Interview with Paul Robbrecht

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."

"Rubens fascinated me even when I was a toddler. I copied a lot of his drawings.” 

“The extension with the portico, garden and pavilion means that the Rubenshuis is more than just an artist's residence. We therefore discreetly added something new to it.” 

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." 

"The site is adjacent to the main retail area of the city. On the street side, we give a clear message: enter here and you are entering a different world." 

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." 

"Rubens is one of the first artists who worked together with other artists to achieve the final result. Just like an architect then." 

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."