plans

188

7. Value Assessment

T

l Rossem Church

he Value Assessment contains the assessment of values and

the case study, since a major part – the whole church set apart the

significance and the authenticity judgement. Both of these

tower – was built in the 19th century upon the design of the provincial

latter are based on methods, that will be detailed in the following

architect Gustave Hansotte, who was trained at the Beaux-Arts in Paris.

sub-chapters. The value and significance will be assessed based on

Although this methodology already being 20 years old, the subject

a methodology developed by professor Thomas Coomans for the

is even more to be put on the current agenda as the churchgoers

Administration of Monuments and Sites of the Flemish government in

number has still been decreasing in the Western world. The parish

order to make an inventory and assessment of neo-Gothic churches in

church of Rossem is a witness of both challenges: the disregard for 19th

Flanders (the M&S method). The Nara grid, a proposed methodology by

century religious heritage and the decrease of its parish community

professor Koen Van Balen, will provide results to judge the authenticity

and therefore the slowly fading use of the church and consequently

of the subject. Both methods have shown to be complementary and

the financial burden for maintenance and heating costs.

their outcomes will permit to establish the synthesis plans. These will then finally be used in the next chapter about Adaptive Re-use, to make sure the heritage values, the significance and the authenticity of the parish church of Rossem can be conserved and transmitted to the future generations.

This method of value assessment will be completed by the table provided and explained by professor Thomas Coomans in his lecture on Adaptive Re-use of churches2 for the course of Conservation of Architectural Heritage, in November 2020. This table is taking into account the aspects to be systematically examined for the heritage value assessment of a church. For each aspect the character defining

7.1. Values and significance 7.1.1. Heritage Values 7.1.1.1. Methodology

elements will be raised, so that the value of each aspect can be assessed thoroughly.

The aspects and their sub-criteria are the followings: ·

Architecture

The Heritage Values will be assessed based on the M&S methodology

o

Type, building phases, style, construction, materials

developed by professor Thomas Coomans, in 2002, for the protection

o

Positioning in the oeuvre of the architect

and conservation of 19th century church heritage in Flanders1. The value assessment part of the methodology seems quite adapted to 1 Coomans, T. 2003, p.33-48

·

Interior o

Liturgical coherence and evolutions

2 Coomans, T. 2020

189 l Value Assessment o ·

·

·

Furniture, works of art, stained glass windows, organ, murals, clocks and bells

Historical Context o

Patrons

o

Users

o

Evolutions

Spatial Context o

Urban or rural environment

o

Archaeological underground

o

Neighboring buildings

Intangible Heritage o

Devotions, pilgrimages, local saints

o

Specific rituals and processions

o

Music

Legend tower and its side parts articulation space between tower and 19thC church nave side aisles choir and apse sacristy technical room articulation space & low transept entrances Figure 7. 1 ground floor plan with spatial concept of architecture ©Authors

7.1.1.2. Analysis

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Heritage Value Assessment Aspects to be systematically examined Architecture

Possible Values : A–B–C

Type, building phases, style and construction materials The church consists of two main architectural elements: the tower and the enlarged part. The tower holds a large range of different building traces indicating the successive building phases. The 19th century enlargement is consisting of a main nave with side aisles, a low transept, that structures the architectural composition. Two side room with lower roof are flanked south and north of the apse.

The architectural quality of the space inside the enlargement must be understood as a Gesamtkunstwerk designed by the architect G. Hansotte.

The construction materials are mostly of local provenance. The bricks and the mortar are believed to have been fabricated on site. The different sandy limestones that can be observed on the tower are probably from Lede for the rubble masonry, from Balegem for the stones around the lower windows south and north. The oolithic limestone used for the enlargement is believed to be from Savonnières.

A

Positioning in the oeuvre of the architect Gustave Hansotte was educated as an architect at the Beaux-Arts in France and then moved to Belgium. In Belgium his most well known works are the final step of the Sainte Marie church in Brussels, the market halls and the Saint Servais church in Schaerbeek. The type of buildings he designed as a provincial architect were mostly the churches, pastor’s houses and schools. The styles he used in his buildings range from Neo-Classical, to Neo-Gothic and Eclectism. As a Beaux-Arts architect the emphasize is clearly different from what can be observed in the Sint Luke movement realizations. The quality of the space and the Gesamtkunstwerk are his main focus.

Interior

Liturgical coherence and evolutions The liturgical evolution after the Second Vatican Council (1962-1965) has contributed to changes inside the church. The main alter was left and another was installed in the 1960’s. The modern altar has since disappeared and was replaced by a more recent one in carved wood.

The changes are also to be observed in the Neo-Gothic polychromy that was hidden behind Glazal panels, probably as well to hide the misery of the humidity problems causing the decay of the plaster and the wall paintings on top of it.

Furniture, works of art, stained-glass windows, organ, murals, clocks and bells The interior is rather complete considering the furniture. The 19th century ensemble of the three altars and the pulpit have been completed by older elements, probably recuperated – if not from the previous church in Rossem , them from other churches.

The stained-glass windows, although coming form the atelier of Samuel Coucke are of quite poor quality especially concerning the grisailles which are fading.

The organ from the Forceville manufacture is considered to be of great value and was protected as a monument in 1979.

The wall paintings would have added a lot to the quality of the space and the aim to communicate the spiritual values to the churchgoers.

The clock and the bells add a lot to the perception of the tower as a landmark in it rural setting. The bells in themselves are works of art.

Historical Context

B

Patrons The Saint Patrons of the parish church are Saint Gildardus and Saint Medardus. They are known to be brothers and believed (according to the legend) to have died together, reason why they are very often presented together. Both of them were bishops, Saint Gildardus was the bishop of Rouen, and Saint Medardus was the bishop of Noyon. They are most represented and cherished in the north of France, and their celebration day is on the 8 of June. There is a common peasant saying that if it rains Saint Medardus day, it will rain 40 days later, except if Saint Barnabé can save it, meaning that if it’s sunny on the 11 of June there will be no rain 40 days later. Sint Medardus is among others the patrons of farmers, which is clearly linked to the rural context of Rossem.

A

191 l Value Assessment Historical Context

Users The parish of Rossem was established in the 13th century under the abbey of Dieleghem. The parish got it’s own priest from 1767 onwards and acquired it’s independency in 1790. The growing population of the parish has led to the enlargement of the church in 1873 by Gustave Hansotte. Nowadays as the churchgoers community has heavily decreased the church is underused.

Evolutions The historic evolution of the building is still to be seen on the building and has been largely discussed, and confronted with archival sources, in the Historical Analysis at the beginning of this study. The tower presents the largest variety of historical stratification.

Spatial Context

Urban or rural environment The parish church of Rossem is located in a rural environment, as well the spread of the built fabric, as the density of agricultural land testify for it. Although situated in a rural area it’s worth to mention that Rossem is close to Meise which is presenting a different typology of suburban fabric, due to the closeness of the outskirts of the city of Brussels.

Archeological underground The 19th century enlargement designed by G. Hansotte has been built after the demolition of the previous nave of the church. The only remains above ground from the previous state of the church is the church tower. It is highly probable that the traces of the previous states of the church could be found underground. In case of an adaptive re-use project needing an intervention on the ground floor pavement, the archeological underground should be addressed properly.

Neighboring buildings

A

The neighboring buildings across the street are mainly consisting in single family houses, with two or three facades built along the main road of the village.

Two buildings in particular require more attention, and are protected with the church and the cemetery as a village-scape since 2010.

Those two are the former pastor’s house built in 1767 for the establishment of a parish priest, and the former municipal school built in 1872 and designed by J.J. Van Ysendyck. Those two buildings served public functions in the past, nowadays they are privatized and used as single-family houses, and have been extended.

The former vicarious’ house which is to be seen on the Ferraris map (1771-8) and on the primitive cadaster of 1835, as well as on a postcard of the early to mid 20th century is believed to have been demolished in the 1960’s to build a car park as it was not used anymore. The demolition of this building leaves the heart of the village porely structured. The plot it was built on is protected as part of the village-scape.

Intangible Heritage

Devotions, pilgrimages, local saints There are no specific still ongoing devotions, pilgrimages, or prayers for the local saints. Further research would be needed to address this aspect thoroughly.

Specific rituals and processions There are no specific rituals or processions known on the state of the current study. Further research would be needed to address this aspect thoroughly.

It is worth mentioning that the parish church is still sporadically used by the parish for special ceremonies such as funerals, baptisms or weddings.

Music There are no specifically known music performances happening in the church currently, although the presence of the organ, which is protected as a monument since 1979 could be a potential for this.

Figure 7. 2 M&S method developed by Coomans, T. © Authors.

C

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This value assessment will then, according to the methodology,

since the enlargement in 1874. The installation of a air heating system

establish three possible values for each aspect. It seems although of

caused some localized damages.

interest to reshape the value assessment towards conservation, as

The state of conservation of the materials, assessed in the Technical

the aim is to be able to determine which elements should absolutely

Building Analysis chapter has determined the urgent needs to treat

be conserved to preserve the heritage value, in the point of view of a

the humidity problems and the sanding mortars joints to make sure

future use.

that the building can be transmitted to future generations.

·

A: highly valuable - conservation of these elements is advised

·

B: valuable – these elements are interesting but their conservation is not advised

·

C: limited value – no conservation is advised for at all

·

Interior – B

To give a better understanding of the interior it seems of interest to map the very rich interior furniture and immovable objects inside

7.1.1.3. Conclusion

The results of the table lead to the following value assessment and implications for the future re-use proposal. As the church is presenting various damages, it is relevant to address the state of conservation of some aspects. Sometimes the materials are so far damaged, lost or has undergone unfaithful restorations, that the state of conservation can motivated one or the other interventions. The results of the table give a grade to the object, which has to be addressed in its complexity.

The following paragraphs will give short explanations to each aspect and the achieved result.

·

Architecture – A

The architectural features are key to be preserved in the reconversion project, as they are character defining of the space. The integrity of the general architectural concept is preserved. There have been no major addition or changes given to the morphology of the building

the church. The following inventory has been taken over form the management plan professor Gisèle Gantois established for the parish church. The following list is only considering the objects that are considered to be immovable by their nature, as they were realized for the church. The management plan proposes a secondary inventory of all objects that are movable, this one has not been taken over in this study, to try to keep the focus on the main objects in the agenda of a future reuse. It’s necessary to mention that the mapping of all the smaller objects considered movable is an important task for heritage experts, as their destiny seems even more threatened by their movable nature.

193 l Value Assessment Legend

1

objects considered interesting

not to be all kept in the reuse proposal

22 25

1 15

3

Inventory of the main cultural heritage objects

25

Objects

1

2 6

1. Altars

2 1

2. Communion rails

23

21

14. Our Lady Immaculate Conceived on crescent moon objects considered of high value standing trampling the snake / sacristy chest objects considered valuable / (h 90 cm) / M239615

3

4

3. Confessionals 4. Pulpit 5. Rod screen in the nave 6. Baptismal font at north side altar

17

13

7. Organ Forceville (1744) 8. Front entrance in bluestone

10

10 12

19

14

20 26

16. Calvary / south aisle 17. St. Barbara / first column from the east south aisle Statues : Plaster - ploychromed 18. St. Gedardus of Majella (?) / west column north aisle 19. St. Margaret of Cortona / central column north aisle 20. St. Anthony of Padua / rear column south aisle 21. Sacred Heart of Jesus statue / north pillar choir 22. Jesus on the cross / north wall sacristy

9. Bell frame & bells - chimes and clockwork 23. St. Medardus / south pillar of choir Paintings

18

15. Jesus on the cross / north wall of the north chapel

24. Jesus on the cross / south wall of south aisle

10. Stations of the Cross - 14 stations / walls side aisles Reliquaries

27

24 11

16

11. Pilate condemns Jesus / west wall 25. Polychromed reliquaries of the of south aisle two patron saints (late 16th - early 17th century).

Statues : Wood - polychromed 12. St. Anna’s / first column from the Epitaphs of St. Medardus and St. west south aisle / (h 98 cm) / M239598 Gildardus - (early 16th century)

Figure 7. 3 ground floor plan with situation of the main cultural heritage objects

26. St. Medardus / north wall 1st nave 13. St. Cornelius Pope / second bay column from west north aisle / (h 92 27. St. Gildardus / south wall 1st nave cm) / M239599 - (17th century). bay

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Conserving the complete furniture seems to be difficultly compatible with a reconversion. A specific inventory and value assessment of each furniture and religious ornament could be done by PARCUM3 based on the inventory provided in the management plan elaborated by professor Gisèle Gantois.

the church, and are a testimony of the past way of living.

Another aspect of the interior that is not appearing anymore are the Neo-Gothic wall paintings. They are hidden behind a set of Glazal panels, containing asbestos, which were placed in the 1960’s probably to hide the misery of the plaster detaching from the wall because of

A possible scenario proposed by this study would be to advise to

humidity and possible influence of salts in the mortar joints of the

keep the most ancient wooden sculptures of Saint Anna and Saint

brick masonry. The removal of the Glazal panels is strongly advised

Cornelius in the choir, as well as the reliquary of Saint Gildardus and

for, as they hinder any intervention on the current walls, for the

Medardus in the choir. Considering the larger pieces of furniture, the

restoration and sanitation of the walls as well as for the adaptive re-

pulpit and the three altars should be integrated in the future use,

use. The Neo-Gothic wall paintings add up to the quality of the space,

as they were designed specifically for the building, shortly after the

it would be of interest to reconstruct them based on the material

enlargement of 1874, and add up to the quality and the significance

and stratigraphy research by Ornament4 and the findings that will

of the space. The communion rails could be reused to separate the

be done on site, once the Glazal panels will be taken away. As the

choir from the nave. The confessionals and the current wooden altar

Beaux-Arts approach of G. Hansotte was not focused on the material

could be handed in a depot church, if they cannot be integrated in

authenticity of the construction, but more on the general spirit and

the reconversion.

ambiance of the space, a reconstruction instead of a restoration seems

The organ, which was built in 1744 for the purpose of the church of Wolvertem, was installed in Rossem in 1788, is protected as a monument, should be conserved and could serve in the future use for concerts. As the organ was never supposed to be installed in

to be possibly advised. This would eventually permit to conserve the palimpsest underneath the reconstructed wall paintings, and making the process reversible.

Furthermore

the

stained-glass

windows

that

have

been

century

manufactured by the atelier of Samuel Coucke present some state

enlargement, further research by a specialist in acoustic would be

of conservation issues regarding the grisailles, which are fading

needed to provide the eventual needed improvements to the space

especially on the more sun exposed areas. Protection glasses have

to be able to restore the soundscape of the 18 century organ.

been put outside, nut restoration of the stained-glass windows could

connection with a nave of the size of the one from the 19

th

th

The clocks and the bells should be preserved as they participate to

probably be advised in the reuse proposal.

the visual and soundscape landmark in the neighboring area around

3 As a centre of religious heritage expertise, PARCUM offers specialist advice to the owners and managers of public and private patrimony from the recognised religions in Flanders and Brussels. https://www.parcum.be/en/heritage

4 Ornament cvba, 2018. ​‘Materiaaltechnisch en stratigrafisch onderzoek Sint-Medardus en Sint-Gildarduskerk te Rossem’ as part of Gantois G., 2021. Beheersplan parochiekerk SintMedardus en Sint-Gildarduskerk te Rossem.

195 l Value Assessment ·

Historical Context – A

The historical context is of utmost importance to understand how and why this church has been transmitted to us in the shape it presents today. As the most traces are present in the tower, it seems of interest

hold small religious ceremonies for as long as the parish community would need it. The adaptive re-use proposal should be able to offer flexibility in the space of the nave, to allow ceremonies with a larger number of people.

to consider to enlighten those in a the reuse proposal, to among other serve the purpose to raise awareness about heritage and a common past.

·

Spatial Context – A

The spatial context is intrinsically linked to the parish church, the village-scape plays an important role in the conservation for a future reconversion. There is a potential to consider reconstructing a heart of the village in the location of the former vicarious’ house. The cemetery behind the church needs some attention as well, a new design for it and eventually a reconversion into a garden, in the longterm future, has to be taken into account.

7.2. Value & Authenticity assessment

T

he Value and Authenticity assessment will be based on the Nara Grid5, a methodology proposed by professor Koen Van Balen

to give the Nara Document on Authenticity a practical tool for the understanding of the aspects of authenticity of built heritage. The Nara Grid puts together in a table the aspects and dimensions of heritage. The aim of this method is to serve as a checklist to guide the authenticity judgement of the heritage object without giving any grades or qualifying a certain level for each aspect or dimension.

The results of the Nara Grid and the M&S methods have shown to be complementary, such as for the case study of the Saint Barbara church

·

Intangible – C

This aspect should be further surveyed, but as the religious use is generally declining, it’s probably the right moment to start to think about a reconversion, without completely stripping the possibility to have a space for the parish in a first mid-term phase. The SocioSpatial Analysis gives insights about the assets of the context and the attachment for the people to the church. The village seems to lack of gathering space which the church could fulfill. This would permit the church to have a new function quite in line with the one it was designed for, namely the gathering of the community.

The choir seems to be an adapted place to keep the possibility to

in Diest, as explained by professor Koen Van Balen.

7.2.2. Authenticity Assessment

The authenticity of built heritage might be a concept that seems rather difficult to grasp. The Nara Grid methodology helped to consider the various aspects of the parish church of Rossem through the prism of four heritage dimensions: artistic, historic, social and scientific to gain insights on the authenticity of this heritage.

The aim of the authenticity assessment is to understand the ability heritage has to transmit significance in time, as explained by Herb 5 Van Balen, K. 2008, p.39-45

196

7.2.1. Nara Grid

l Rossem Church

Dimensions

Aspects Form and Design

Materials and Substance

Use and Function

Artistic

Historic

The church attests of different Representative traces of different building phases which make it an periods can be found, especially in example of palimpsest. the tower: The Neo-Gothic nave with its low • the blinded pointed arches on the transept, designed by the provincial South, North and East walls in the architect G. Hansotte participates in the second floor architectural composition of the • the traces of 2 former roof shapes on ensemble. The reminiscences of Neothe East wall of the tower inside the Gothic wall paintings give an insight on current roof the polychromy of the space in the 19th • the traces inside the storage room century.

South of the entrance • various differences in brick formats The different brick formats: The different brick formats date back • Spanish format for the lower part of to different periods. the tower The different natural stones date • other formats for the arise of the back to different periods, and were tower used in different applications.

• other format for the Neo-Gothic The successive surface treatments of project. the interior and the exterior may The different natural stones are indicate conservation needs or contributing to the artistic dimension changes in fashion. of the whole.

The render on the Neo-Gothic part: brick imitation cement render.

The reminiscences of the Neo-Gothic paintings inside (behind Glazal panels) The building has always been a church, The church was used as a parish and is still used as such (even if underchurch, from 1790 the parish became used). fully independent from the abbey of The Neo-Gothic enlargement provided Dieleghem, and had its own priest. the main artistic quality of the space in The enlargement of the church in a the 19th cnetury.

Neo-Gothic style testifies for the The display of iconographical, growth of the community in the decorative and functional furniture 19thC. testify of the Catholic tradition and its The current underuse is a witness of evolution over time. the general issues and challenges regarding the evolution of our contemporary society.

Social

Scientific

The enlargement of the church is representative of the growing local catholic community in the 19thcentury.

The gravestones of people and priests provide insights on the history of the parish.

The Neo-Gothic enlargement can be compared to other Neo-Gothic churches from the same period and examples of other churches by the architect G. Hansotte.

Most of the materials are from local provenance, which is inscribing the architecture in the local context and contributing to the identity of the village.

The geological state: Sandy loam region (Zandleem) explains the local extraction of raw materials for the bricks and mortars.

The use of different brick formats and types of stones gives insight to their application, and to their state of conservation.

The cemetery is the main element of the ensemble that is still visited.

The church is only used sporadically for occasional ceremonies (funerals, weddings, baptism) and sometimes as an exhibition room (mainly about religious items).

The church fabric is very attached to the future of the church and it’s potential adaptive reuse.

The downfall in the use of the church can be used as a source for the redevelopment of the building, which is to be placed in the context of the decay in religious use of churches in the Western world.

197 l Value Assessment

Dimensions Aspects Tradition, Techniques and Craftsmanship

Location and Setting

Spirit and Feeling

Artistic

Historic

Social

Scientific

The Beaux-Arts Neo-Gothic style by the architect and ‘decorator’ G. Hansotte is expressed through the interior (wall paintings, furniture, altars) and the architectural features on the exterior (low transept, architectural articulation with the tower).

The stained glasses are from the atelier of Samuel Coucke, but unfortunately of poor material quality (fainting of the grisailles).

The organ by the Forceville manufacture, is protected as a monument in itself.

The rural landscape of the setting and the village-scape participate to the enhancement of the church in the scenery of the heart of this small hamlet.

The craftsmanship related to the masonry: the type of brick, the quality of the bricks and mortar, and the bonding systems reveals the techniques of the past.

The stones used for the tower don’t show signs of marks, but the strong weathering and damages have to be mentioned.

The timber roof structures (19th century above the nave and spire) are showing assembling marks.

The organ is testifying of the 18th century liturgical rituals.

The hamlet of Rossem was part of a larger feudal system since the 12thC. The development of the church, the pastor’s house (1767) and the school (1872 designed by J.J. Van Ysendyck), although the two latter are nowadays privatized, the three are landmarks in the historic development of the village, and protected within the village-scape.

It is possible that there was a local engagement in the construction of the church from the local community, but further research would be needed to confirm this.

The masonry techniques and its evolution over the centuries can be compared to similar cases in the region.

The Beaux-Arts Neo-Gothic could be researched further in itself as the aims and the focus of this style is contrasting vividly with the Gothic Revival of the Sint Luke movement.

The cemetery is frequently visited.

The high spire (ca. 32 meters) can be seen from afar in the rather flat landscape and is to be considered as an orientation landmark.

Archeological traces of the 2 naves of the previous stages of the church might be buried underneath the current nave.

In case of an intervention on the ground floor pavement of the actual nave, for an installation of a floor heating for example, this should be addressed cautiously regarding the possible remains underground.

The role of church buildings in today's secularized world should be addressed carefully as a potential place to come together for the community, who should be involved in the process of a reconversion.

The ‘Gothicist’ appearance with the The complete church interior available material imitations are testimonies of reminds the visitor of the Catholic past the Beaux-Arts Neo-Gothic style and its and rituals. aim to create a Gesamtkunstwerk with its particular ambiance.

Figure 7. 4 NARA grid © Authors.

The village has a strong community feeling, mainly for family events or mourning.

198

l Rossem Church

Stovel . The significance of heritage is based on values, which 6

on land- and soundscape.

intrinsically linked to the dimensions assessed in the Nara Grid.

Through the complementary use of the Nara Grid and the M&S method, the significance of the parish church of Rossem has shown different dimensions of significance.

·

Scientific

From a scientific point of view the church present a case study that is far from being the only one it its typology. First of all it is a parish church in a rural area, which has undergone a radical transformation

·

Artistic

From an artistic point of view, the church is attesting of the palimpsest

in the 19th century, which has proven to be quite common as stated

by T. Coomans:

of the past as well as the Neo-Gothic Gesamtkunstwerk of the

The budget for construction was a crucial element for the various

architect Gustave Hansotte. The richness of this dimension has to be

parties involved (State, municipality, church plant, pastor). There

taken into account in the eve of the reuse proposal, as it testify of the

were sometimes lengthy discussions and different designs were

spiritual dimension attached to the artistic one.

reviewed before a decision was taken. In many cases they simply tried to adapt and enlarge the existing old church building. […]

·

Historic

From a historic point of view, the different traces of the palimpsest of the church have proven its interest to be able to retrace the past stages of the church and its embedding in the socio-spatial context, and the evolution of this one through the course of history.

The preservation of an old church tower was common. A parish church had to possess a tower to hang the bells in it. In addition to the significant savings, the integration of an old steeple into a new church building also had identity significance for the community. The image-defining character of the old tower in the landscape remained preserved and was evidence of a timehonored parochial tradition.7

·

Social

This brings us to the social dimension the church had and although underused still has in the hamlet of Rossem. The church as a place of gathering space for the community has to play a central role in the adaptive reuse. The community still feels a strong bond to the church as the Socio-spatial analysis has demonstrated. The church as a landmark in space and time, with its visual and audible influences 6 Stovel, H. 2007, accessed May, 20, 2021

Moreover, the decrease of churchgoers, and thus the decrease of interest in church buildings has not helped their preservation and maintenance in time. The state of conservation of the parish church of Rossem is therefore from a scientific point of view quite interesting.

Further research and investigations will permit to determine how the conservation of the integrity of the church can be preserved. [..] the parish communities greatly reduced, and the churches 7 Coomans, T. 2003, p.47 – translation by the author

199 l Value Assessment are far too large for the current number of believers. […] after 100-150 years, those buildings have an urgent need for a first major restoration. […] Furthermore, the maintenance and restoration of rural parish churches are quite different from of large city churches. In many cases, the old parts (choir, tower) that were integrated into the nineteenth-century churches were integrated […].8

It is of utmost importance to place the adaptive re-use proposal in the bigger picture from a typological point of view, a state of conservation point of view, and a social point of view of ‘what to do’ with underused, un-used church buildings that used to be gathering places, places of reflection on the meaning of life. Surely the both typologies of places for gathering and reflecting are still needed today, but the Catholic Church, as an institution, hasn’t been able to offer the appropriate response to a society undergoing rapid and drastic transformations towards tolerance and inclusivity.

7.3 Synthesis plans

T

he synthesis plans will provide a graphical conclusion to the Value Assessment chapter, and are based on the findings and

conclusions of the two previous subchapters. The synthesis plans will highlight the structure and space through a gradual schema of colors of four categories, which are defined in the following table.

8 Coomans, T. 2003, p.47 – translation by the author

200

l Rossem Church

A’

B’

A’

B

highly valuable valuable neutral negative

A

Figure 7. 5 ground floor plan. © Authors

B’

B

A

Figure 7. 6 1st floor plan (level of the organ). © Authors

201 l Value Assessment highly valuable valuable neutral negative

Figure 7. 7 section BB’ to the west. © Authors

Figure 7. 8 section AA’ longitudinal to the north. © Authors

202

l Rossem Church highly valuable valuable neutral negative

Figure 7. 9 West elevation © Authors

Figure 7. 10 South elevation © Authors

203 l Value Assessment highly valuable valuable neutral negative

Figure 7. 11 East elevation © Authors

Figure 7. 12 North elevation © Authors

204

l Rossem Church

205

Conservation project and Adaptive Re-use Conservation masterplan

Restoration advice

Proposal

206

l Rossem Church

8. Conservation project & Adaptive Re-use

T

project and the adaptive reuse project have to go hand in hand. The he Conservation project and Adaptive Re-use chapter is based on the findings of the previous chapters. This chapter will be divided

into the following subchapters: the conservation masterplan, the restoration advice, the intervention zones, and finally the Adaptive Re-

conservation masterplans permit to illustrate the decision making process regarding which elements are to be preserved, restored, reconstructed, adapted or dismantled. This is of course closely linked to the value of each element.

use proposal. The conservation masterplan is derived from the results of the value assessment and the synthesis plans, which will permit to state which parts will need to be restored, and which part are suitable for a new function. The restoration advice is mainly based on the historical, spatial, technical building analysis, and the value assessment.

Those analysis permitted to establish the state of conservation of the church, the needed technical interventions, as well as the value of the different elements and spaces. The subchapter of the Intervention zones will permit to map the different areas of the church, to assess which function would suit which space regarding the value for the space and its architectural properties. Finally the subchapter of the proposal, will permit to give insights on the future adaptive re-use of the church, considering relevant case studies and introducing the concept of the proposal and its implementation in space and time.

8.2. Restoration advice

B

ased on the State of Conservation assessed through the technical building analysis chapter, suggestions for restoration have already

been made in the conclusion of this chapter. The value assessment and the conservation masterplan have brought insight to the parts of the monument conveying the heritage value and thus the parts the consequences that will be undertaken for each element.

8.2.1. State of Conservation

In the case of the parish church of Rossem, the general state of conservation of the building has been observed as being quite deteriorated. To be able to convey the heritage values, a monument

8.1. Conservation Masterplan

T

he conservation master plan’s aim is to illustrate the findings of the value assessment and confront it to what measures to undertake

in the conservation project. To be able to ensure the transmittance of the heritage value through the adaptive reuse project, the conservation

not only has to present a certain level of authenticity, as assessed in the findings of the value assessment chapter, but also to present a certain level of integrity. The risk for the parish church of Rossem is real. If nothing is undertaken to address the damages in the next short to mid term future, the integrity of the monument could be at risk.

207 l Adaptive Re-use

Figure 8. 2 Sint-Niklaas in Willebroek by architect Tom Calleboat. © tc-plus

Figure 8. 1 St. Bernadus Kirche in Oberhausen by zwo+ ©zwoplus

208

l Rossem Church

A’

A’

C’

C

preservation reconstruction adaptable dismantle restoration

A

Figure 8. 3 ground floor plan ©Authors

C’

C

A

Figure 8. 4 1st floor plan (level of the organ) ©Authors

209 l Adaptive Re-use preservation reconstruction adaptable dismantle restoration

Figure 8. 5 section CC’ to the east ©Authors

Figure 8. 6 section AA’ longitudinal to the north ©Authors

210

l Rossem Church

The restoration suggestions made in the conclusion of the technical

the humidity issues observed on the walls will be made possible. The

building analysis chapter will be divided in two phases in order

possibility of salt contents in the walls should be regarded carefully

to formulate a realistic restoration advice integrating the time

in combination with the suspicion of rising damp. The further

management of the adaptive reuse project and its different phases.

investigations proposed were explained throughout the course of

The breakdown in phases for the restoration suggestions will permit

lectures by professors Piet Standaert, Rob Van Hees, and Silvia Naldini.

to re-assess the restoration needs with the eventual further findings

These investigations would consist mainly about making drilling at in

on site, which is corresponding to the methodology of preventive

specific locations. In each locations, three drillings would be realized

conservation (…anamnesis > diagnosis > therapy > control >…) presented

in different height (lower part – close to the ground, middle part – ca.

by professor Koen Van Balen in his course on Building Materials and

1m to the ground, higher part – ca. 1m50 to the ground). For each

Conservation Technology. The process is meant to be cyclic and not

drilling, samples will be taken at comparable depths and will be

linear, the maintenance, state of conservation and eventual measures

analyzed in laboratory to assess the salinity and humidity content of

to undertake should always be controlled and corrected if necessary

the samples, regarding their depth in the wall and the height they

to ensure the transmittance of the heritage values, the authenticity

were taken from. These investigations will permit to establish if the

and the integrity of the monument.

high suspicion for rising damp already observed on site is combined

8.2.2. First phase

A first phase will be the dismantlement of the Glasal panels as they are firstly not permitting any use of the walls (the Glasal panels present health risks if they are drilled through or nailed through).

Apart from presenting an eventual health threat, these panels are not

with the action of salts or not. In the case of the presence of salts, the solutions to avoid rising damp and lower the humidity content of the walls have to addressed differently. It is of utmost important to know the issue precisely to avoid any mis-understanding of the problem and to choose an un-adapted solution that in the end could be even more damaging, than the actual problem, or which could speed up the damage process. The solutions brought according to the findings

adding anything to the quality of the space and have been qualified

will be realized in the first phase.

as of disturbing negatively the heritage values. Finally, they have

In the meantime, other issues such as the presence of fungi and

been a poor solution to hide away the misery happening underneath,

insects on the timber structure of the roofs should be treated as

which is utmost importance to be treated. During the fist phase, all

well.

the delicate and fragile elements of high value should be protected accordingly to avoid any construction site damages.

The Glasal panels being removed, further research on the causes of

The next consequent part of the first phase, would be the treatments of the facades.

211 l Adaptive Re-use

nave, aisles, choir, low transept: 389,80m2 tower: 22m2 side part of the tower north: 5,2m2 side part of the tower south: 2,35m2 technical room: 21,4m2 sacristy: 20,8m2

Figure 8. 7 actual ground floor plan with surface areas ©Authors

potential Void: 263,6m2 (without tower)

chapel - shrine: 69m2 (57m2 without the main altar) sacristy / entrance towards the chapel: 20,8m2 technical room / church keeper’s office: 21,4m2 vertical circulation: 15,3m2 sanitary - storage infrastructure: 28,3m2 counter infrastructure (coffe & cake): 13,6m2

Figure 8. 8 actual ground floor plan with surface areas of the proposed functions ©Authors

212

l Rossem Church

The materials of the facades of the tower are for the largest part in

repointing the joints, the eventual desalination and rising damp

a good state of conservation except for some localized crumbling

causes should be treated accordingly. After repointing the joints of the

of bricks. The proposed solution for the damaged bricks, would be

brick masonry with a lime based mortar, the solution to reconstruct

to replace them and repoint the joints with a lime based mortar,

the red appearance of the church has been considered as valuable.

which will permit the joints to stay flexible and avoid stresses on

Considering costs issues, but moreover the potential burden of

the bricks, which has been observed onto previous unfortunate

sustaining the reconstruction of the red appearance with its white

repointing restorations. The stones of the tower presenting lichen

lines has been recognized as not fulfilling the aims of sustainability

should be cleaned with adapted means, to avoid any potential

of the project. The proposal would therefore be to reconstruct the red

extensive damage through a combination of biological growth and

appearance by applying a limewash with alkaline earth pigments

frost action in the future.

to the facades. This treatment will have to be monitored in a time

The main attention considering the extend of this particular part of the restoration will be the treatment of the facades of the 1874

frame ranging from 3 to 5 years, to assess its state of conservation and assess if a reapplication is needed.

enlargement. These facades are presenting multiple and combined

Another main restoration that should be undertaken in the very near

damages. The red cement render with retraced white lines has

future is the dismantling of the cement plinth in the bottom part

almost completely faded, the grey aspect of cement is appearing

of the 1874 enlargement. This issue has to be addresses accordingly

in most places, sometimes with the inverted effect of having the

to the findings regarding the further investigations on the humidity

red color of the cement render sticking to the white lines, which

causes. The cement plinth is causing spalling, because of frost damage

causes the appearance to be the negative in color of what the actual

action due to the rising damp, possibly connected with the presence

render was looking like. Traces observed on site in areas protected

of salts. As the cement plinth is strongly bonded to the stone cornice

from the rain have permitted to come to this conclusion. Another

above the cement plinth, the stones are exposed to stresses and are

damage largely observed on the 1874 enlargement is the sanding

therefore breaking. The same is happening with the bricks that are

of the mortar joints of the brick masonry. Tentatives of restoration

constituting the structure of the plinth and the bottom of the walls.

by repointings of the joints through cement joints can be observed

The restoration advice for this part would be to first proceed with the

largely. These unfortunate measures have caused some bricks to

treatments of the humidity causes. The cement plinth could either

break because of the stress caused by the hardness of the cement

be completely replaced, which would cause a consequent loss of

repointing. The proposed solution for these facades is to take off the

material, or the plinth could be repaired in the most damaged spots.

cement render that has been assessed to be impossibly restored

The advice is to monitor the behavior of the cement plinth after the

because of the lack of adhesion it presents to the masonry. The

treatment of the humidity causes to see if the problem can be treated

joints of the masonry will then be cleaned to make sure that the

locally or if a larger restoration would be needed.

repointing of the joints is actually able to stick into place. Before

213 l Adaptive Re-use

Figure 8. 9 ground floor site plan ©Authors

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l Rossem Church

After this, a perimetrical drainage system of the church should be

The more delicate and specific restorations, reconstructions and

created to permit the rainwater around the building to be drained

adaptations will take place in the second phase. It is interesting to

and evacuated, and avoid stagnation. It is of utmost importance for

consider that a first step of the adaptive reuse could take place in the

the drain to work, that the first 30 centimeters from the walls to the

same time as the second phase of the restorations, as it will already

pavement around the floor have to be realized in a porous material,

permit an exchange with the local community and to feed the interest

such as a gravel strip. This strip should also not be realized in earth

and raise awareness about the value of the heritage.

with grass, as earth could fill itself with water and not allow the water to percolate until the drain and to be evacuate. To realize the drain the pavement around the church will have to be opened. The steps of restoration have to be phased in space of time and take into account the building site management as well.

The heaviest works concerning the inside should be done in a first phase as well, such as the installation of the a new heating system, and eventual works on the ground floor pavement, as it is known and foreseeable that eventual archeological remains might be found through the process of this work as well, which could cause unforeseen delays in the agenda towards the adaptive reuse.

The main restorations that will take place in this phase, are the restoration of the stained glass windows, and the reconstruction of the Neo-gothic paintings in the choir, that will become a chapel and a testimony of the past spirit of the Gesamtkunstwerk of Hansotte with the aim to still serve a religious use for the parish, and become a kind of shrine of the heritage values.

The reconstruction works in the choir should be considered as a valuable opportunity to launch it together with a catalyst use in the church, such as the implementation of a ‘coffee and cake’ place, derived from the german ‘Kaffee und Kuchen’, embodying the concept of the ‘Konditorei’. The aim of this function is that the meal

It is of high relevance to mention that the local community should

preparation on site is very limited, so there would be a limited need in

be informed by the restoration works on the church through

infrastructure. This first function would permit the local community

an information booth placed near to the church. This information

and passers-by to meet and gather in the church, while being able to

booth could also serve as a first tool for community involvement and

grasp the undergoing restoration works on the chapel, and perhaps

consultation, which will permit to trace a sustainable future for the

the very impressive change of the space in the process of going back

monument and its relationship to the community.

to the hey-day of the most sacred part of the church, the choir.

8.2.3. Second phase

The second phase of the restoration will take place when all the major heavy works, involving complete scaffoldings around the church and specialized treatments for the Glasal panels will have been done.

This first catalyst use will permit to re-establish a deeper bond between the church and the socio-spatial context of its setting. The next subchapter will precise the details of the adaptive reuse proposal, illustrating with a first part on relevant case studies.

215 l Adaptive Re-use

8.3. Proposal 8.3.1. Case Studies

The topic of re-use of churches is, as stated in the value assessment chapter, a very actual one and examples of multiple case studies can be found overall. The following presented case studies have served as inspiration considering different aspects of the re-use proposal presented at the end of the main chapter.

The interview of the interior architect Tom Callebaut, has been very inspiring. The subtleness of his interventions are to be understood as a result of the characteristic design process which involves the stakeholders in workshops.

During our conversation, Tom Callebaut has asked us the provoking question that we needed to think of ‘How to activate people’s senses in the space’ and ‘How to motivate them to experience something?’

These questions have accompanied the research and reflections for the adaptive reuse of the parish church of Rossem. One of the main aims and qualities the adaptive reuse project should embody is to be able to transmit significance by the sensorial experience of the visitors of the heritage place. The spatial quality in general of churches have to be analyzed, understood and reused by including their meaning and what these of types of spaces have produced as emotional and sensorial experiences throughout the centuries.

The two following presented case studies have been laid out for their functional, but also poetic interventions. The space is transformed but continues to serve religious and secular uses, which is the aim of the proposal for the parish church as Rossem. As long as there is still a parish the religious use should be considered in the sustainable future for the church. As Tom Callebaut was right stating: ‘everything

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can change so fast, also in the regard of the Covid crisis, that these

A specific type of furniture placed at the entrance, allows the

spaces (the churches) have to be able to present a certain flexibility

community to meet before and after the religious celebrations. This

to adapt the current changing context in a quite rapid pace, and the

furniture piece holds round shaped colorful carpets in felt that can

sustainability and transmittance of those will only be possible in that

be spread through the space, and that make the visitor engage with

way.

the space and reflect about it. The space is herby given the ability to change experience and use quite rapidly and without any disturbing

8.3.1.1. Sankt Bernarduskirche, Oberhausen, Germany

by Twoplus Architekten (Bochum, Germany)

The adaptation of the church of Sankt Bernardus in Oberhausen in Germany, illustrates the combination of a religious and secular use. The church that was to big for the needs of the decreasing churchgoers community was repurposed into a event space and community center for its largest part and the religious use was kept in the end of the nave and the choir. The intervention with steel and glass panels closing separating the space, aim to avoid any unnecessary

installation that might conflict with the heritage values of the church.

The liturgical furniture is designed as movable objects that can be stored away or easily move around if the use of the space requires it.

Moreover the reflection that the visitor could have about the empty space can be a true inspiration for leading community involvement in the adaptive reuse proposal for the church of Rossem.

8.3.2. Intervention zones and main requirements

The Interventions zones mapped, in the beginning of the chapter,

disturbance of the previous character and atmosphere of the church.

show the areas in which a future re-use function could take place

As the event space is combined with the smaller chapel, the church

in respect of the value assessment and conservation masterplan. As

is particularly suited to host weddings, as the event space can serve

a main defining character of the church is the spatial quality of the

right after the religious ceremony.

nave, future functions should be adapted to this and enhance the

8.3.1.2. Sint-Niklaaskerk, Willebroek, Belgium

by Tom Callebaut and Cindy Tirry

feeling of space and permitting the transmittance of significance and experience of the space to the future users of the church.

Various aspects have been taken into account to be able to adjust

The church of Sint-Niklaas in Willebroek’s space was redesigned as

the future adaptive reuse project to the building and its heritage

a ‘spiritual playground’ which invites towards an experience of space

values. The direct spatial context also has to be taken into account,

that invites towards a positive and searching attitude. The green

namely the sun’s path, the immediate proximity to the street, and the

carpet system installed in the middle of the place shows the new size

presence of the cemetery-garden.

of the parish and at the same time invites in a new experience and

The main requirements for a successful adaptive reuse project are as

use of the church.

already stated in the subchapter of the restoration advice above, the

217 l Adaptive Re-use involvement of the community and the implementation of a catalyst

through a kind of ‘claustra’ or ‘moucharabieh’. The panels will be

function which will permit to link the use and experience of the space,

perforated with a scale of perforation being denser in the bottom

to raising awareness about this heritage and the potential that the

and becoming more and more open while reaching the height of

space can represent for the community.

the moldings on the walls.

The first practical requirements in terms of functions after having

·

The sacristy

finalized the final steps of the first phase of the restoration, is to

The sacristy will hold become a possible new entrance towards the

ensure that the basic infrastructures are contained in the space.

chapel, and thus become the new transition place between the

This will permit a sustainable use and an enjoyable experience from

outside world, the daily life with its triviality and the reflection space

the very beginning. It is important that from the beginning the

of the space and thus the bigger picture and the reflection space.

experience of the community in the place is though through as it’s the keystone for building the rediscovered relation of the community towards the church. Those infrastructures include restrooms, and a space to prepare hot beverages and juices, and to store and display cakes, for the ‘coffee and cake’ place – the ‘Konditorei’. There will be no extensive food preparation kitchen included in the church it is not the aim of the function. The Konditorei has to be understood as a place of gathering and rest where the community and the passers-by can come together. Places for storage will be needed as well to store furniture that could be needed for people to sit down in the church for concerts or religious ceremonies.

8.3.3. Description of the proposal ·

The chapel

As explained in the previous subchapters the choir of the church will serve in the reconversion of the church as the chapel, permitting the decreasing parish community to still have access to the chapel for religious purposes. The chapel will still be connected to the nave, as the screen panels closing the space of the chapel will be materialized

·

The ‘coffee and cake’ place

As described before the main aim of this function is to serve as a catalyst to serve as a first bonding connection between the local community and the building. As the South facade has a direct connection towards the street, new openings permitting direct access from the south aisle towards the terrasse. This will allow the ‘coffee and cake’ to create animation towards the street and the heart of the village. As it is exposed towards the south, the terrasse will take advantage of the orientation of the church. The wall around the church is creating a certain intimacy towards the road which is to be taken into account as an asset for the project, which is why the restoration of the wall is to be assessed in the restoration advice.

The tombstones which are placed under the actual windows on the South facade, will have to be displaced to permit the openings in the walls until the ground floor level. ·

Static and dynamic spaces

The differences made by the functions in the church between static and dynamic spaces, will permit the nave to still be a dynamic space.

If a more static function for a specific type of gathering, for example a concert or a larger ceremony has to be hold in the nave, the movable

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l Rossem Church

furniture will permit to change the space accordingly, and reversibly.

The second floor above the vaults of the north aisle will offer a space

The void space should not be considered as a lack of use, but rather

that will be dividable and possibly used by different stakeholder for

as an opportunity for creativity and flexibility.

meetings, yoga classes or as an artist residence.

·

Connection to the cemetery

The clerestory windows on both sides of the nave will be opened. In the

The openings on the north aisle will be kept in their original size for

north part these will permit a visual connection between the meeting

the two first bays, to permit the cemetery to still keep its intimacy,

rooms and the nave. In the south side, the clerestory windows will

as a place of silence and mourning. The window in the northern low

be blinded with contemporary stained glass windows. New openings

transept will be serve to put a new opening until the ground floor, to

will be made inside of the roof in between the solar panels, to allow

permit a connection between the cemetery and the nave directly from

light to come in.

the space of the nave. This should permit the necessary connection for the long term future in which the cemetery might turn into a garden, as the maintenance of the old tombstones is not taken care of by the families, because perhaps, these people themselves have died, referring here to the lectures of professor Thomas Coomans about our human experience through time and space. ·

level of privacy and the height of functions

The aim of the concept of the design proposal is to offer more private function, when climbing up higher inside the church. The ground floor is the part of the public or semi-public space depending on which functions are held throughout the day and depending on the use of the church.

·

Acoustic and soundscape

As presented in the value assessment the soundscape of the organ and the bells are of high significance for the heritage value and the experience of the monument. Further research of a specialist in acoustic will be needed to make sure the reverberation of the sound is not disturbing in the use of the different functions in an empty space. ·

The tower

From the level of the meeting room, the tower will be accessed by a footbridge passing above the level of the organ, to do so a part of the first arch in plaster and wood will have to be deconstructed. This opening through the roof will permit to highlight the east façade of the tower and the remaining traces of the two previous roofs, and

The vertical circulation, composed of a staircase and an elevator,

thus naves. The connection between the east façade and the roof

will permit to offer access to a foot bridge above the box in the box

above the nave will be opened up to permit light to enter inside the

function, connecting north and south aisles by passing in front of

articulation space in between the tower and the 1874 enlargement.

the organ level, but at a slightly different height, to avoid disturbing

This opening in the roof could thus be covered with a contemporary

the view towards the organ from the nave. The footbridge will hold

version of stained glass to offer a ‘mise en lumière’ of the articulation

functions that would not need to be completely closed from the nave

of the space, to support the heritage value of the historic traces on the

in a first phase. The key idea is always to keep the possibility to add

east facade of the tower and to bring its understanding to the visitors.

features to the project if the necessity is presented by the community.

·

The roof

219 l Adaptive Re-use The southside of the roof is perfectly adapted to bring in solar panels

in the present report. The building’s new functions have to respond

from an orientation point of view. The stability of the timber structure

to the changing needs of the users.

would however have to be revised before implementing this solution, that could offer benefits from a point of view of sustainability as well as financial incomes. ·

The church keeper

The timing is the other main key to bring this project towards a successful future. Indeed the breakdown of the phases will on one hand permit the reaction of the community, and the possibility to adapt the project towards current needs. On the other hand the

As there will be different functions hosted inside the church, and to

breakdown of phases will permit the breakdown of costs that will

ensure a smooth experience of the shared church, a ‘church keeper’

decrease the immediate financial burden of the project for the

will be needed. This function although existing in the past in the

municipality.

person of the vicar, should be re-defined, or re-invented with the

In the contemporary fast-paced and fast-changing society, and

adaptive reuse of churches in general. The office of the church keeper could be set in a part of the technical room, if there is ·

The former vicar’s house

The former vicar’s house location could serve as the location for the information booth, that will be implemented for the explanation of the restorations steps to the community and for the first steps of community involvement and participation. The information booth could afterwards in a long term future be reconverted into a house for the church keeper, which would be complementary with adaptive reuse of the church. In any case this building could permit the tentative reconstruction of the heart of the hamlet of Rossem.

8.3.4. Conclusion

The concept of the adaptive re-use proposal is based the findings of the previous chapters, and on the acknowledgement that in order to achieve a successful project, the involvement of the community will be necessary in this rural context. The concept’s aim offers a base for discussion with the community, as further research on the community’s needs is required and has not been extensively studied

especially in times of crisis and uncertainty, like the one we are living currently, due to the world pandemic of the SARS-COV-2 virus, flexibility is a main requirement. The main challenges for the empty churches will not only be to find new adaptive re-use functions, but to re-create the strong bond to the local communities they have embodied for centuries. Recreating or reinventing a ‘new’, or lost, relationship is going to need the necessary time to establish and the involvement of all stakeholders.

The proposal outreaches the physical limits of the building as it asks questions about the lost vicarious-house and the future of the cemetery as a garden. These two opportunities have to be taken into account in the long term agenda as they offer the possibility to ‘re’tie the church to the rural morphology and the community.

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l Rossem Church

221

Figure 8. 10 Preliminary concept sketches’ ©Authors

222

Figure 8. 11 ground floor plan & circulation scheme ©Authors

l Rossem Church

Figure 8. 12 1st floor plan & circulation scheme ©Authors

223 l Adaptive Re-use

Figure 8. 13 section BB’ ©Authors

Figure 8. 14 section AA’ longitudinal to the north ©Authors

224

l Rossem Church

225

Conclusion

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Conclusion

l Rossem Church

T

he study of Sint-Medardus en Gildarduskerk, in Rossem, has offered some light on this peculiar parish church condemned first to its abandonment, then to its collapse. The circumstances in which we encountered the monument were utterly concerning: the decision of the Municipality of Meise to centralize the masses in one parish was the last nail in the coffin of a church that had been unavoidably losing its faithful, and the state of conservation could very well be that of a corpse. The surrounding cemetery seemed to be awaiting the reunion with the saints that for so long (how long, precisely?) had kept it by the side of their earthly home.

This corps, however, was an exquisit one. The impressive mass and shadow of the church, when closely observed, arose multiple questions about a past that we could only guess in the begining of our project. The historic research, based on a critical approach to the sources with our inquiries on the building itself, in an exercise of building archaeology, was fundamental to unveil some of the questions the parish raised to us.

The development of accurate and detailed architectural documentation was one of our main assets when facing not only the planimetric reconstruction of the monument, but as well the identification of traces and hints that otherwise would pass unadverted. The survey, conducted in the first place with

digital tools, had to be notoriously enhanced by on-site hand measurements –which in many cases required quite daring approaches. It was only in this way that we were able to fully aprehend the building, make it ours, and know its story.

But Sint-Medardus en Gildarduskerk is also a patient, and one in very perilous condition. The walls of the parish seem to suffer their own pandemic, or all of those Pandora’s Box kept for the brick masonry. The material situation is concerning, presenting numerous pathologies that several past interventions, in order to prevent, have worsened. Addressing the technical analysis of the church with the inputs offered by the material and structural sciences, together with an understanding of the parish’s past and construction, is the only way to achieve a grounded, solid, fruitful diagnosis for a later restoration project.

Nonetheless, as longer as grew our acquaintance with the church, and as broader our knowledge about it became, our thoughts migrated to the concerns of the village, the specificities of rural life and their effect on heritage, and the underlying question of all times: what to do with the religious heritage.

What led to this situation? What are the feelings of the

227 l Conclusion

community when confronted with their parish? How can this situation be reverted? The issue of adaptive reuse can take many forms and must be assessed through many different points of view, among which we must highlight such divergent perspectives as the economic study and the phenomenological approaches to art and architecture.

Beyond the unveiling of the life of the building –and its contextualization in history– and the technical procedures to achieve the preservation of Sint-Medardus en Gildarduskerk, the aim of our team was to propose a sustainable alternative for its future, rooted in the respect to the building history and character –spirituality being inalienable–, with a public vocation and aware of its rural context. The idea of heritage enabling and enhancing dynamics that will benefit both the conservation of the monument and the society gathered around it.

We feel we must recall how Rossem parish received us, back in February. Our previous IPW topic, the Convent of the Visitation in Kraainem, by Dom Bellot, closed its doors after the Christmas ramp up of the pandemic. Being very motivated with the convent, the news stroke harsly. The threatening silhouette of

the church tower guarded by jackdaws, a terrible winter, and a sudden express survey defined our first days in the parish.

Fortunately, we are happy to say that now we depart friends with what we once so sadly accepted. It has required effort and commitment to reach up to this date, but we leave Rossem having learnt from one of most contentious issues pending over heritage –and with the hope of having been helpful.

Happy 8th of June. Happy Sint-Medardus en Gildardus.

Farida, Fernando, Laetitia, and Mustafa.

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l Rossem Church

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