Written by TOON ANTHONI Photographed by THIBAULT DE SCHEPPER tibods.com August Hotel august-antwerp.com

AugustA conversation with Vincent Van Duysen

It was no weather for a wool shirt, but August’s chapel turned into a bar kept me cool enough. It’s quiet here. August is a hospitality project in a transformed old Augustinian convent and Vincent Van Duysen’s first-ever hotel project, situated in Antwerp’s Green Quarter. The cloister sits in between a 19th century military hospital that has been redeveloped into apartments and a former storehouse that now holds restaurants, cafés, offices and a rooftop farm. The sun breaks through the windows and is reflected in large mir-rors hanging on the walls brightening parts of the marble floor. The mirrors bring in the way the sunlight plays, taking in what is outside and reflecting on what’s going on inside.

Vincent walks in. His work is characterized by a symbi-osis between architecture, interior and product design and his refined choice of materials. “35 years like hell… travel is killing me. I want to slow down. I am. I just have a lot of

energy.” Although his work is often based around the idea of slowing down, it is hard to apply those ideas to oneself. He explains that one aspect of this slowing down is the creation of visual silence and creating spaces that are sensory and emotional. And the chapel is the perfect example. “Silence is important, you have to have a sense of rest and seren-ity. We are in a chapel, but it is scaled down to the peo-ple that occupy the space”, he explains, having undergone the effects himself now and kicking it back comfortably in a greenish, leather armchair. For this project, Vincent has worked closely together with Mouche Van Hool, the driving force behind August.

“you have got to get rid of the excess and in doing so you create something more. It’s a process of balancing by eliminating.” Vincent’s temporary ease is broken by his pas-sionate nature as he leans forward while speaking. “I touched

“Silence is important, you have to have a sense of rest and serenity. We are in a chapel, but it is scaled down to the people that occupy the space.”

31STAY August Hotel

everything, every material, every fabric, every colour.” The modern additions Mouche and Vincent introduced comple-ment the existing elements like tiles or wood that had always been there. Wall panels in a certain green inspired a recur-ring colour scheme throughout the hotel and the carpets match the colour of the bricks. “Everything has to have a soul and a reason to exist”, Vincent explains, “that’s why, from the lighting to the furniture, it is all craftsmanship.” Vincent notices a lack of integrity and a loss of awareness in today’s society which he believes is due to consumption and an un-healthy focus on immediacy. August tries to counter that by offering its visitors a sanctuary to come to rest. August surprises you with its proportions, layering, the fabrics used, the colour patterns, the hidden gardens and the play of light. It is all but a boring thing to walk around here. Above the entrance of the chapel there is the mark of two little cher-ubs holding hands. The statutes themselves are not there anymore. “There have to be imperfections”, Vincent says, “but it’s not a tool, it just has to be. Then there is something seductive about it.”

Saint Augustine of Hippo once said (supposedly) that “nothing conquers except truth, and the victory of truth is love.” He was talking about truth through learning and loving what you do. After 35 years of hell (supposedly) Vincent is projecting onto himself what he always aimed at in his work: stillness, reflection and calm. I also remember that he said he hates predictability. In one of the rooms underneath the wooden ceiling I was looking out of the window. The glass was warm from the sun and there was a soft creaking and the smell of wood as I took in a view I thought I knew so well.

“That’s why, from the lighting to the furniture, it is all craftsmanship.”

32 Openhouse

34 Openhouse