A gothic palace in microcosm, the Gruuthusemuseum is named after a shrewd 15th-century businessman, Louis de Gruuthuse (1422-92). Also a successful diplomat with a taste for fine art, his name comes from his family’s monopoly on the sale of “gruut”, a mixture of herbs used to make beer in medieval times.
Louis had what amounted to a fortune in medieval Bruges – and the Gruuthusemuseum is his legacy. Embellished with outstanding 15th-century art, sculpture and architecture, the Gruuthuse, so called after its original function for storing gruut, was first refurbished in the late 19th century, when neo-gothic elements were added. This was also the beginning of the building’s life as a museum.
Over the past five years, the Gruuthusemuseum has gone through a total renovation, so that all its gothic and neo-gothic pinnacles, passageways and perpendicular patterns are restored to their former glory.
What was the museum like before the renovation?
Till-Holger Borchert: There used to be as many pots as possible on display. That can be interesting, but not to everyone. Before, the building was quite separate from the collection, but the architects we’ve used for the renovation have made the interior part of the display, so that it’s more of an immersive experience. We’ve created a much more content-driven use of the spaces.
What part of the restoration was most complicated?
The masonry and the entire exterior restoration, but also the interior stonework, woodwork, electricity, piping, water, toilets, facilities and staircases. It all cost a lot.
How do you tell the story of the building with the displays?
Luckily, Louis de Gruuthuse had a motto: “plus et en vous” or “there is more in you”. We’ve interpreted this in some cases as “less is more”. So we’re using the objects not only as objects, but also as sources for rediscovering and diving into the history.
What do you have on show?
The objects tell different stories about the history of Bruges, and we’ve added layers to the history of the people in this city. The idea of bringing all these layers to the public is rather ambitious – how it should be. To look at the Middle Ages right up to the 19th century is a challenge in this massively restored neo-gothic building, which is practically a monument itself.
What are the highlights?
Louis de Gruuthuse’s private oratory, which is purely architectural, has been beautifully restored. It peers out over the altar of the Church of Our Lady, which is adjoined to the Gruuthuse. There’s even a hatch that Louis and his wife could open to let the potent scent of incense in while they prayed.
What acquisitions have you made?
We looked at the collection and tried to identify weaknesses. The Burgundys were the ruling royal family that Louis was courtier to, so we bought an early 16th-century sculpture of Philip the Fair of Burgundy as Saint George Slaying the Dragon, as well as an illuminated manuscript probably commissioned by Louis and a 17th-century tapestry, the Piety of Hanna. Some are being restored ready for display in coming years.
Given the building’s age, is the museum accessible?
I’m happy that after all this – I’ve worked here for 20 years – we have taken this challenge up seriously and have introduced tactile elements to most of the displays, for people with visual impairments. This happened only because the entire building is not accessible for wheelchair users. I find it regrettable that we are not able to have wheelchair access, but I am proud of the fact that at least we can do something for people who are otherwise often forgotten in museums. We also have video guides using sign language for those with hearing impairments.
What’s special about the new ticket office?
Visitors used to enter the museum to purchase tickets, but it was a bit of a waste because most would enter, ignore the beautiful house, and instead search for the ticket office. Now, we have a ticket pavilion adjacent to the museum, which looks like a modern interpretation of gothic with its spiky structure. But the essence is that the contrast between the old and new makes people more aware of the old.
What does the future hold for the Gruuthusemuseum?
The pavilion sort of makes a closed square outside the building, which has great potential for open-air events. Hopefully this will trigger all sorts of cultural events in the city. Then there’s the new exhibition hall that we want to open in 2024. Finally, I would like teachers and children to think the Gruuthusemuseum is the perfect place to teach history. That’s how it should be.
museabrugge.be/en/visit-our-museums/our-museums-and-monuments/gruuthusemuseum
Louis had what amounted to a fortune in medieval Bruges – and the Gruuthusemuseum is his legacy. Embellished with outstanding 15th-century art, sculpture and architecture, the Gruuthuse, so called after its original function for storing gruut, was first refurbished in the late 19th century, when neo-gothic elements were added. This was also the beginning of the building’s life as a museum.
Over the past five years, the Gruuthusemuseum has gone through a total renovation, so that all its gothic and neo-gothic pinnacles, passageways and perpendicular patterns are restored to their former glory.
Each floor of this vertiginous building is devoted to a different period in Bruges’ history. The museum delivers a healthy assault on visitors’ senses, from coloured tiles under foot to the extraordinary array of objects on display and the ingenious range of interactives.
There’s a smell-station, a silhouette seat to draw a friend’s profile, extravagant 18th-century wigs to prance about in, an excellent interactive map of Bruges, and 19th-century photographs made three-dimensional. All these add up to a thoroughly involving experience that should make people want to return, as Till-Holger Borchert, the director-general of Musea Brugge, hopes.
What was the museum like before the renovation?
Till-Holger Borchert: There used to be as many pots as possible on display. That can be interesting, but not to everyone. Before, the building was quite separate from the collection, but the architects we’ve used for the renovation have made the interior part of the display, so that it’s more of an immersive experience. We’ve created a much more content-driven use of the spaces.
What part of the restoration was most complicated?
The masonry and the entire exterior restoration, but also the interior stonework, woodwork, electricity, piping, water, toilets, facilities and staircases. It all cost a lot.
How do you tell the story of the building with the displays?
Luckily, Louis de Gruuthuse had a motto: “plus et en vous” or “there is more in you”. We’ve interpreted this in some cases as “less is more”. So we’re using the objects not only as objects, but also as sources for rediscovering and diving into the history.
What do you have on show?
The objects tell different stories about the history of Bruges, and we’ve added layers to the history of the people in this city. The idea of bringing all these layers to the public is rather ambitious – how it should be. To look at the Middle Ages right up to the 19th century is a challenge in this massively restored neo-gothic building, which is practically a monument itself.
What are the highlights?
Louis de Gruuthuse’s private oratory, which is purely architectural, has been beautifully restored. It peers out over the altar of the Church of Our Lady, which is adjoined to the Gruuthuse. There’s even a hatch that Louis and his wife could open to let the potent scent of incense in while they prayed.
What acquisitions have you made?
We looked at the collection and tried to identify weaknesses. The Burgundys were the ruling royal family that Louis was courtier to, so we bought an early 16th-century sculpture of Philip the Fair of Burgundy as Saint George Slaying the Dragon, as well as an illuminated manuscript probably commissioned by Louis and a 17th-century tapestry, the Piety of Hanna. Some are being restored ready for display in coming years.
Given the building’s age, is the museum accessible?
I’m happy that after all this – I’ve worked here for 20 years – we have taken this challenge up seriously and have introduced tactile elements to most of the displays, for people with visual impairments. This happened only because the entire building is not accessible for wheelchair users. I find it regrettable that we are not able to have wheelchair access, but I am proud of the fact that at least we can do something for people who are otherwise often forgotten in museums. We also have video guides using sign language for those with hearing impairments.
What’s special about the new ticket office?
Visitors used to enter the museum to purchase tickets, but it was a bit of a waste because most would enter, ignore the beautiful house, and instead search for the ticket office. Now, we have a ticket pavilion adjacent to the museum, which looks like a modern interpretation of gothic with its spiky structure. But the essence is that the contrast between the old and new makes people more aware of the old.
What does the future hold for the Gruuthusemuseum?
The pavilion sort of makes a closed square outside the building, which has great potential for open-air events. Hopefully this will trigger all sorts of cultural events in the city. Then there’s the new exhibition hall that we want to open in 2024. Finally, I would like teachers and children to think the Gruuthusemuseum is the perfect place to teach history. That’s how it should be.
museabrugge.be/en/visit-our-museums/our-museums-and-monuments/gruuthusemuseum
Project data
- Cost €9.1m
- Main funders Flemish Community (restoration); City of Bruges; Visit Flanders
- Architect noAarchitecten; Monument Group
- Restoration Ava Partners; Artes Woudenberg
- Exhibition design noAarchitecten; Bruns
- Graphic design Koen Bruyñeel
- Interpretation Lisa Page
- Interactives Danse la Pluie; Ocular
- Audiovisual Danse la Pluie; Ocular
- Film Danse la Pluie
- Lighting Joost De Beij
- Display cases noAarchitecten; Bruns
- Visual impairment aids Tactile Studio
- Admission Adults €12; concessions €10; under-17s free