Return of Testerep

‘A projective graphic narrative of parallel perspectives on breaking open concrete and negotiating with the sea.’
Foto Emma



As an intermediary space and a common product between human beings and other earthly powers, the coastline is an infrastructure hallmarked by its state of ongoing crisis. From the commotion on this border, the Earth’s architecture is emerging from the ceaseless embrace between land, living beings, and the sea.” (Trévelo et al., 2021)



Sea:

Here where we are, in the middle, used to be Tes terep. During the Middle Ages, this marsh-like peninsula was separated from the mainland by a large E-W oriented tidal gully. Dunes moved around me. My tides shaped the landscape. In the 13th century, a fishing settlement was establis hed on the peninsula, close to a local tidal gully. My Drainage works lowered the land, and as a result large parts of Testerep were flooded after fierce winter storms in the following centuries, also partly destroying the settlement. The village was definitely abandoned in the 15th century and relocated behind the new dike. In the face of my ceaseless and uncontrollable moods, living beings have no choice but to organize their worlds.



DIGGER



Sea:

Digger is always around. She and the dyke seem to form a unity, constantly reinforcing the dike and making it higher and higher. I think the roug hness of my borders and the whirls of my waves are triggers to control me. Where I embrace the land, the coastline is a concrete wall now. As if they, in the end, could win the battle.

Sea:

You look so diligent, Digger.

Digger:

[vrrzzrrvrrr]

I see no single cloud but I feel it, millennial flood is coming; I feel like I should do something.

Sea:

Will you choose my side? I long for more room to play.


[SOUND OF THE FLOOD]


Afbeelding 1
***

TRAM



Sea:

Tram has been crossing this land for quite some time now. She was in fact a catalyst for the development of many settlements here at my coast who later became villages and towns. And who are now connected like one urban knitting along the coast. But here, in the middle, it seems as if this wall of buildings has been broken through, as if the land is showing me a window of opportunity.

Tram:

Tramstop feels like coming home to me.

Sea:

Seeing you here again and again makes time real for me.

Sea:

Digger behaves oddly.

Tram:

...and you, Sea, you seem restless.

[SOUND OF THE FLOOD]



Afbeelding 2a


Afbeelding 4


Afbeelding 3


GIRL


[SOUND OF THE FLOOD]

***


Sea:

It is cold and the holiday park behind the dike is silent. Only one figure moves behind a window. This human being apparently wishes to stay and does not look prepared like I am. Girl: Is there still someone else here?


Digger:

[vuuzzzrrrrrv]




Tram:

Girl, I just see another storm coming.



Girl:

Where will we sleep?

Or take showers?

What about cooking?

Afbeelding 7




Afbeelding 6




Architecture comes to life, vibrates, breathes and transpires, absorbs and disgorges, becomes calcified and oxidized. Its structures become overgrown with moss and all sorts of organic matter, germinate and flower, and get colonized. It also trembles, burns, corrodes and erodes, collapses, becomes flooded, silted up with sand and mud, breaks up, scatters, and is erased.” (Trévelo et al., 2021)


Sea:

Hey, there is Testerep once again. The Earth is nota fixed and natural décor, but a body being continually formed and transformed by the actions and reactions of all those who, be they living or non-living, bring life to it.
Girl:

We will bend to the conditions, we won’t break.




Tram:

What will the two of you do when I come over again?

Digger:

We will welcome you and build a shelter with the beached fragments of the storm, here on the new Island Testerep.





Girl:

And we will roll up our trousers so that only our toes get wet.



Afbeelding 5
















Afbeelding Testerep

A dynamic past - Testerep

The story takes place along the belgian coast, somewhere near present-day Raversijde. By studying the history of the site, a place that caught my attention because of the lack of high-rise buildings. I tried to get to know her better. The site, and by extension the Belgian coastline,has a rich geologic and geographic past. The region has a history of moving back and forth, of flooding, reclamation and dune formation.

In the 10th century, there was even an island. It was named ‘Testerep’ and located in front of the coast at the location of the current site.
Westende and Oostende were respectively on the western and eastern sides of the island and Middelkerke was the middle. The area between the island and the mainland was a mud and salt marsh, a so-called tidal channel, and was completely flooded at high tide.
A prerequisite for the first small settlements of fishermen and shepherds was the formation of a dune belt that protected them from the fierce sea.

Today, the Belgian coastline is a concrete wall that is continuously reinforced. As if we, in the end, could win the battle against the sea with concrete. In “The Earth is an architecture”, a book about the Earth (the authors write it with a capital ‘E’) being a site of construction common to all material elements and living organisms (Trévelo et al., 2021, pp. 15-19), some interesting terms are discussed about the relationship between humans and the sea and how this impacted the visual appearance of our coastline.’ In a similar way, Wim Wambecq and Bruno De Meulder describe the process that has changed the Belgian coastline as follows: “Urbanization on the Belgian coast is peculiar. It is the result of stupefaction, awe and amazement for the coastal forces,undone by the human hubris. The human presence has been persistent, yet all man-made interventions unleashed on the rebound reactions of natural forces. The roughness of the coastal landscape triggered the development of innovative systems that deal with forces that were once considered uncontrollable.
Gradually, the coastal landscape was kept under control and through this process of domestication, its natural character vanished. What was once a tidal landscape of continuously moving dunes, intruding and retracting water landscapes and meandering creeks turned into a linear system of sea and a stretch of sand, held by the urbanized dike.
Nowadays, even the polders, another result of the domestication of the sea, are invaded by the holiday driven urbanization.” (Wambecq and De Meulder, 2017)




This wild and vibrant setting is trying to express itself into the story.






























Bibliography


Books (8)
Baldacci, P., and Jennings, J. (1997). De Chirico: The Metaphysical Period (1st Edition). A Bulfinch Press Book / Little, Brown and Company.
Debaeke, S. (2005). Oostende graag gezien. Klaproos.
Delvaux, A. E. B. P. Z. (2021). Paul Delvaux: Odyssee van een droom. Museum.
Kroonenberg, S. (2017). Spiegelzee. Atlas Contact.
Moor, G., Vlaams Instituut voor de Zee (Oostende)., De Moor, G., and Vlaams Instituut voor de Zee (Oostende). (2006). Het Vlaamse strand. VLIZ.
Studiekring Eerste Millennium. (2009). Zee, wind, veen en land. Papieren Tijger.
Trévelo, P. A., Malaud, D., Viger-Kohler, A., Enon, D., Bullier, A., Ragoucy, O., and Mercuriali, M. (2021). The Earth Is Architecture. Dreen, Markus, Anne König u. Jan Wenzel. Spectormag GbR.
Vaughn-James, M. (1975). The Cage. Coach House Books.


Report(1)
Renders, M. (2010). De Kusttram, 125 jaar erfgoed! (Nr. 27). VLIZ. http://www.vliz.be/docs/groterede/GR27_ Kusttram.pdf


Video(1)
Hyde Lecture - Luis Miguel Lus Arana. (2018, 27 februari). [Video]. YouTube. https://www.youtube.com/ watch?v=7xq_SnAvNek

Website(1)
Van Reybrouck, D. (2012). Moments Before The Flood. Carl De Keyzer - Photography. https://www.carldekeyzer. com/moments-before-the-flood-1


Scientific articles(4)
López-Calvo, I. (2014). On Magical Realism as an International Phenomenon in the Twenty-First Century. In I. López-Calvo (Ed.), Critical Insights: Magical Realism. Salem Press.
Lus Arana, L. M. (2019). Ficciones. De la arquitectura narrativa y las narraciones arquitectónicas al arquitecto como contador de historias. Proyecto, Progreso, Arquitectura, 20. https://doi.org/10.12795/ppa.2019. i20.03
Missiaen, T., Evangelinos, D., Claerhout, C., De Clercq, M., Pieters, M., and Demerre, I. (2017). Archaeological prospection of the nearshore and intertidal area using ultra-high resolution marine acoustic techniques: Results from a test study on the Belgian coast at Ostend-Raversijde. Geoarchaeology, 33(3). https://doi. org/10.1002/gea.21656
Shin, J. (2016). Dreams of Modernity: Psychoanalysis, Literature, Cinema by Laura Marcus. Modernism/ modernity, 23(4), 59–220. https://doi.org/10.1353/ mod.2016.0083
Wambecq, W., and De Meulder, B. (2017). Between Land and Sea: Reshaping the Belgian Coastline A Case Study between Ostend and Blankenberge. The Plan Journal, 2(2). https://doi.org/10.15274/tpj.2017.02.02.20


Movies(4)
Gan, B. (Director). (2018). Long Day’s Journey into Night [Film]. Zhejiang Huace Film and TV, Dangmai Films, Huace Pictures.
Lynch, D. (Director). (2001). Mulholland drive [Film]. Asymmetrical Productions, Babbo Inc., Canal+, The Picture Factory.
Miyazaki, H.(Director). (2002). Spirited away [Film]. Studio Ghibli.
Resnais, A. (Director). (1961). L’année dernière à Marienbad [Film]. Cormoran Films, Silver Films, Terra Film.
Scott, R.(Director). (1982). Blade runner [Film]. Blade Runner Partnership, The Ladd Company.
Tarkovsky, A. (Director). (1975). Mirror [Film]. Mosfilm.

welkom

Ik ben Emma, geboren in Sint-Niklaas (1997). Sinds 2022 werk ik als architect. Naast mijn enthousiasme voor bouwen en bouwpraktijk, vind ik al lang veel plezier in illustratie en storytelling. Ruimtelijke analyse van een plek door het verhaal ervan te ontwarren is een methodologie die ik gebruik om architectuur te benaderen als een dynamische iets in een veranderende context.

De zee, het weer, het klimaat, het dynamische, inspireren me tot verhaal.

Voor mijn masterthesis architectuur (Sint-Lucas, Gent) maakte ik in 2021 een graphic narrative - Return of Testerep. Het is een verhaal en een onderzoek. Dat vind je hier op de website - op de "verhaal" pagina.
In de toekomst wil ik graag de kracht van het gemanipuleerde (architecturale) beeld van het veranderen verder onderzoeken.

lieve groetjes
Emma Herregods
emmaherregods@gmail.com