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Top Attractions in Haarlem

Ten Boom Museum

The Ten Boom Museum is a museum dedicated to The Hiding Place, the subject of a book by Corrie ten Boom. The house where the museum is located was purchased and restored in 1983 by the Corrie ten Boom Fellowship, a non-profit 501 3 corporation governed by a board of directors. Mike Evans serves as the chairman of the Board. The Ten Boom family ran a watch shop on the corner of an alleyway and the main shopping street of Haarlem, the Netherlands. During the Nazi occupation of Haarlem starting in 1942, they provided safe harbour for Jews and other underground refugees in a hiding place they built upstairs. Due to their large social network in church charities and watchmaker circles, the family was quite successful in smuggling refugees until being betrayed on February 28, 1944. In the alleyway they would place a small triangular sign to indicate that the coast was clear. After the betrayal of the Ten Boom family, the Nazis were able to collect many more prisoners by falsely placing this triangle in the window. Casper ten Boom, their father, died on March 9, less than two weeks later, in Scheveningen prison, aged 85. Betsie ten Boom died on December 16 in Ravensbrück concentration camp, aged 59. Willem died on December 16, 1946, in Hilversum, aged 59. His son Christiaan died sometime in April 1945, aged 25. Corrie ten Boom survived Ravensbrück and returned to Haarlem and the watch shop. She died in 1983 on her 91st birthday. She wrote several books about her experiences, and this museum opened on her birthday in 1988. The museum is open from 10.00 to 15.30, Tuesday to Saturday.

Smedestraat 33

Smedestraat 33 is the address of a doorway in Haarlem. The brickwork of the doorway, including a round false window, is from the second half of the 17th century, and has been declared one of the national monuments of The Netherlands. This brick doorway only recently acquired the lock on the door and was originally an open access gateway to an alley that separated two houses and joined up with the small public garden called the Wijngaardtuin. The lock has been added so it can be used as the front door to access the apartment located above the shop on the left and the house in the rear of number 35 on the right. In the Haarlem shopping district, most former front doors of homes have been replaced by shop fronts extending over the entire property line on the shopping street side. For homes without a rear or side alleyway, the upper apartments have become inaccessible and are used as warehouses. In larger Dutch cities, where many former alleyways have been absorbed into shopfronts, this has led to whole sections of town with very few residents, as there is no room left for access to the upper apartments except from within the shops themselves. Seen as a possible fire hazard and prone to decay, efforts have been made in recent years to "unlock" these inaccessible spaces and make them suitable for student or other rental housing. The city of Haarlem hopes to avoid such situations by formally protecting all historical alleyways and not allowing them to be "added" to shop frontage. In Vermeer's Little Street, two such 17th century alleyways can be seen side-by-side; neither has such interesting brickwork, however.

Patronaat

Patronaat is one of the 10 largest alternative pop music halls in the Netherlands and was established in 1984. It is located at the Zijlsingel in Haarlem, near the city center. In 2003 the old building was replaced with a brand new concert hall, which was being used for the first time in 2005. Between September 2003 until May 2005 a temporary location at the Oostvest functioned as Haarlem's concert hall. The new building was designed by architect Paul Diederen of the architecture firm Diederen Dirriox Architecten of Eindhoven. The building's capacity was significantly increased with a large hall for 1000 visitors, a second one for some 350 guests and a music bar for 100 people, which has live music three days in the week, free of admission. A total of 500 events is organised every year, for some 140.000 people. With a strong program and a character of its own Patronaat provides progressive pop music and meets the wishes of its catchment. Over the years artists like Willy DeVille, Solomon Burke, Tori Amos, Dick Dale, Herman Brood, Living Colour, Bo Diddley, dEUS, Zita Swoon, Gabriel Rios, Rickie Lee Jones, The Gutter Twins, Steve Lukather, José Feliciano, Babyshambles, Calexico, Michael Franti & Spearhead, but also heavy acts like Limp Bizkit, Anthrax, The Bloodhound Gang, Marillion, The Misfits, Danko Jones, Soulfly, Therapy?, New Model Army, Y&T, Neurosis, Cradle of Filth, Obituary, D.R.I., Helmet, Dimmu Borgir and Deicide, as well as large names in the electronic music world like Paul Kalkbrenner, Dave Clarke, Knife Party, Steve Aoki, Modeselektor, Jeff Mills, James Holden, DJ Hell, Orbital, Leftfield, Battles, Pendulum, Chase & Status, Nero, Camo & Krooked, Andy C, Sub Focus, Aphrodite, Ed Rush, Benga, Skream, Caspa and Rusko have found their way to the Haarlem venue.

Verweyhal

The Verweyhal is an exhibition space next to the Vleeshal on the Grote Markt, Haarlem. The Verweyhal was built in the 19th century as a gentlemen’s society of the former drama society, later a cultural social club, Trou moet Blycken. In the second half of the 19th century the earlier building of the drama society, which was on the same spot, was too small. In 1876 the society held a competition for a new design. The Amsterdam architect A.J. van Beek won, and his plan was carried out with the help of local builder A. Raasveld. The building was occupied in 1880. The building is in the Eclectic style that was very popular at the end of the 19th century in Haarlem, but later fell out of fashion. In the first half of the 20th century, the building received a great deal of criticism. It was considered much too large and pompous. ‘An object of general contempt,’ according to the description of the distinguished gentlemen’s society. Almost immediately, the gentleman's society had financial problems. Perhaps the building project had been a bit too prestigious. The gentlemen initially tried to alleviate the situation by raising their membership contribution. That did not help, because the number of members declined. As the increased contribution did not solve the problem, the ground floor was rented out as a shop. This income did not help either, and in 1922 the gentlemen were forced to sell the building to the city, which became the new owner for 125,000 guilders, and they moved to their current premises further down the Grote Houtstraat at number 115. The society building was converted in 1924 into the Spaarnebank. The safe was on the ground floor; offices were set up on the first floor. The building was called ‘an unsuccessful box of blocks’ in 1947 by the engineer G. Friedhoff, who wanted to demolish the building and replace it with traditional façades. More renovations were carried out in 1978 when the first floor was remodelled to house the Department of Cultural Affairs, the local City Planning Authority and the office of the City Architect. Fourteen years later, in 1992, the building was renovated again as a future exhibition hall to house the collection of the Haarlem artist Kees Verwey. With support from his newly formed Kees Verwey Foundation, the first floor received a new name: the Verweyhal. The former city architect Wiek Röling made a design for the new layout together with architect Jan Bernard. Opinions about the building changed in the 1970s, and for the first time, words of praise were heard. Today, the building is an official monument and still has a museological function. The entrance today to the upper exhibition floors is through Museum De Hallen, Haarlem on the Grote Markt and no longer through the original main entrance on the Grote Houtstraat.

Frans Loenenhofje

The Frans Loenenhofje is a hofje in Haarlem, Netherlands, on the Witte Heren straat. It was named the "Five room" or Vijfkamer hofje in 1607 after the five new rooms that were built from the proceeds of the will and testament of Frans Loenen . Frans Loenen was a Catholic who fled to Haarlem from Amsterdam in 1578 for their milder disposition toward people of the Old Catholic faith. He left all of his goods to the poor in an extraordinary will drawn up 3 days before he died. His friends gave up trying to sort out his legacy, because most of his property was still located in the Spanish Netherlands, then enemy territory, and some of his money was tied up in outstanding bets. For example, he had bet a small fortune of 16,000 guilders that the siege of Sluis would not last two years. It was decided that a hofje would be the best option, in case any of the bets paid out, which they did. The garden of this hofje used to be part of a famed garden from the St Anthony's monastery, which was founded in 1414. The St. Anthony order was later associated with the Vrouwe- en Antonie Gasthuys and the monastery was inhabited by Norbertine monks in 1484. The Norbertines who tended the garden wore white scapulars. Thus the name of the street; "White gentlemen street". They remained there until 1543, when the monastery lands came under the control of the St. Elisabeth Gasthuis. Their lands were officially confiscated and secularized in 1581 by the city council after the Protestant Reformation, just as all other Catholic buildings and lands in Haarlem after the iconoclasm. For some reason the actual moment of transferral of the deeds only took place fifteen years later in 1596, and the Catholic associations with this property was probably the reason it was selected by the executors of the Frans Loenen will. Two years later, in 1607, the provost Jacobus Zaffius sponsored an additional 5 rooms, thereafter known as the "provost rooms" of the Frans Loenen Hofje. Jacobus Zaffius had been abbot in the St. Anthony's monastery in Heiloo from 1578 to 1571, when he became provost of the Sint-Bavokerk. He witnessed the iconoclasm and 3 years later went to jail for refusal to turn over Catholic property to the city council. William of Orange granted him amnesty, and it was on this occasion that he made his donation to the hofje and in 1611 he had his painting made as a memorial to this fact. The hofje currently has 10 rooms for women, who must have a minimum age of 60 years and who must have lived in Haarlem for five years or longer.

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