GUIDE / ANTWERP / THE HUMAN SCALE

FAST GUIDE TO SLOW ANTWERP

Le Corbuiser had a vision of the future of cities that entailed people living in massive, modernist skyscrapers, neatly organized in ways that facilitated both transportation and recreation between the giant towers. If he ever visited Antwerp, he would probably have been disappointed by the small and human scale of the town. In recent years, the city has undergone a radical transformation, especially in the north part, where new buildings continue to reshape the city’s skyline. But even in this area, reminiscent of the Isola neighbourhood in Milan, the humanity of the scale is still noticeable.

The human scale of Antwerp is what sets it apart from many other places. With only approximately 500,000 inhabitants, it is very walkable. The city has both an underground metro and a tram system, but most days there is no need to use either, as it is possible to walk more or less everywhere. To many Americans, visiting Antwerp can bring about a certain déjà vu – even during the first visit, there is something strangely familiar about the layout and the architecture. This is not so odd, as many emigrants from Belgium and the Netherlands were inspired by their former homes when settling down in America. In cities like New York, many streets are built in the image of towns such as Antwerp, with small (often only three or four stories tall) townhouses placed in long rows along quiet streets.

Traveling to a new country, many prefer to visit the capital: Paris in France, Rome in Italy, Oslo in Norway or Brussels in Belgium. This affects the relationship between these capitals and the second-tier cities, such as Nice on the French Riviera, Florence in Tuscany, Norway’s Bergen or Belgium’s Antwerp. There are longstanding historical and cultural tensions between the capitals and these smaller cities. This tension is, however, precisely the reason it is interesting to visit a town such as Antwerp. Being able to develop according to its own pace and to fine-tune its own style, away from the international politics of nearby Brussels, Antwerp has a very distinct personality.

¨In many ways, Antwerp is distinctly Belgian. ¨

In many ways, Antwerp is distinctly Belgian. Situated in-between two strong and dominant neighbours – Germany and France – the country has been invaded more times than they can count. As a strategic response, the Belgians have developed a strange, almost surreal kind of humour. It is visible in the art of Magritte and in the celebrity of Manneken Pis – a small boy peeing – but it is present also in the everyday as a quirkiness that is both subtle and constantly present. One example of this is the art museum Art aan de Stroom, or MAS for short, designed by the Rotterdam-based architect bureau Neutelings-Riedijk Architecten. Surrounded by water on all sides, the museum houses several important collections, tracing the history of the city. At the same time, it is possible to visit the building simply to experience the building and a 360 degrees-view of the city, as the stairs circle around the interiors, before finally ending up on the roof.

¨In Antwerp, as well as in other places, art and finance have always gone hand in hand. ¨

What we go through during a lifetime defines us. This is true of people and it is true of cities. Antwerp has always had a strategic position, close to where the river Scheldt meets the ocean. This has made the city both affluent and influential. In the 16th century, the art market of Antwerp was one of the world’s advanced, with painters such as Quentin Metsys, Jon Gossaeri and Pieter Bruegel the Elder taking up residence in the city. In Antwerp, as well as in other places, art and finance have always gone hand in hand. The developing of other creative industries, such has tapestry weaving, diamond cutting, silk weaving, glass work and woodcarving attracted some of the most skilled workers to come here, aiding in the style so typical of this place, that is undeniably Flemish.

In the 17th century, Antwerp was a net exporter of pigments and dyes. Many Flemish fabrics were also brought to Antwerp to be dyed – azurite, indigo, Verdigris, lead white and so forth – before being exported. Venice was the centre for distribution of pigments in southern Europe, while Antwerp held the same position for the northern regions. The “Antwerp blue” is known as a rich, transparent kind of blue, a softer version of the Prussian blue, which was the first synthetic blue pigment, made by German chemist Diesbach in the early 1700s.

One of the most famous places in Antwerp, with strong connections to European art history, is Rubenshuis (or Rubens’ house). Bought in 1610 by the artist Peter Paul Rubens, one year after his marriage to Isabella Brant, it was remodelled to resemble an Italian palazzo. The courtyard is still in the Baroque style that he designed. Rubens spent most of his life here. Since 1946, it has been open to the public.

Antwerp is not only a place of historical opulence, but also marked by an informal and bohemian atmosphere. In summer evenings, many gather in public areas to relax and drink beer. Another aspect to Antwerp is the strong presence of the Jewish orthodox community, noticeable particularly in the Diamond Quarters close to the iconic Central Station. The station is a symbol of a time when traveling was a rare luxury, and beginning a train journey was to be viewed as the beginning of an adventure, while also arriving at one’s destination should be a source of celebration.

It is not only art and architecture that has made its mark on the town of Antwerp. Linda Loppa, one of the most influential names in international fashion, was for 25 years the director of the fashion department at Antwerp Royal Academy of Fine Arts. In this role, and also using her own personal network, she would connect emerging Belgian fashion designers with the French fashion industry, thus facilitating the emergence of the contemporary Belgian fashion scene. Historically speaking, Martin Margiela – as one of the most significant proponents of deconstructive anti-fashion, questioning traditions and norms of what fashion looked like at the time – is the one that has had the most significant impact on the development of fashion. Dries Van Noten is another strong, creative force in Belgian fashion. His flagship store, Het Modepalais, on Nationalstraat 2, is one of the most beautiful shops in Antwerp, with womenswear on the ground floor and menswear on the first floor. Known for never having produced traditional advertisement for the fashion house, the stores are where the brand identity is communicated in the most coherent and interesting way.

A complement to the contemporary brands, one of Europe´s oldest and most prestigious glove shops, Ganterie Boon, is situated on Lombardenvest 2. In business since 1884, this family-run company offers gloves in different models, shapes, materials and colours, all handmade in Italy, France and Hungary, which ensures that no two pair of gloves are exactly the same.

Antwerp is not only about art and commerce but also about relaxation. The small Botanical Garden, along Leopoldstraat, is more than 200 years old and has been managed by the city since 1926. Another place to unwind is the Béguinage d’Antwerp, which is a series of interconnected houses for members of a lay sisterhood in the Low Countries, built around a small park. It was not exactly a convent, but nevertheless centred around a church.

Similar to Brussels, Antwerp is known for its beautiful Art Noveau-buildings, in particular in the area of Zurenborg, where buildings by prominent architects such as Joseph Bascourt, Émile Van Averbeke, Émile Thielens and Frans Smet-Verhas all are part of the neighbourhood. The golden triangle of the area is along the streets Transvaalstraat, Waterloostraat and Cogels Osylei. Particularly the latter one has many interesting examples of various architectural styles alongside the Art Nouveau-buildings, perfect for an evening walk.