Architecture firm Robbrecht and Daem designed the building for the new entrance to the Rubenshuis. Where did the concept come from? How was the idea developed? And what is the link with the artist? Architect Paul Robbrecht explains.
Was the work of Rubens an inspiration?
Paul Robbrecht: "Rubens is always inspiring. I already admired him as a child, and copied his paintings. I still have that fascination. It's above all the dynamism in his work appeals to me. It's strange, because that's at odds with everything that architecture is about: a straightforward art form where it is strictly stipulated how something has to be built. That's why it was so fascinating to incorporate a kind of movement in this design. You can see that, for example, in the way visitors get from one end of the building to the other. The large stairs don't ascend in one line, they work their way up diagonally. Outside, the façade columns are reminiscent of the many muscular ribcages in Rubens' paintings. All emotive references, rather than purely visual ones. It was a deliberate choice."
A state-of-the-art building on a historic site. How did you reconcile those two elements?
Paul Robbrecht: "You're quite right. The Rubenshuis is more than the old artist's residence. The portico, garden and pavilion are still eye-catchers. The three arches of the portico form the entrance to a separate world. The new entrance is completely to the side and not visible through the openings. You see the house and the garden first, and only then do you experience the modern extension. From the outside, it therefore has a very discreet presence, but once inside you can oversee the entire site perfectly. Everything ultimately forms a harmonious whole, in a very subtle way.
Another nice detail is that the building occupies the spot where Rubens kept his huge collection of books in a number of smaller houses. This idea of a study is continued on the inside. Besides the reception and the ticket desk, visitors can also browse through the thousands of documents in the library. And there is now additional space for administration and management."
So 400 years later, you get to build on Rubens' architectural vision. Amazing, right?
Paul Robbrecht: "Yes, especially with the portico, Rubens really left his mark as an architect. The clever perspective line immediately draws your attention to the garden pavilion. He got that idea from the highly imaginative Mannerism movement in Italy. In Mantua he saw the work of Giulio Romano, and in Rome he studied the artistic legacy of Michelangelo. The similarities with the latter are striking, even though they are some three-quarters of a century apart. Like Michelangelo, Rubens became an architect from his painting. His buildings therefore have something painterly about them. There is a lot of granularity in them. As a contemporary architect, you have to incorporate that into your work. We added that painterliness via the shadow and light play of the columns in the façade."
The Rubenshuis is a mix of functions in the heart of the city. Wasn't that a complex commission?
Paul Robbrecht: "Absolutely. When Rubens moved here, the Wapper was still a kind of boundary area between Antwerp and 'beyond'. The city got bigger and bigger and today largely takes up the entire vista. You have to imagine the old landscape these days. But the whole complex around Rubens' house - together with the Kolveniershof - was a world in itself back then. With a lot of artistic vibes, but also strong family ties and close friendships. Rubens' mother also lived nearby. Despite the many renovations, these memories are still in the buildings. We added a historical layer with the contemporary construction. That way, we continue writing the story. With a lot of respect for the past, but at the same time convinced that it is almost essential to add something from your own time to a city. Even in a historically valuable environment like the Rubenshuis. In fact, going back in time would be disingenuous.
Don't forget, Rubens was a modern architect and he would probably have the same approach as us today. What he built back then was actually just as ground-breaking for the time. He introduced a new form of architecture. Although we shouldn't underestimate the Antwerp of the time. The port connected the city to the whole world, and figures like Plantijn left their mark. It was a metropolis open to new things. Just like today. That's why we sent a very clear and bold signal from the street side: here you step into another world. From the commercial heart straight to the heart of the great artist. Something completely different, that demands more concentration and a keener eye than do the nearby shops."
How do you start a design like this one, knowing that everyone - including Rubens - is looking on?
Paul Robbrecht: "You think of Rubens and certain things come to mind. Especially the fact that he had his own library here provided tons of inspiration. The building is therefore conceived as two bookcases opposite each other. It is crammed full with reference books and documents across its five floors. Both in the bookshop, the library and the functional rooms. A big idea that goes back to a small footnote. You read that and start brainstorming.
Rubens was also a family man. He lived in that house, played with his children in the garden and painted portraits of pretty much the whole family. That pleasant aspect naturally crept into the project. Whereas the exterior - partly because of the five floors - makes a strong monumental impression, the interior is much more homely. All the books everywhere generate a kind of warmth. And they also soften and dampen the sound."
That home-loving family man from Antwerp was world-famous. Is that international character also in the design?
Paul Robbrecht: "Rubens drew inspiration from the art of ancient Rome. And so each of his creations has a memory, often based on classical convictions. Our project is no different. The plan is based on the ABA form from geometry, which has its origins in music. This is a universal aspect within the world of architecture. But it definitely wasn't going to be an international showcase building. We stayed well away from that."
You clearly love Rubens' work. Which painting is your favourite?
Paul Robbrecht: "Choosing one is difficult. I like the highly monumental works. Most people find them a little over-the-top, but I see them as abstract paintings. I try to see the content in isolation, and get carried away by the amazing dynamism. But ultimately I would choose the smaller paintings depicting the entombment of Christ, or the paintings of women and apostles standing around him weeping after his death. I find that diagonal movement of the glowing lifeless body in a dark setting incredibly fascinating. The incredible depictions of the descent from the cross also often come to mind. They transcend spectacle.
Rubens was one of the first painters to work together with other artists to achieve the final result. He surrounded himself with impressive talents like the young Antoon van Dyck. One was good at drawing animals, the other landscapes. I like to compare that to our profession as architects. We also no longer work as individuals now, but in groups. With people from different disciplines with whom there is a lot of intensive communication on a daily basis. People often say about Rubens: 'He didn't do that himself'. That's exactly why he was a progressive artist. It's the same way we make films and theatre today, right? It may start with one person, but it ends up being teamwork. And that was no different for the realisation of this project."
