Netherlands' largest war memorial aims to become symbol for refugee reception

The Belgenmonument in Amersfoort is the largest war memorial in the Netherlands. Construction started a hundred years ago. It was recently restored, but no longer has a function. New meaning is being sought.

Architecture centre FASadE launched a design competition for this purpose. The aim: to give the Belgenmonument renewed significance as a memorial but also as a symbol of the reception of contemporary displaced persons.

The jury led by (Belgian) NRC editor-in-chief Peter Vandermeersch chose 'Museum for Hospitality', by London-based Dutch architect Matthijs la Roi, as the winning design. Whether the design will actually be implemented remains to be seen. For now, the financial resources are lacking.

Lamb

World War I monuments can make a big impression. For example, those who have visited the In Flanders Fields Museum in Ypres can relate to that. It is a chilling experience that is forever etched in the memory.

Compared to the In Flanders Fields Museum the Belgenmonument is a lamb in the meadow. No exploding shells, screaming soldiers, gas attacks or other ruthless misery. On the contrary. A lady walks her dog. A mountain biker toils past. A gentleman with a walking stick peacefully enjoys the autumn sun on a bench.

The memories of World War I and the Belgian refugees who built the monument could not be further away on this beautiful autumn afternoon.

Neutrality

During World War I (so aptly called The Great War by Belgians), nearly a million Belgian civilians and soldiers fled to the Netherlands. The soldiers were locked up in internment camps scattered across the country. A neutral country like the Netherlands had to ensure that they could no longer take part in the battle (e.g. by going to England). The Dutch government meticulously performed this task, for fear of still being involved in the war.

The soldiers were confined in Amersfoort in a far too small barracks. The sanitary facilities were inadequate, they were bored and not allowed to leave the barracks grounds. This led to incidents, culminating in a shootout because of an alleged escape attempt in which eight Belgians were shot dead.

To do something about boredom, work schools were set up. Later, internees were allowed to live and even work outside the camps, of course only if this was not at the expense of Dutch jobs. In 1916, the work schools offered to build a monument, 'as a tribute to the Dutch government and the nation, for all that has been done for the good of the internees and their families'.

The location chosen was the top of the (then) bare Amersfoort mountain. A spot that offered a wide view, as far as Utrecht and the Zuiderzee. The monument would be visible to everyone and from afar.

Balance

Belgian architect Huib Hoste had fled to the Netherlands because of the war. In Amsterdam, he became acquainted with Berlage, best known for his Beurs on the Damrak. A building with a strict rationalist design and lots of sculpture. Meanwhile, the Scheepvaarthuis was being built on Prins Hendrikkade: the starting point of the Amsterdam School. The architects (including Joan van der Meij and Piet Kramer) made decorative use of brick, as a reaction to Berlage's austere style. Sculpture also played a major role with them. Hoste was only too eager to turn his impressions into a new structure. That opportunity came when he was asked for the Belgenmonument.

He chose a design with a main building and a lower wall. The whole was built of building stone and was meant to exude balance, counterbalancing the chaos of war. On fine summer evenings, the setting sun would illuminate the front. In this way, the monument's two purposes were symbolised: the sun's rays emphasised gratitude for Dutch help to the refugees. The shadows embodied the suffering of the Belgian people.

Grapevines

The wall contains sculpture by Hildo Krop. He shows men and women fleeing and trying to save their babies. The Netherlands welcomes the refugees with food and books. The right part of the wall is reserved for victims of war: men with snapped necks, attacked by bayonets, holding their heads.

The main building has a less violent appearance. Swiss artist François Gos created the sculptures for this. A woman with long hair and folded hands among grape vines symbolises peace. A soldier has his hands on the plough, a woman carries a sheaf of wheat on her shoulders. In between, a group of children hold hands.

By the end of 1917, the monument was finished. Due to post-war tensions between the Netherlands and Belgium, it took until 22 November 1938 before it was officially handed over, when King Leopold III visited the monument together with Queen Wilhelmina.

Refugee issue

Initially, the monumental memorial was a tourist attraction, mainly because of the beautiful view from the top of Amersfoort Mountain. Belgian internees regularly gathered at 'their' memorial. But over the years, it fell increasingly into oblivion, despite several renovations and its designation as a national monument. A carillon was installed in the top of the middle column, and only during classes at the Utrecht Carillon School did the memorial make itself heard.

Until this autumn. The municipality organised a comprehensive cultural and educational programme on the Belgenmonument and the stay of Belgian refugees in the Keistad. A link was made to current refugee issues.

Syrian refugees were present at the official memorial service. Photo exhibitions in the city showed not only images from a hundred years ago, but also of contemporary refugees. Theatre programme 'Souvenir of a flight' formed a collaboration between Dutch, Belgian and Syrian artists. And architecture centre FASadE thus launched a competition, with 'Museum for Hospitality' by Matthijs la Roi as the winner.

Information pavilion

The jury report praised the "sculptural form language" of the design. The round shapes deviate from Hoste's sleekly designed main building. But the brick and natural stone match it. 'The new volume to be added,' the jury said, 'clearly enters into a dialogue with the existing monument and gives the existing, both wall and main building, new impulses, while leaving the existing, historical monument fully intact.'

As shown in the illustration, La Roi extends the existing monument with a 'pavilion' that provides information about the Belgians Monument, Belgian refugees and contemporary refugees.

Whether the 'Museum' of Hospitality will get there? The necessary money is still lacking. An employee of FASadE speaks of a conscious choice in this respect: 'After all, fundraising works much better on the basis of an inspiring design, which a broad group sees the added value of. Incidentally, exploratory talks have already taken place, including with a cultural fund, and contacts have also been made with the province.'

At the old?

For now, calm has returned to the top of Amersfoort Mountain. The Belgenmonument looks as forgotten as it has in recent decades. Whether Matthijs la Roi's design will change this? Whether the forgotten memorial will gain a new identity as a 'Museum of Hospitality'? Will it become a symbol for the reception of displaced people, past and present, in Amersfoort and all other places in the world? Let's hope so.

But for now, there is little sign of that. The mountain biker has disappeared from view, the dog is barking at the lady and the gentleman with cane is still enjoying the autumn sun on the bench.