The best hikes from bus stations in Brakwaterschorren Langsheen De Schelde Ten Noorden Van Antwerpen

Artwork by Albert de Vree

The artwork stands on a heavy concrete block, with capsules containing 900 memories of both villages placed underneath. The artwork depicts the Polder's DNA profile in nine scenes. These nine welded connections represent 900 years of Berendrecht and Zandvliet.

Not facilities here. Especially on weekdays

Fan of cobblestones? Check out our Collection of ready-made cobblestone cycling routes, collected in the book “De Hel van het Zuiden”, downloadable for €9. You get 7 routes, with multiple distances. 25 GPXs in total! Of course incl. pre-fun via Komoot! You can find this section in the routes! https://www.komoot.com/nl-nl/collection/2485043/-de-hel-van-het-zuiden-kasseien-routes-gids-e-book

Special place, even emptier in the dark

The Van Delft family has owned various properties in the Kempenhoek in Berendrecht since at least the 17th century. It is not known whether Jan van Delft (°1592 - † 1662), son of Gerard van Delft and Madeleine Gysbrechts, bought or inherited these properties. It is certain that they came into the hands of his son Gerard van Delft, canon of Kamerijk, through inheritance. Originally, a hunting lodge was built on the country estate. The tower and the southern side wing are attributed to Jan or Gerard van Delft. On the Ferraris map (1771-1778), one volume with a square plan is indicated on the current location of the castle and the associated castle farm, against the Reigersbosdreef, behind which are two L-shaped structures interrupted by outbuildings. After Gerard's brother Jean-Baptist, councillor and extraordinary treasurer of Antwerp, inherited the domain in 1792, he had a northern wing added. Around 1824, the estate belonged to the Brussels-based baron Josephus Gaspar van Delft. In 1846, the properties were transferred to Joseph Gerard van Delft-Lunden, and in 1855 to Carolus Joseph Van Delft. Around 1934, Louis Jozef Marie van Delft had an additional volume built against the southern wing. The domain is surrounded on the side of the Reigersbosdreef by a wall covered with brick friezes and concrete coping stones, and includes a garden with a pond, with the castle wing to the west along the Reigersbosdreef, and the former horse stables to the south. To the east of the stables are a bakehouse and an aviary. The main entrance was reportedly once located on the Sint-Jan Baptiststraat, bordering the former coachman's house, and still has the metal fencing and bluestone bollards. The current entrance is located on the Reigersbosdreef, from which it is separated by bluestone posts. Inventory of Immovable Heritage: Reigershof Castle, https://id.erfgoed.net/erfgoedobjecten/10809

This "castle" has apparently had many names (or has been known by many names). It is established architectural heritage under the names Kasteel Reigershof and Kasteel Sterrenhof. But it was also called Hof van Delft and Hof Le Grelle. The first name refers to the family that owned it for centuries, van Delft. The second to Daniël Le Grelle, widower of Maisy van Delft, who died a year before the unveiling of the artwork 'Het DNA van de Polder' - https://www.komoot.com/nl-nl/highlight/3113896 - and left behind a son. Apparently, in addition to being the custodian of heritage and the Reigersbos, he was an advocate for the preservation of the Bourla-Schouwburg and Vlaaikensgang in Antwerp, "savior" of Berendrecht, Zandvliet and Lillo Fort against port expansion, an idiosyncratic politician and reformer of the BOIC and a member of the Antwerp city council for thirty years, he was also director of the inspection company Vinçotte for a while and, together with his son, headed the committee that advises the king on the appointment of new nobility. About Le Grelle: https://www.polderke.com/graaf-daniel-le-grelle-overleden/

The DNA of the Polder looks like a DNA strand but the themes that are addressed are slightly less complex, although some require knowledge of local customs and history for a proper understanding. Artist Albert De Vree is a 'local', from Zandvliet, so we trust the creators and makers, also from the region, on their knowledge of the region. The DNA of the Polder consists of - how could it be otherwise - the harbour (actually industry that is depicted at the bottom with, among other things, the Doel nuclear power station), music (with Hanske Knap as music and folklore), goose riding/folklore, sports (cycling and football of course, raising a glass with the goose during the music is one floor below), poaching and smuggling (the border, you know), fishing (water everywhere) and the nicknames for the inhabitants of Berendrecht and Zandvliet. These are respectively the rats (yes, just like those from 't Kiel) and the lapwings. At the top, a heron's nest for the Reigersbos and its colony of herons. And right at the top, you have the tulips. You can view everything calmly from a bench. Beautiful work on the border of Berendrecht and Zandvliet. In the approval by the city of Antwerp, we see that the model, design sketches and figure drawings are by the artist, the Provincial Institute for Technical Education Stabroek carried out the welding and burning work free of charge, the city's green service provided the location and the district college of Berendrecht-Zandvliet-Lillo financed the pedestal of the artwork and took care of the inauguration. The time capsule under the work contains documents that residents collected during the festival 'Sterren van de Polder'. Sources: - City decision/approval with budgetary and executive details at https://ebesluit.antwerpen.be/zittingen/18.1122.4834.9163/agendapunten/19.0917.7221.3459;jsessionid=17E15922AFDC85ADBC35CB0067441E33 - Article on the website of Het Nieuwsblad: https://www.nieuwsblad.be/cnt/dmf20201207_96028470 - The themes nicely explained at https://havenland.be/locatie/dna-van-de-polder/ - And Hanske Knap at https://kunst-en-cultuur.infonu.nl/feestdagen/48329-hanske-knap-eeuwenoude-traditie-uit-de-polderdorpen.html And for those who want as much as possible to know: a second bench, lighting and some extra space were added during the time when we were regularly not allowed to leave our homes.