Ecclesiastical Renovation : The Adaptations of Baudelo Abbey Church in Ghent, Belgium.

ECCLESIASTICAL RENOVATION : THE ADAPTATIONS OF BAUDELO ABBEY CHURCH IN GHENT, BELGIUM

Figure 1 Church of the former Cistercian Abbey of Baudelo in Ghent, Belgium, during conversion as a food court. 2017.

© Marcus van der Meulen 2017

ECCLESIASTICAL RENOVATION : THE ADAPTATIONS OF BAUDELO ABBEY CHURCH IN GHENT, BELGIUM

By Marcus van der Meulen

ABSTRACT

風向轉變時,有人築牆,有人造風車 [traditional]

The Cistercian Abbey of Baudelo in Ghent, Belgium, is religious building complex embodying architectural and cultural heritage.

The abbey was abrogated in the late eighteenth century. Following a report for the reactivation of religious heritage, the church was converted to a library in the early nineteenth century. To stage the new program a redesign was executed adapting the ecclesiastical interior to its new function. Two centuries later, the building was again abandoned and adapted.

Today the church houses a luxury food court.

Reactivation of buildings can be a strategy for safeguarding heritage. Commercial activities can unlock heritage properties and generate funds for maintenance. Reducing the sacred atmosphere by removing ecclesiastical furnishings and fittings enables the successfulness of a non-religious adaptive reuse of churches.

风向转变时,有人筑墙,有人造风车 [simplified]

Keywords : adaptive reuse, architectural conservation, religious heritage, architectural history

[ When the wind of change blows, some build walls and others build windmills – Chinese proverb ]

INTRODUCTION Monastic buildings form a significant part of religious heritage, representing values of architectural history, of cultural history and public perception (Hendrickx, 2008). The Cistercian Abbey of Baudelo in the city centre of Ghent, Belgium, [Fig.01] is an example of an architectural ensemble embodying a diverse heritage. Succeeding the annexation of Flanders by the French Republic [1795] after being part of the religious life of the city for over five centuries, the abbey was abrogated (Vyncke, 1921; Zabeau, 1972; Bogaerts, 1976 ).

After abolition succeeding the French Revolution several religious buildings were adapted for reuse (Cunnington, 1988). The Abbey of Baudelo was reactivated soon after the Cistercian monks had departed. New functions were found for this former religious institution, following a report drafted by local politicians. This act can be considered one of the earliest examples of religious heritage preservation in Ghent, Flanders.

Figure 2 View of Baudelo gracht, early nineteenth century.(image, courtesy Ghent University Library)

Adaptive reuse can be a tool for the safeguarding of religious heritage (Cantacuzino, 1975 ; Cramer, 2007; Bell , 2012).

The typological variances of buildings require a different approach when finding a new program for the abandoned building (Cantacuzino, 1975). Ecclesiastical buildings can be challenging to redesign. As an ensemble of buildings, the adaptability of individual parts of an abbey vary. Most challenging part of an abbey complex to reactivate is the church, due to its archetypal typology conflicting with new purpose (Hendrickx,2008) and its religious connotations or atmosphere. Since the abbey was abandoned in the 1790s, the church of St Bernard has been the host of several new functions. To stage these new programs the former house of worship was redesigned.

Successful adaptations of churches treat the existing architecture as an envelope whilst focusing on interior interventions ( Brooker & Stone, 2004). The building of additions, as well as demolition of other elements (Schittich, 2012) can be part of redesigning the building for adapted reuse, fitting the new program. At St Bernard’s, much of the interior was altered, original elements were sold, and new architectural elements exemplifying the new use were added. For nearly two centuries the building functioned as a temple of knowledge, housing a library [Fig.02]. Early 2017 the former Cistercian church was reopened after three years of intense renovation. Renovating a historic property can be a journey into the unknown, concerning religious buildings numerous problems can occur (Hendrickx, 2008; Van ’t Veen, 2011). Years of neglect had repercussions on the state of the building. The recent reactivation is a private initiative

converting religious heritage for commercial purposes. In developing real estate the revenues are essential, an attractive property can attract to potential clients. Authenticity of the interior is regarded an asset in contemporary retail space, however, a sacred atmosphere can be regarded undesirable (Plevoets, 2009). If successful, a commercial reactivation can secure funds for maintenance.

Adaptive reuse can safeguard religious heritage, as part of an architectural ensemble and part of the urban fabric. The preservation of the sacral interior conflicts with functions other than religion. Religious connotations such as images, altar pieces, a pulpit, can hinder the successfulness of reactivations, even as authentic elements are today regarded beneficial for the appreciation of spatial qualities of a building. Reactivations of historic properties, a renovation and contemporary reuse, can be tools for rejuvenating districts (Cantacuzino ,1989; Douglas,2000).

A regenerated area, however, can attract private investors to restore historic properties.

Baudelo Abbey church is an interesting example of a privately funded renovation of an ecclesiastical heritage object for commercial purposes. When buildings become redundant, adaptive reuse can establish new connections between the object and a community. Adapting ecclesiastical buildings to new functions implies a redesign to stage the new program.

Architectural interventions can transform the appearance of the original building. The redesign of historic buildings for adaptive reuse can result in addition of value (Dubois, 2003, Van der Meulen, 2017a). New layers of meaning are added and the building can become a treasury embodying a diverse cultural heritage.

This article examines the adaptations of the monastic church of Baudelo Abbey from the early nineteenth century and the recent which was finished in early 2017. A historical sketch of the historical development of the abbey is followed by descriptions of the alterations. The article concludes with a critical discussion of the value of the Cistercian church and its conversions.

02 HISTORY The church of St Bernard is the house of worship of Baudelo Abbey located between

Friday Market Square and the river Leie in Ghent, Flanders. An abbey is a complex of buildings inhabited by monastics, men or women following a religious discipline. The religious community at an abbey is presided by an abbot, or an abbes. In Flanders, the first abbeys were founded in the early seventh century during the rule of the Merovingian Kings. Architecturally speaking, the abbey is a complex of buildings. Functions are rationally organized centered around a cloister, following a typical hierarchy, with the house of worship as quintessential and dominant edifice (Braunfels,1972). Differences between a monastery and an abbey go beyond the linguistic, however, are not significantly reflected in typology. The Abbey of Baudelo is a Cistercian foundation. The order of the Cistercians developed from Benedictine reformists in the twelfth century.

02.01 THE MEDIEVAL HISTORY OF THE ABBEY The history of Baudelo Abbey [1197-1796] dates back to the late twelfth century. After returning from Lewisham Priory in London, England, the Benedictine monk Boudewijn of Boekel was granted permission by his abbey, St Peter’s in Ghent, to become a hermit. Together with some followers Boudewijn founded a religious community in a secluded place to the north east of the city. At that time the closest equivalent to a desert, considered the ideal for a monastic life, the hermit could find in the county of Flanders. Recognition of this new foundation came in the early thirteenth century by the Latin Emperor, Baldwin of Constantinople (Vyncke, 1921; Berings, 1977).

The congregation, dedicated to Our Lady, joined the Order of Citeaux in 1215. A Cistercian abbey, the religious foundation soon gained importance and became one of the predominant houses of that monastic order in Flanders. It became known as the Abbey of Baudelo, or Boudelo in some modern publications. In this publication the historic spelling Baudelo is preferred, which is also used in street names and the name of the park in Ghent. The name is a understood as a subtraction of Boudewijn and Lo, the latter meaning forest. The name of the abbey thus translates to the forest of Baldwin. It remains contested which Baldwin is meant. Opinions

vary from either the hermit Boudewijn of Boekel, the founder of the religious establishment, or the Latin Emperor, Baldwin of Constantinople, who was also the count of Flanders and recognized the institution presenting it with privileges (Zabeau,1972). In 1259 the abbot de Moneta received the privilege from the city council to build a refugium within the city walls (Berings, 1977), located on a small waterway in the historic Waterwijk district. By the fifteenth century, what had begun as a house had developed in a convent known as Baudelo Court (CollenJanssens, 1993). The anonymous panoramic plan of Ghent from 1534 represents the refugium as a chapel behind the church of St James [Fig. 03]. A few decades later the county of Flanders would undergo a dramatic transformation, following the Rise against Spanish Rule and the developing Protestantism.

In 1574 protestants took over power and founded the Calvinist Republic of Ghent.

Several churches were cleansed from supposed idolatry, monastic institutions were ransacked or demolished. In 1578 the Abbey of Baudelo, one of the wealthiest Cistercian institutions in the county, was ransacked (Vyncke, 1921). Also the refugium within the city walls was taken and looted. The Cistercian monks left Flanders and went into exile in Cologne.

Figure 3 Panoramic view of Ghent, 1534.Fragment. On the right the estate and refugium of Baudelo can be seen. (original painting today in STAM, Ghent)

02.02 REESTABLISHED IN GHENT The Calvinist Republic was short-lived. In 1584 the Spanish reconquered the city and soon the Cistercians returned from exile to Flanders (Pas, 1998) reclaiming their premises. The monks decided not to rebuild the abbey in the desolated countryside, where it had been since 1197, but at the looted convent of Baudelo

Court. The renovation of Baudelo Court and alteration to an abbey started soon after the arrival of the Cistercian monks from Cologne.

Two adjacent properties, Van Overwaele Court and Herzele Court, were acquired in 1597 and 1607 respectively (Zabeau, 1972). In 1602 abbot Delrio was granted the permission to reestablish the Cistercian Abbey in Ghent, although this seems to have been a regularization of a factuality rather than a initiation (Bruneel & Bothuyne, 2005).

Figure 4 Fragment of the Horenbault map, the estate of Baudelo Abbey is depicted as an island of trees, the buildings and church between two canals.

Construction of a new sanctuary in a late gothic style was probably begun between 1602 and 1606 (Bogaert, 1976). The consecration of this new church followed in 1617 [Fig. 04]. Much of the present structure and external appearance was done in the early seventeenth century. It is a sandstone pseudo-basilica of three aisles and seven bays. The elongated choir ends in a semicircular apse. Of the original windows only the one in the western façade with its characteristic Y shaped tracery remains visible today, others in the chapels have been bricked up ( Bogaert, 1976). A new turret in a baroque style replacing an earlier small clocktower was added in 1660 ( Laporte, 1994) and received a carillon by Hemony. This turret was redesigned in 1710.

During the years of abbot Delfortrie [17231794], the church of St Bernard was gradually embellished in an elegant classical style of Louis XVI. The choir was elaborately decorated

with festoons and ribbons, putti and medallions, made to designs by Pieter van Reijsschoot [1702-1772]. Black and white marble, Corinthian capitals and modernized windows erased the late gothic appearance of the early seventeenth century (Bogaert, 1976). The first phase of the redesign started in 1763, which is also the year a new organ was built by Pieter van Peteghem. During a tour of the Low Countries in 1765, a young Mozart played on this organ at St Bernard’s (Potvlieghe, 1990).

When in 1773 the Jesuit order was suppressed and subsequently expelled, the Cistercians of Baudelo seized the opportunity to purchase the pulpit from the English Jesuit Convent in Ghent at auction to adorn St Bernard’s church (Berings, 1977). The monastery of the English Jesuits was located on Steendam with gardens adjacent to those of Baudelo. Following an auction in 1778 the Cistercians were able to expand their premises. The purchase of the English Jesuit Convent ignited a second restyling of the church interior [1778 to 1788] encompassing the walls coverings in black and white marble (Zabeau, 1972). By the late eighteenth century the Abbey reached it final expansion, the ecclesiastical interior can be considered complete.

02.03 THE AFTERLIFE Shortly before the Cistercian Abbey of Baudelo was dissolved it had reached its principal form, an architectural ensemble that displayed the wealth and opulence of its eighteenth century inhabitants. The church of St Bernard had undergone a redecoration and the abbey had seen the erection of the new Prelate’s House, one of the finest palaces in Ghent of the period.

In 1793, Engelbert Delfortrie, who would soon be the last abbot of Baudelo, fled for the advancing French troops to Groningen where he died the following year. The French revolutionaries demanded a war-compensation of 800,000 livres, the second highest sum in Ghent after St Peter’s Abbey. In 1796 the last monks were driven out. In the following year the monastic institutions were finally abolished.

03 THE CONVERSION OF SAINT BERNARD. A REVOLUTIONARY CENTRE OF KNOWLEDGE.

03.01 SAFEGUARDING ADAPTATION

THROUGH

In 1795 the county of Flanders was annexed by the French Republic. Ghent, ancient capital of the county, became the principal city of the newly established Département de l'Escaut or Escaut department (Claeys,1902). Monasteries were abolished and their properties publicly owned. As one of the first in the Département de l’Escaut, the possessions of Baudelo Abbey were auctioned (Pas,1998).

Initially, the Cistercian house of worship in Ghent befitted the Temple de la Loi, a temple of law, becoming a location for revolutionary festivities. In 1798 it was decided the house of worship was too small to stage these revolutionary celebrations and the vast church of St Michael was designated the new Temple of Law (Claeys, 1902). The church of St Bernard, however, was soon adapted for reuse in an attempt to safeguard religious heritage. Important figure for the further development of Baudelo Abbey as a center of learning proved to be Charles van Hulthem [1764-1832] . A trained lawyer and known bibliophile, Van Hulthem had become an influential politician, deputy of the Escaut department and member of the Tribunat in Paris (Leleux,1965). A report was made, surprisingly similar to those made today, by Bernard Coppens and Charles van Hulthem, exploring which new destinations could be appropriate for which redundant buildings (Coppens & Van Hulthem, 1797 ; Van Tyghem, 2011). This report was presented on 4 floréal, An 5 [May 3, 1797].

St Peter’s Abbey, a Benedictine foundation dating back to the time of King Dagobert, was designated the museum of the department.

Paintings from all monasteries were transferred to the former abbey. The Augustinian

Figure 5 Botanical Gardens in the grounds of the former Cistercian Abbey. (image courtesy Ghent University Library).

Monastery was transformed into the Academy of Fine Arts. Baudelo Abbey proved to be the ideal location for the Central School, Central Library and Botanical Gardens. Republican law enforced the establishment in every Département of a Central School with adjacent Central Library and preferably a botanical garden in the vicinity. The specificities of the Cistercian complex made it the ideal setting for the creation of a center of knowledge. Decisive for the decision was the large estate in a central location within the city (Pas,1998; Bruneel & Bothuyne,2005). The monastery comprising four courtyards became the Ecole Centrale, the parklike estate was adapted to the botanical gardens [Fig.05]. The central library of the Escaut Department was established in the former church of St Bernard. In 1801 the works started to adapt the interior for its new function (Bruneel & Bothuyne, 2005). Already books and manuscripts of abolished institutions had been centrally stored inside the abbey, including those of the Council of Flanders and the Dominican Convent. Although the more rare books were supposed to be moved to Paris, Charles van Hulthem managed to retain much in Ghent. Complete bookcases were brutally taken from their original location and relocated at Baudelo [see also Fig. 17]. The interior of St Bernard’s was redesigned by Jean-Baptiste Pisson [1763-1818], who was in charge of restyling of Baudelo Abbey [Fig.06]. Altar pieces and paintings by Van Reijsschoot were relocated to the new departmental museum, the former Benedictine Abbey of St Peter (Bruneel & Bothuyne, 2005). All religious connotations were removed transforming the ecclesiastical

space to a temple of books. The choirstalls were removed and the pulpit, acquired by abbot Delfortrie from the English Jesuit Convent, was sold. The black and white marble floors of the nave were removed as they were considered unfit for a library. Wooden planks from the Benedictine Abbey of St Peter were used to make the new flooring (Van Tyghem, 2011).

Figure 6 Plan by Jean-Baptiste Pisson of Baudelo Abbey.(image courtesy Ghent University Library)

This alteration was done brutally, leaving their marks on the marble of columns and pilasters today (Bogaert, 1976). Pisson uses the typology of the church to design the library, using the pillars and the aisles to group bookcases, partially reused from Drongen Abbey ( Van Tyghem, 2011) and the nave as the central space for reading tables and desks. Replacing the twelve Apostles, twelve busts of scientists and artists were made and placed in the nave on wooden pedestals [Fig.07]. During the restyling of the interior, patriotic personalities such as Vesalius, Justus Lipsius, Anthony Van Dijck and Rubens (Van Tyghem, 2011) replaced Peter and Paul. New fashionable furniture was made, from cherry wood, including a round table with a green velvet top. For his work on the conversion to a library, Pisson was partially compensated in natura, receiving the old furniture of the abbey as payment.

d’Architecture in Paris, was asked to provide designs for the restyling of the building (Boydens, 1986). His interventions included the adaptation of the interior, adding more shelves to store an increasing number of books, and the construction of a new entrance building with a vestibule. In 1819 the organ of 1763 by Van Peteghem, once played by a young Mozart, was sold. This created more space for a new entry.

Funds generated from the sale contributed to the erection of the portico (Bruneel & Bothuyne, 2005). Three floorplans for the new entrance building survive, one on a concave plan, another on a convex plan and a third on a square. The latter was executed in 1820. It is a one storey building consisting of a peristyle and a circular vestibule with four niches executed in a neoclassical style [Fig. 08]. The entrance building was conceived to emphasize the new function of St Bernard’s Church. Contrasting with the late gothic western façade of the church, the new portico is in an austere classical style with Corinthian capitals.

Simultaneously with the library Roelandt designed the Aula Academica of Ghent University constructed between 1819 and 1827 [Fig.09]. The style of the library portico deliberately echoes the temple front of the Aula Academica, creating a visual connection

03.02 UNIVERSITY LIBRARY With the reestablishment of the University of Ghent in 1817, the recently formed collection of unique books and manuscripts befell the newly created university library. Officially the building was handed over a year later (Bruneel & Bothuyne, 2005). Louis Roelandt [1786-1864], a young architect who had studied under Percier and Fontaine at the Ecole Spéciale

Figure 7 The university library in the former Cistercian Church. (image courtesy Ghent University Library)

Figure 8 University Library. photographic image. (image Ghent University Library)

as changes in usage, the church of St Bernard could not retain its function as the municipal library. For some years the abandoned building, which has been property of the city of Ghent since the abolition of the Cistercian abbey, was used as a museum depot and as a multipurpose space for the adjacent school. Attempts to redesign the church and reuse it as part of the secondary school of arts, failed due to a lack of funds. During the 2000s it was shortly used for parties during the Ghent Festival. The state of the redundant building deteriorated, parts of the eighteenth century vaults came down and in 2001 scaffolding was placed inside the nave to support the ceiling. The neglect of the building started to become more pressing in the following years. In 2005 the turret was in disrepair and had to be restored. Plasterworks from the entrance building started to fall down.

For the security of passersby, the sidewalk had to be obstructed. After many years of slow decay the city of Ghent decided to sell the building in 2011-12.

between both university buildings. In 1861 a new reading room was added to the south of the building (Bogaert, 1976) replacing older additions. In the early 1880s the one story cloisters were updated by local architect Pauli (Bogaert, 1976). In 1933 Henry van de Velde [1863-1957] was approached to design a new building to house the ever increasing collection [Fig.10]. A location better positioned in the university district was chosen. His challenging design was a concrete tower, sometimes dubbed the fourth tower of Ghent, which was built between 1936 and 1939. During the years of the Second World War the book tower was completed and the university library moved to its new habitat (Musschoot,2017).

03.03 MUNICIPAL LIBRARY AND AFTERLIFE Baudelo Abbey remained the location of the municipal library until the collection was first moved to the Kouter in 1980 and again in 1992 to an abandoned modernist building by Bontinck Architects on Woodrow Wilson Square. Earlier this year [2017] De Krook was opened, the new municipal library designed by RCR Arquitectes in cooperation with local architects CoussĂŠe & Goris (Musschoot, 2017).

With the increasing number of visitors, as well

Figure 9 Aula of Ghent University by Roelandt.

A NOURISHING RENOVATION 04.01 REFRESHING CONCEPTS The initial ideas to reestablish the connection between the monastery and church, concepts to convert the chapel to a multipurpose space

of the adjacent school of arts, suitable for performances, were abandoned due to a lack of funds. Around the year 2000 the interior space was occasionally used for concerts and for parties during the Ghent Festival (Van der Meulen, 2017b). The years of neglect started to show and pieces of the vaults came down.

Scaffolding was placed inside the nave of the former church in 2001. In 2012 the city of Ghent, proprietor of the building, announced publicly the decision made earlier to sell. An active quest for a new owner willing to restore the building and reactivate the redundant church had begun. A commercial function was anticipated. The opening up of the former church as a semi-public space was an essential condition. Parties interested proposed a variety of options from a hotel to (antiques) store, however, the city council expressed the desire for a more public function of the building.

of the market, argued the politician, you have a problem (Staes, 2013a) therefor the outlook of demolition should be discussed. However, the regional minister for cultural heritage said there were no intentions to change the status of the designated monument. The church of St Bernard is classified as part of the architectural ensemble Baudelo Abbey, together with the adjacent school, as well as the war memorials on the outer walls (Bogaert, 1976). As such, any renovation to the neglected church had to be done in close collaboration with the municipal department for the Preservation of Monuments [ Dienst Monumentenzorg ]. The building was bought by an investor with the idea of opening the former church as a multipurpose space for a variety of events ranging from art and antique fairs to concerts and parties, including a book cafĂŠ (Staes, 2013b). Since the heritage property was acquired the concept for reactivation advanced. The initial thoughts to open the building as a multipurpose space progressed to a covered market for selling fresh produce. These proposals, however, are already effectuated in other buildings in the city.

Only a refreshing concept would truly reactivate the former Cistercian chapel. In 2014 the ideas had developed in the establishment of a luxury food court.

04.02 REACTIVATION AS FOOD MARKET

Figure 10 Bookcases inside the former church. Photo of situation in late nineteenth century. (image courtesy Ghent University Library)

A year later, a rightwing local politician reasoned for demolition of the building . It was argued a building should not be preserved for the sole reason it is classified as a monument.

The city council had by that time not found a new proprietor willing to invest in the adaptation of the unkempt building. According to the logic

Baudelo Abbey is situated in what has in recent decades become the hipster district of St Jacobs, named after the church of St James [Sint Jacobs-kerk], the building that distinguishes the district by its recognizable forms and dimensions. A hub for food loving hipsters, boots serving delicatessen and drinks in an authentic environment was lacking. The nave could serve as the space for seating and the aisles could be used for the boots, recalling the Pisson design for locating the bookshelves.

The name, Holy Food Market, can be interpreted as a place for the adoration of food.

A commercial reactivation opens up the building for a wider public and can generate the funds for maintenance ( Cantacuzino ,1989; Van’t Veen, 2011). A food court, concentrating on fresh and ecological produce, is a contemporary functionality fitting the location in the hipster district. Another asset is the vicinity to a large underground parking space and the adjacent park. Regarding the location the new

function was well chosen [Fig.11]. The building itself seemed appropriate in its dimensions and authentic elements provide a unique atmosphere, today often regarded a surplus for commercial activities (Plevoets, 2009).

Authenticity of the building and especially its interior is intentionally treated as an advantage.

Although originally a monastic church, religious elements such as altar pieces, an organ or religious imagery had already been removed by Pisson during the first adaptation. Ecclesiastical furnishings such as an organ and pulpit could have hindered the reactivation and subsequently hindered success, as religious connotations are often seen as obstructive (Plevoets,2009). What had remained was a neoclassical interior with black and white marble on the walls and pillars with Corinthian capitals. Festoons, ribbons and medallions in an elegant eighteenth century style contribute to the authentic environment.

Figure 11 The church of Baudelo Abbey as seen from Vlasmarkt. On the left St James’ church.

04.03 RENOVATION The renovation was a collaboration of three parties; architect, structural engineer and the municipal Department of Monuments [note 01].

Technicalities of the renovation are not discussed in detail in this article. In 2001 scaffolding had been placed inside the nave after the ceiling had shown signs of serious neglect. The stone vaults were in a poor state and the walls full of cracks. An internal redesign was anticipated, a respectful conversion of the building. During this conversion process several unexpected surprises occurred, forcing the team to come up with innovative solutions.

The works started with a concise overhaul of the roofs. What from the outside had appeared to

be in a good condition proved to be in a rocking state. For years, possibly decades, pigeons had nested under the roofs and the beams were covered in bird droppings. The removal of 11 tons of bird shit from the wooden roof structure reduced the weight of the structure (info Navap, 2017), however, parts of the wooden beams had been corroded. Some of the worst affected parts of the beams, the parts resting on the outer walls, had to be removed. The original wooden beams were placed in metal U profiles functioning as shoes. This redistributed pressure from the roof structure to the outer walls, relieving pressure on the vaults (info Navap, 2017). Parts of these vaults were restored by using an industrial epoxy glue. To further strengthen the walls, stainless steel rods were implemented reinforcing the structure.

The use of plastics and metal, however, was restricted to a minimum, due to stringent directions of the Department of Monument Preservation (info Navap, 2017).

For the adaptation of the building to contemporary needs and modern comforts, fundamentals such as a heating system, lighting, kitchens and restrooms had to be installed. The addition by Roelandt of 1820 enabled the creation of lavatories close to the entrance of the building. Creating an agreeable temperature for the visitors of the former church proved more challenging. The adaptation concept required a high flexibility of heating (Van den Bosch, 2016). Locations for the preparation of food require different heating solutions then the locations where the public can consume their acquisitions.

Simultaneously, the possibility of an internal rearrangement after some years was anticipated. With vaults in the nave of the church at 16 meters, the solution found was a contemporary, energy saving floor heating system. In total 3,000 meters of tubing was installed in the over 700 square meter surface of the church (Van den Bosch, 2016). Black and white marble tiles cover the floors, complementing the original neoclassical designs of the eighteenth century. Cooperation of architect, structural engineer and the department of Monument Preservation proved to be crucial in this renovation project. New solutions for the renovation problems were

invented by this tripartite during the renovation process.

04.04 THE INTERIOR DESIGN For the successfulness of a reactivation project, the architectural quality of the interventions is regarded essential. The authenticity of the original interior is regarded as an advantage (Plevoets, 2009). The design concept of Baudelo Abbey church is an interesting combination of complementing and juxtaposing the interior of the former Cistercian chapel (Van der Meulen, 2017b). The more permanent structures, such as the food boots, have been designed in a black and white restraint design fitting the original eighteenth century design program by Pieter van Reijsschoot. Other additions of a more temporarily nature have been designed in a fashionable way [Fig. 12].

These furnishings are liable to rapid changes in contemporary interior design and can be easily substituted. A new stained glass window was installed in the large window, which still has the original Y shape tracery dating back to the early seventeenth century. In any contemporary interior space the lighting is of great importance. A LED lighting system was chosen that could be easily dimmed and changed for the changing atmospheres required (Moens, 2016). Throughout the church interior there are standard LED lights with traditional dimmers as well as LED strips. Most of the lighting is digitally controlled although some is analog (Moens, 2016). The authenticity of the historic church was retained, and, arguably, enhanced by a mixture of complementing and contrasting interventions. Adaptability and extendibility of the internal outline were anticipated in the original design. Already the overwhelming success of this luxury food court has prompted a rearrangement of the internal disposition with the addition of a restaurant and cocktail bar, partly situated in the aisles above the food booths (De Standaard, 2017).

04.05 A CONCLUSIVE VIEW After nearly three years of vigilant renovation the redesigned church of St Bernard reopened its doors as a food court on February 24th 2017, feasibly a birthday party for the city’s most illustrious prodigy, Emperor Charles V, born in Ghent on 24th February 1500. The carefully executed adaptation into a food market stands

in shrill contrast to the rude conversion of the early nineteenth century. A respectable design concept is focused on retaining the spatial qualities of the building, preserving the authentic elements of the interior (Van’t Veen, 2011). The successfulness of the recent reactivation is reflected in the number of visitors, which exceed the anticipated daily objectives (Tollenaere, 2017). If executed correctly, a commercial reactivation can open up a historic building for a wide public to enjoy and generate the funds to renovate and maintain heritage.

Figure 12 Interior of Holy Food Market. (image King George Concepts)

05 DISCUSSION 05.01 HERITAGE EVALUATION Monument values of a building include cultural history, architectural history, public perception and the place of the building within an ensemble ( Van’t Veen, 2011). As part of the former Cistercian abbey the church of St Bernard is strongly related to the adjacent school and park.

These relations remain legible. The connections with the school is appreciated by its communal listing as a monument since 1936 (Bogaerts, 1976). As part of the larger architectural ensemble configuring the former abbey of Baudelo, the church of St Bernard was built as the place of worship in the early seventeenth century. This was done in a late gothic style. In the architectural history of the Low Countries, this monastic church is an example of only few other ecclesiastical buildings in this style. Later alterations, however, have reduced the typical features as St Bernard’s Church was profoundly modified after its consecration in 1617. Clearest evidence of the Nachgotik style remains the

large window in the façade with the Y-shaped tracery. During several redesigns the external and internal appearance of the building was altered. A baroque turret was added. The interior was redecorated in a neoclassical Louis XVI style typical of the eighteenth century by local artist and interior designer Pieter van Reijsschoot. His outline remains legible, although the grisailles paintings originally part of the interior concept were relocated, diminishing the importance of the interior as an example of the designer’s artistic oeuvre. After its designation as the central library of the Escaut department the ecclesiastical space was altered to the designs by Jean-Baptiste Pisson (Van Tyghem, 2011). Today, his interventions are mostly remembered as brutal (Bogaert, 1976).

The diminishing of the religious atmosphere by removal of altar pieces, imagery and fittings can be considered Pisson’s enduring legacy. After designation as the library of Ghent University, the building was redesigned by Roelandt. His most prominent intervention was the addition of a peristyle, visually connecting the former church with other university buildings. Roelandt, trained in Paris under Fontaine & Percier, is remembered as an eclectic architect reshaping the appearance of Ghent in the first half of the nineteenth century (Boydens,1986) and the Baudelo addition is typical for his early work.

value of the church, however, extends beyond the religious. In 1765 a young Mozart played on the famed organ at St Bernard’s during the tour of the Low Countries conducted by his father, Leopold Mozart (Potvlieghe, 1990). Republican sentiment in Ghent during the years of the French Republic was celebrated at the church which for some years was the location of revolutionary festivities of the culte decadaire ( Mathiez, 1903 ; Vyncke, 1921). The rapport by Coppens and Van Hulthem of 1797 can be appreciated as an early attempt to safeguard religious heritage. St Bernard’s church was converted to a library later forming the core of Ghent University library. Manuscripts, books and documents from monastic libraries and ancient institutions such as the Council of Flanders were gathered and safeguarded in the church [Fig.13]. Among these are the Liber Floridus ( 1120s) and the Liber divinorum operum ( 1170s) which are today considered significant corpuses of Flemish cultural heritage. The reestablishment of Ghent University in 1817 can be considered symbolic for the rehabilitation of Ghent as one of the principal cities of the Low Countries. For the older generations, the building remains associated with the public library. The cultural legacy of the building is diverse, not only religious, embodying of civic and Flemish history.

05.02 CONVERTING THE CHURCH INTERIOR

Figure 13 Bookcases inside the church. Baudelo Abbey used as a library. (image courtesy Ghent University Library)

Of significance is the diverse cultural history associated with Baudelo abbey church. The abbey is a testimony of Cistercian presence in the city and county, the destructions during the Calvinist Republic and the rebuilding during the counterreformation in Flanders. The heritage

Conversions of abandoned buildings containing cultural identities of areas have become tools for urban regeneration ( Cantacuzino, 1989; Douglas,2002). At Baudelo Abbey, the rejuvenation of the district has instigated a privately funded renovation of a heritage property. The recent reactivation is a commercial adaptation [Fig.14]. If successful, as is the conversion of St Bernard, a commercial reactivation secures the financial needs for renovation and maintenance of the heritage property. It also guarantees the unlocking of historic properties to a wide public. A luxury food court, the current function of Baudelo abbey church, transforms the interior to a setting for public life. The historical building becomes a public space, connecting people with heritage. Arguably, this has transformed

the intentional reclusive character of a monastic church an into a place for public gathering.

Generally, commercial functions are reversible adaptations. These interventions can easily be reversed when a better suitable program for the church occurs ( Van’t Veen, 2011). The successfulness of this conversion can be contributed to the spatial qualities, the location and dimensions of the property in relation to its function. Reduced religious connotations improve the effectiveness of secular reuse of ecclesiastical buildings. The church functioned well as a library for nearly two centuries, until finally the space could no longer contain the growing number of books and visitors. An absence of religious furnishings, such as a pulpit and an organ, and imagery has increased potential of the former church for new reuses.

Religious imagery, ecclesiastical furnishings and fixtures can be relocated. Arguably, the sacred space was altered transforming the religious qualities of this building. The strong typology of the building remains, identifying the edifice as a church. The historic ensemble was forfeited, however, this increases potentials for new uses thus safeguarding the building.

Religious furnishings and objects, after relocation, can gain additional meaning in their new context. The Van Peteghem organ is today located in the Grote Kerk church in Vlaardingen, the Netherlands, where it is used regularly for organ concerts. Within the group of eighteenth century organ in the Netherlands, the Vlaardingen instrument is exceptional contributing to diversity and enriching the scope.

The recent adaptation, contrasting the early nineteenth alteration, was done with moderation. All new interventions are reversible. Adaptation for reuse of a church can be undertaken simultaneously with preservation and restoration of the building ( Cantacuzino, 1989). This adaptation can obtain characteristics of flexibility, anticipating conversion, dismantling or expansion ( Douglas, 2002). The easy adapting of the building can be a benefit for retaining its function. In 1860s reading rooms were added to the central university library, extending the usability of the church as a library. A new entrance hall was added in the form of a neoclassical peristyle in 1820. These additions of St Bernard’s have not

diminished its importance as a Cistercian house of worship, instead, it has resulted in added value as a historic site embodying the rich cultural heritage of a site, which is typified by constant change and subsequent adaptation.

Figure 14 Holy Food Market inside the former Cistercian church of Baudelo Abbey. (image King George Concepts)

06 CONCLUSION Adaptive reuse of ecclesiastical architecture is not a recent phenomenon. The church of Baudelo Abbey in Ghent, Belgium is an example of an nineteenth century adaptation.

Safeguarding religious heritage, the report drafted by Coppens & Van Hulthem in 1797 is an early attempt of an inventory including suitable models for reactivation. The former monastic church of St Bernard was designated central departmental library, which later became the Ghent University library. For the reuse a redesign of the interior was needed.

This adaptation resulted in the removal of ecclesiastical furnishings and religious imagery.

Typology of the building was retained. A diminished religious atmosphere improves the successfulness of the adaptation, if not a religious reactivation of the building. The importance of a church goes beyond its religious meaning. Historical events associated with the building, works of art stored in the building, contribute to the significance. Some two centuries after the first adaptation, the building is today reactivated as a food court.

Commercial activities open the heritage property to a wider public. They can also generate funds for maintenance and restoration. A regenerated district can attract

private investors to renovate heritage properties. Contemporary public perception appreciates authenticity in commercial interiors. Reducing the religious connotations, however, remains significant for a secular reactivation of ecclesiastical buildings.

Reversibility is advised, as a building outlasts its function. Adaptability and extendibility of the historic property can secure a continued activity. Spatial qualities should be respected.

Alterations executed for facilitating the new functions can become new layers of meaning expressing our time. Reversible interventions in church interiors are favorable. Architectural interventions can be considered added value.

The church of Baudelo Abbey is an example how a regenerated area can attract private investors to renovate and open heritage properties to the public.

NOTE 01 The building is listed, together with the adjacent school, as a monument since December 1936. In 2011 this complex “Royal Atheneum and Municipal Library’’ was recognized as Built Heritage. The church was bought by Trobo NV. Barcoven and Avapartners Architects exectuted the renovatio Interior design concept

by King George concepts, executed by Geert van Beeck and furniture by Rachman.

REFERENCES Bell, David N., Charles Caspers, Maarten Delbeke, Lindsay Jones, Terryl N Kinder, Lucie K Morisset, Luc Noppen, et al. Loci Sacri: Understanding Sacred Places. Edited by Thomas Coomans and Herman De Dijn and Jan De Maeyer and Rajesh Heynickx and Bart Verschaffel. Leuven: University press, 2012.

Berings, Geert, Gustaaf Asaert, Pieter Batselier, Ursmer Berlière, and Jan De Grauwe. Monasticon Belge. 7: Province De Flandre Orientale. Liège: Centre national de recherches d'histoire religieuse, 1977.

Boydens, Honoré Lodewijk Jozef Roelandt. Nieuwpoort: Culturele raad, 1986.

Bogaert C., Lanclus K. & Verbeeck M. met medewerking van Linters A. & Dambre-Van Tyghem F.: Inventaris van het cultuurbezit in België, Architectuur, Stad Gent, Bouwen door de eeuwen heen in Vlaanderen 4NA, Brussel – Gent, 1976 Brooker, Graeme., and Sally Stone. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises, 2004.

Bruneel, Bartel, Bert Bothuyne, and Bart Verschaffel. De Transformaties Van De Baudelo-Site Tussen 1792 En 1830: Een Onderzoek Aan De Hand Van Vier Respresentatieve Situaties. Diss. burgerlijk ingenieur architect Cantacuzino, Sherban, New uses for old buildings, London 1975 Cantacuzino, Sherban, Re-architecture. Old buildings, new uses. New York, 1989.

Claeys, Prosper, Mémorial De La Ville De Gand 1792-1830. Gand: Vuylsteke, 1902.

Collen-Janssens, J. De Kerk Van De Baudeloabdij: Een Bedreigd Kunstwerk. S.l.: s.n., 1987.

Coppens, B., and Charles Van Hulthem. Le Jury Temporaire Des Arts Et Sciences, à L'administration Centrale Du Département De L'escaut. A Gand: chez P.F. de Goesin [...], 1797.

Cramer, Johannes, S Breitling, Architektur im Bestand: Planung, Entwurf, Ausführung, Basel, 2007 Cunnington, P. Change of Use : the conversion of Old Buildings, London 1988 Dubois, Marc, Wat aanvangen met Gewijde Gebouwen ?, Kunsttijdschrift Vlaanderen 52, 2003 Douglas, James. Building Adaptation, Oxford, 2002.

Hendrickx, Sjef. Kloosters als religieus erfgoed. Bouwstenen voor een te voeren beleid. Utrecht, 2008.

Info Navap #47, vakblad voor aannemers van plafoneer-,cement-,staff- en ornamentwerk, droge bepleistering, dekvloeren, voegwerk en gevelreining, pp 12-13, Brussel, 2017 Jaeger, Robert. Reusing Religious Properties. The Magazine of Partners for Sacred Places, 2005 Kinder, Terryl N., and Peter Fergusson. Perspectives for an Architecture of Solitude: Essays On Cistercians, Art and Architecture In Honour of Peter Fergusson. Turnhout: Brepols, 2004.

Lawrence, C. H. Medieval Monasticism: Forms of Religious Life In Western Europe In the Middle Ages. 3rd ed.

Harlow: Longman, 2001.

Mathiez, Albert. La théophilanthropie et le culte décadaire : essai sur l'histoire de la Révolution 1796-1801, Paris, 1903

Moens, Kevin Installatie en Bouw. Vaktijdschrift over installatietechiek, klimaatbeheersing en electirciteit.

Brussel, 2016.

Musschoot, Dirk Van Ottogracht Tot Krook: Het Verhaal Van De Gentse Stadsbibliotheek (1804-2017). Edited by Els Van Rompay and Myriam Verreycken. Gent: Snoeck, 2017 Norberg-Schulz, Christian Meaning In Western Architecture. London: Studio Vista, 1975.

Norberg-Schulz, Christian The Concept of Dwelling: On the Way to Figurative Architecture. New York (N.Y.): Electa/Rizzoli, 1985.

Pas, Paul, Alfons De Belie, and Patrick Malengreaux. De Wase En Gentse Boudelo-Abdij, Van Paleis In De Moerassen Tot Eiland In De Waterwijk. Belsele: Culturele Kring Boudelo, 1998.

Plevoets, Bie. Retail-Reuse of Historic Buildings. Which type of buildings can be suitable for retail-reuse? And how can retail design respect the historic value of the monument? Raymond Lemaire International centre for conservation, Leuven, 2009.

Potvlieghe, Ghislain, : Orgelstad Gent,( Fons de Haas en Irène Smets: Mozart in België )1990 Schittich, Christian. Bauen Im Bestand: Umnutzung, Ergänzung, Neuschöpfung.Basel, 2012 Staes, Bert. Breek de oude stadsbibliotheek af. Het Niewsblad. Gent : Het Nieuwsblad, 2013 http://www.nieuwsblad.be/cnt/dmf20130118_00438451 Staes, Bert. Koper gevonden voor oude stadsbibliotheek en Baudelokapel. Gent : Het Nieuwsblad, 2013 http://www.nieuwsblad.be/cnt/dmf20130118_00438451

Tollenaere, Rudy. Bezoekers Holy Food Market parkeren in Baudelopark. Het Niewsblad, 2017. http://www.nieuwsblad.be/cnt/dmf20170305_02763456

Van den Bosch M., architectura.be, 2016 - http://www.architectura.be/nl/nieuws/14460/holy-food-market-inhistorische-baudelokapel-uitgerust-met-modern-warmtecomfort Van der Meulen, Marcus, Interior Conversions : redesigning the village church for adaptive reuse, Bologna 2017.

Van der Meulen, Marcus Baudelo Abbey or a Gothic Revival in Ghent, Belgium. Brussels : Future for Religious Heritage [FRH] july newsletter, 2017 Van ’t Veen, red. Een toekomst voor kerken. Handreiking voor herbestemming van vrijkomende kerkgebouwen, Rijksdienst vor het cultureel erfgoed, 2011.

Van Tyghem, Frieda, Pisson, Jean Baptiste, Architect. Brussel: Paleis der AcademiĂŤn, 1970.

Vyncke, Petrus Franciscus Geschiedkundige Schets Der Abdij Van Baudeloo. Gent: Vyncke, Zabeau-Van der Verren, Lucie, and Firmin De Smidt. Bouwgeschiedenis Van De Abdij Van Baudeloo. Diss. lic. kunstgeschiedenis en oudheidkunde.