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Kamp Amersfoort","file":{"ID":81095,"id":81095,"title":"video-kamp-amersfoort","filename":"6_video-kamp-amersfoort.pdf","filesize":0,"url":"https:\/\/d2q6z78khxmx42.cloudfront.net\/2022\/01\/6_video-kamp-amersfoort.pdf","link":"https:\/\/int.design\/fr\/projets\/national-monument-kamp-amersfoort\/video-kamp-amersfoort-2\/","alt":"","author":"851","description":"","caption":"","name":"video-kamp-amersfoort-2","status":"inherit","uploaded_to":80929,"date":"2022-01-31 22:52:27","modified":"2022-01-31 22:52:40","menu_order":0,"mime_type":"application\/pdf","type":"application","subtype":"pdf","icon":"https:\/\/int.design\/wp-includes\/images\/media\/document.png"}}],"optional_documents":false,"web_text":{"fr":"<p>L'objectif \u00e9tait d'activer les visiteurs et de leur faire prendre conscience que l'histoire aborde des th\u00e8mes universels qui sont aussi pertinents aujourd'hui qu'il y a 75 ans. Il devait s'agir de souvenir, d'avertissement, de compr\u00e9hension et d'espoir. Tinker imagineers (conception et design de l'exposition) a collabor\u00e9 \u00e9troitement avec Inbo (architecture), Juurlink+Geluk (paysage) et le Monument national Kamp Amersfoort. Le r\u00e9sultat est un nouveau mus\u00e9e dans lequel l'histoire devient palpable : l'oppression, l'injustice et la peur.<\/p>\n<p>Les visiteurs descendent les escaliers et entrent dans une immense salle, modestement meubl\u00e9e, situ\u00e9e sous l'ancien camp. Le jeu des contrastes, l'utilisation de mat\u00e9riaux et d'\u00e9l\u00e9ments originaux rappellent l'atmosph\u00e8re du pass\u00e9. Celle-ci est renforc\u00e9e par la transition entre la lumi\u00e8re et l'obscurit\u00e9, puis le retour \u00e0 la lumi\u00e8re. Son histoire et le site actuel pr\u00e9sentent de nombreuses contradictions. Le bien et le mal, la vie et la mort, le souvenir et l'oubli. Ces contrastes ont constitu\u00e9 le point de d\u00e9part des principes de conception et ont \u00e9t\u00e9 int\u00e9gr\u00e9s dans l'architecture, le paysage et l'espace d'exposition. Les mat\u00e9riaux naturels en noir, blanc et gris dominent. En contraste avec cette palette de couleurs sobres, des mat\u00e9riaux chauds et une lumi\u00e8re de diff\u00e9rentes temp\u00e9ratures de couleur donnent \u00e0 l'espace une sensation de confort. Le style visuel est \u00e9galement en ad\u00e9quation. Photographie contre motifs graphiques, noir contre blanc. <\/p>\n<p>Des chiffres aux noms<br \/>\nLes impressionnantes s\u00e9quences vid\u00e9o en noir et blanc r\u00e9v\u00e8lent ce qu'\u00e9tait la vie dans le camp. Une grande carte montre les transports de prisonniers qui entraient et sortaient. Ils \u00e9taient consid\u00e9r\u00e9s et trait\u00e9s comme de simples num\u00e9ros. Mais ils retrouvent leurs noms et leurs visages gr\u00e2ce \u00e0 de gigantesques portraits imprim\u00e9s sur des piliers. Leurs effets personnels sont expos\u00e9s dans les tiroirs sous les images, et on peut entendre leurs histoires personnelles. Ces images gigantesques pr\u00e9sentent aux visiteurs les personnes qui ont jou\u00e9 un r\u00f4le important dans le camp et aux alentours. Elles s'illuminent lorsque les tiroirs sont ouverts, et le contraste avec le mur de portraits en noir et blanc au fond de la pi\u00e8ce est saisissant. <\/p>\n<p>Hier et aujourd'hui<br \/>\nL'exposition fait \u00e9galement le lien avec les injustices commises de nos jours. Au dos des colonnes, des th\u00e8mes importants du camp sont \u00e9num\u00e9r\u00e9s, tels que la faim et la discrimination – encore tr\u00e8s fr\u00e9quents aujourd'hui. En outre, une exp\u00e9rience sociale confronte les visiteurs \u00e0 des dilemmes inconfortables. Ils font l'exp\u00e9rience des effets de la pression des pairs, de l'autorit\u00e9 et de la confiance. Le programme, intitul\u00e9 Le bon ou le mauvais, utilise la r\u00e9alit\u00e9 virtuelle pour aborder des questions d'actualit\u00e9 qui prennent une signification particuli\u00e8re dans le contexte du mus\u00e9e. <\/p>\n<p>Un espace de contemplation<br \/>\n\u00c0 la fin, il y a place pour une r\u00e9flexion sur le pass\u00e9 et sur le propre r\u00f4le du visiteur dans les dilemmes contemporains. Les traces de pas sur le sol – un th\u00e8me r\u00e9current, tant \u00e0 l'int\u00e9rieur qu'\u00e0 l'ext\u00e9rieur – font r\u00e9f\u00e9rence \u00e0 l'appel et sont perpendiculaires \u00e0 un mur miroir sur lequel on peut \u00e9crire. Le propre reflet de chacun, de subtiles projections lumineuses et des effets de fum\u00e9e renforcent ce sentiment de contemplation. Qu'est-ce que je viens de vivre?<\/p>\n","en":"<p>The brief was to activate visitors and make them aware that the story touches on universal themes that are as relevant today as they were 75 years ago. It should be about remembrance, warning, understanding, and hope. Tinker imagineers (concept and exhibition design) collaborated closely with Inbo (architecture), Juurlink+Geluk (landscape) and National Monument Kamp Amersfoort. Resulting in a new museum in which the history becomes palpable: the oppression, injustice, and the fear.<\/p>\n<p>Visitors descend the stairs and enter an immense, modestly furnished room, located underneath the former camp. The play on contrasts, the use of materials and original elements recall the atmosphere of the past. This is reinforced by the transition from light to dark and back to light. Its history and the current site show many contradictions. Right and wrong, life and death, remembering and forgetting. These contrasts formed the starting point for the design principles, and have been incorporated into the architecture, landscape, and exhibition space. Natural materials in black, white, and shades of grey prevail. In contrast to this sober colour scheme, warm materials and light in different colour temperatures give the space a comfortable feel. The visual style is also in line. Photography versus graphic patterns, black versus white. <\/p>\n<p>From numbers to names<br \/>\nThe impressive black and white video footage reveals what life in the camp was like. A large map shows the transports of prisoners coming in and going out. They were seen and treated as mere numbers. But regain their names and faces through gigantic portraits printed on pillars. Their belongings are displayed in the drawers below the images, and their personal stories can be heard. These gigantic images introduce the visitors to the individuals who played important roles in and around the camp. They light up when the drawers are opened, and the contrast with the black and white portrait wall at the back of the room is striking. <\/p>\n<p>Then and now<br \/>\nThe exhibition also links to the injustice carried out in our times. On the back of the columns, important camp themes are listed, such as hunger, and discrimination \u2013 still quite common today. In addition, a social experiment confronts visitors with uncomfortable dilemmas. They experience the effects of peer pressure, authority, and trust. The programme, called Right or Wrong, uses Virtual Reality to address current issues that take on special meaning in the context of the museum. <\/p>\n<p>Room for contemplation<br \/>\nAt the end, there is room for reflection on the past and the visitor\u2019s own role in contemporary dilemmas. The footprints on the floor \u2013 a recurring theme, both inside and out \u2013 refer to the roll call and are at right angles to a mirror wall that can be written on. One's own reflection, subtle light projections and smoke effects strengthen this feeling of contemplation. What have I just experienced?<\/p>\n","original":""},"jury_text":[{"category":2485,"fr":"<p>L'objectif \u00e9tait d'activer les visiteurs et de leur faire prendre conscience que l'histoire aborde des th\u00e8mes universels qui sont aussi pertinents aujourd'hui qu'il y a 75 ans. Il devait s'agir de souvenir, d'avertissement, de compr\u00e9hension et d'espoir. Tinker imagineers (conception et design de l'exposition) a collabor\u00e9 \u00e9troitement avec Inbo (architecture), Juurlink+Geluk (paysage) et le Monument national Kamp Amersfoort. Le r\u00e9sultat est un nouveau mus\u00e9e dans lequel l'histoire devient palpable : l'oppression, l'injustice et la peur.<\/p>\n<p>Les visiteurs descendent les escaliers et entrent dans une immense salle, modestement meubl\u00e9e, situ\u00e9e sous l'ancien camp. Le jeu des contrastes, l'utilisation de mat\u00e9riaux et d'\u00e9l\u00e9ments originaux rappellent l'atmosph\u00e8re du pass\u00e9. Celle-ci est renforc\u00e9e par la transition entre la lumi\u00e8re et l'obscurit\u00e9, puis le retour \u00e0 la lumi\u00e8re. Son histoire et le site actuel pr\u00e9sentent de nombreuses contradictions. Le bien et le mal, la vie et la mort, le souvenir et l'oubli. Ces contrastes ont constitu\u00e9 le point de d\u00e9part des principes de conception et ont \u00e9t\u00e9 int\u00e9gr\u00e9s dans l'architecture, le paysage et l'espace d'exposition. Les mat\u00e9riaux naturels en noir, blanc et gris dominent. En contraste avec cette palette de couleurs sobres, des mat\u00e9riaux chauds et une lumi\u00e8re de diff\u00e9rentes temp\u00e9ratures de couleur donnent \u00e0 l'espace une sensation de confort. Le style visuel est \u00e9galement en ad\u00e9quation. Photographie contre motifs graphiques, noir contre blanc. <\/p>\n<p>Des chiffres aux noms<br \/>\nLes impressionnantes s\u00e9quences vid\u00e9o en noir et blanc r\u00e9v\u00e8lent ce qu'\u00e9tait la vie dans le camp. Une grande carte montre les transports de prisonniers qui entraient et sortaient. Ils \u00e9taient consid\u00e9r\u00e9s et trait\u00e9s comme de simples num\u00e9ros. Mais ils retrouvent leurs noms et leurs visages gr\u00e2ce \u00e0 de gigantesques portraits imprim\u00e9s sur des piliers. Leurs effets personnels sont expos\u00e9s dans les tiroirs sous les images, et on peut entendre leurs histoires personnelles. Ces images gigantesques pr\u00e9sentent aux visiteurs les personnes qui ont jou\u00e9 un r\u00f4le important dans le camp et aux alentours. Elles s'illuminent lorsque les tiroirs sont ouverts, et le contraste avec le mur de portraits en noir et blanc au fond de la pi\u00e8ce est saisissant. <\/p>\n<p>Hier et aujourd'hui<br \/>\nL'exposition fait \u00e9galement le lien avec les injustices commises de nos jours. Au dos des colonnes, des th\u00e8mes importants du camp sont \u00e9num\u00e9r\u00e9s, tels que la faim et la discrimination – encore tr\u00e8s fr\u00e9quents aujourd'hui. En outre, une exp\u00e9rience sociale confronte les visiteurs \u00e0 des dilemmes inconfortables. Ils font l'exp\u00e9rience des effets de la pression des pairs, de l'autorit\u00e9 et de la confiance. Le programme, intitul\u00e9 Le bon ou le mauvais, utilise la r\u00e9alit\u00e9 virtuelle pour aborder des questions d'actualit\u00e9 qui prennent une signification particuli\u00e8re dans le contexte du mus\u00e9e. <\/p>\n<p>Un espace de contemplation<br \/>\n\u00c0 la fin, il y a place pour une r\u00e9flexion sur le pass\u00e9 et sur le propre r\u00f4le du visiteur dans les dilemmes contemporains. Les traces de pas sur le sol – un th\u00e8me r\u00e9current, tant \u00e0 l'int\u00e9rieur qu'\u00e0 l'ext\u00e9rieur – font r\u00e9f\u00e9rence \u00e0 l'appel et sont perpendiculaires \u00e0 un mur miroir sur lequel on peut \u00e9crire. Le propre reflet de chacun, de subtiles projections lumineuses et des effets de fum\u00e9e renforcent ce sentiment de contemplation. Qu'est-ce que je viens de vivre?<\/p>\n","en":"<p>The brief was to activate visitors and make them aware that the story touches on universal themes that are as relevant today as they were 75 years ago. It should be about remembrance, warning, understanding, and hope. Tinker imagineers (concept and exhibition design) collaborated closely with Inbo (architecture), Juurlink+Geluk (landscape) and National Monument Kamp Amersfoort. Resulting in a new museum in which the history becomes palpable: the oppression, injustice, and the fear.<\/p>\n<p>Visitors descend the stairs and enter an immense, modestly furnished room, located underneath the former camp. The play on contrasts, the use of materials and original elements recall the atmosphere of the past. This is reinforced by the transition from light to dark and back to light. Its history and the current site show many contradictions. Right and wrong, life and death, remembering and forgetting. These contrasts formed the starting point for the design principles, and have been incorporated into the architecture, landscape, and exhibition space. Natural materials in black, white, and shades of grey prevail. In contrast to this sober colour scheme, warm materials and light in different colour temperatures give the space a comfortable feel. The visual style is also in line. Photography versus graphic patterns, black versus white. <\/p>\n<p>From numbers to names<br \/>\nThe impressive black and white video footage reveals what life in the camp was like. A large map shows the transports of prisoners coming in and going out. They were seen and treated as mere numbers. But regain their names and faces through gigantic portraits printed on pillars. Their belongings are displayed in the drawers below the images, and their personal stories can be heard. These gigantic images introduce the visitors to the individuals who played important roles in and around the camp. They light up when the drawers are opened, and the contrast with the black and white portrait wall at the back of the room is striking. <\/p>\n<p>Then and now<br \/>\nThe exhibition also links to the injustice carried out in our times. On the back of the columns, important camp themes are listed, such as hunger, and discrimination \u2013 still quite common today. In addition, a social experiment confronts visitors with uncomfortable dilemmas. They experience the effects of peer pressure, authority, and trust. The programme, called Right or Wrong, uses Virtual Reality to address current issues that take on special meaning in the context of the museum. <\/p>\n<p>Room for contemplation<br \/>\nAt the end, there is room for reflection on the past and the visitor\u2019s own role in contemporary dilemmas. The footprints on the floor \u2013 a recurring theme, both inside and out \u2013 refer to the roll call and are at right angles to a mirror wall that can be written on. One's own reflection, subtle light projections and smoke effects strengthen this feeling of contemplation. What have I just experienced?<\/p>\n<p>Visitors' reactions<br \/>\nThey received about 18,500 visitors, including 2,500 schoolchildren and 1,000 young people (under 18) in the first opening months. Due to covid-19, Kamp Amersfoort opened in June and from October on it became quieter because of the restrictions. Mid December (until end of January 2022) Dutch museums had to close again. The museum received many positive reactions, written on the designated wall in the exhibition, in their guestbook and in a survey. The most used words are 'impressive, intense, it comes close'. The press was also full of praise.<\/p>\n","original":""}],"different_jury_text":false,"different_category_text":false},"laureats":[{"cat_id":2485,"cat_id_laureat":3437,"laureat":"Grand Laur\u00e9at"},{"cat_id":2485,"cat_id_laureat":3433,"laureat":"Certification Or"},{"cat_id":2485,"cat_id_laureat":3435,"laureat":"Laur\u00e9at Platine"}],"contest_id":"75033","contest_title":"GRANDS PRIX DU DESIGN \u2013 15e \u00e9dition","firms":[{"name":"Tinker imagineers","website":"https:\/\/tinker.nl","category":"","category_tax":2747,"category_label":"Designer d'int\u00e9rieur"},{"name":"Inbo","website":"https:\/\/www.inbo.com\/en\/","category":"","category_tax":2744,"category_label":"Architecte"},{"name":"Juurlink+Geluk","website":"https:\/\/www.jeng.nl","category":"","category_tax":2745,"category_label":"Architecture de paysage"},{"name":"National Monument Kamp Amersfoort","website":"https:\/\/www.kampamersfoort.nl","category":"","category_tax":2746,"category_label":"Autre"}],"user":{"email":"anke@tinker.nl","first_name":"Anke","last_name":"Nicolai"},"doc_texts_web":{"fr":"<p>L'objectif \u00e9tait d'activer les visiteurs et de leur faire prendre conscience que l'histoire aborde des th\u00e8mes universels qui sont aussi pertinents aujourd'hui qu'il y a 75 ans. Il devait s'agir de souvenir, d'avertissement, de compr\u00e9hension et d'espoir. Tinker imagineers (conception et design de l'exposition) a collabor\u00e9 \u00e9troitement avec Inbo (architecture), Juurlink+Geluk (paysage) et le Monument national Kamp Amersfoort. Le r\u00e9sultat est un nouveau mus\u00e9e dans lequel l'histoire devient palpable : l'oppression, l'injustice et la peur.<\/p>\n<p>Les visiteurs descendent les escaliers et entrent dans une immense salle, modestement meubl\u00e9e, situ\u00e9e sous l'ancien camp. Le jeu des contrastes, l'utilisation de mat\u00e9riaux et d'\u00e9l\u00e9ments originaux rappellent l'atmosph\u00e8re du pass\u00e9. Celle-ci est renforc\u00e9e par la transition entre la lumi\u00e8re et l'obscurit\u00e9, puis le retour \u00e0 la lumi\u00e8re. Son histoire et le site actuel pr\u00e9sentent de nombreuses contradictions. Le bien et le mal, la vie et la mort, le souvenir et l'oubli. Ces contrastes ont constitu\u00e9 le point de d\u00e9part des principes de conception et ont \u00e9t\u00e9 int\u00e9gr\u00e9s dans l'architecture, le paysage et l'espace d'exposition. Les mat\u00e9riaux naturels en noir, blanc et gris dominent. En contraste avec cette palette de couleurs sobres, des mat\u00e9riaux chauds et une lumi\u00e8re de diff\u00e9rentes temp\u00e9ratures de couleur donnent \u00e0 l'espace une sensation de confort. Le style visuel est \u00e9galement en ad\u00e9quation. Photographie contre motifs graphiques, noir contre blanc. <\/p>\n<p>Des chiffres aux noms<br \/>\nLes impressionnantes s\u00e9quences vid\u00e9o en noir et blanc r\u00e9v\u00e8lent ce qu'\u00e9tait la vie dans le camp. Une grande carte montre les transports de prisonniers qui entraient et sortaient. Ils \u00e9taient consid\u00e9r\u00e9s et trait\u00e9s comme de simples num\u00e9ros. Mais ils retrouvent leurs noms et leurs visages gr\u00e2ce \u00e0 de gigantesques portraits imprim\u00e9s sur des piliers. Leurs effets personnels sont expos\u00e9s dans les tiroirs sous les images, et on peut entendre leurs histoires personnelles. Ces images gigantesques pr\u00e9sentent aux visiteurs les personnes qui ont jou\u00e9 un r\u00f4le important dans le camp et aux alentours. Elles s'illuminent lorsque les tiroirs sont ouverts, et le contraste avec le mur de portraits en noir et blanc au fond de la pi\u00e8ce est saisissant. <\/p>\n<p>Hier et aujourd'hui<br \/>\nL'exposition fait \u00e9galement le lien avec les injustices commises de nos jours. Au dos des colonnes, des th\u00e8mes importants du camp sont \u00e9num\u00e9r\u00e9s, tels que la faim et la discrimination \u2013 encore tr\u00e8s fr\u00e9quents aujourd'hui. En outre, une exp\u00e9rience sociale confronte les visiteurs \u00e0 des dilemmes inconfortables. Ils font l'exp\u00e9rience des effets de la pression des pairs, de l'autorit\u00e9 et de la confiance. Le programme, intitul\u00e9 Le bon ou le mauvais, utilise la r\u00e9alit\u00e9 virtuelle pour aborder des questions d'actualit\u00e9 qui prennent une signification particuli\u00e8re dans le contexte du mus\u00e9e. <\/p>\n<p>Un espace de contemplation<br \/>\n\u00c0 la fin, il y a place pour une r\u00e9flexion sur le pass\u00e9 et sur le propre r\u00f4le du visiteur dans les dilemmes contemporains. Les traces de pas sur le sol \u2013 un th\u00e8me r\u00e9current, tant \u00e0 l'int\u00e9rieur qu'\u00e0 l'ext\u00e9rieur \u2013 font r\u00e9f\u00e9rence \u00e0 l'appel et sont perpendiculaires \u00e0 un mur miroir sur lequel on peut \u00e9crire. Le propre reflet de chacun, de subtiles projections lumineuses et des effets de fum\u00e9e renforcent ce sentiment de contemplation. Qu'est-ce que je viens de vivre?<\/p>\n","en":"<p>The brief was to activate visitors and make them aware that the story touches on universal themes that are as relevant today as they were 75 years ago. It should be about remembrance, warning, understanding, and hope. Tinker imagineers (concept and exhibition design) collaborated closely with Inbo (architecture), Juurlink+Geluk (landscape) and National Monument Kamp Amersfoort. Resulting in a new museum in which the history becomes palpable: the oppression, injustice, and the fear.<\/p>\n<p>Visitors descend the stairs and enter an immense, modestly furnished room, located underneath the former camp. The play on contrasts, the use of materials and original elements recall the atmosphere of the past. This is reinforced by the transition from light to dark and back to light. Its history and the current site show many contradictions. Right and wrong, life and death, remembering and forgetting. These contrasts formed the starting point for the design principles, and have been incorporated into the architecture, landscape, and exhibition space. Natural materials in black, white, and shades of grey prevail. In contrast to this sober colour scheme, warm materials and light in different colour temperatures give the space a comfortable feel. The visual style is also in line. Photography versus graphic patterns, black versus white. <\/p>\n<p>From numbers to names<br \/>\nThe impressive black and white video footage reveals what life in the camp was like. A large map shows the transports of prisoners coming in and going out. They were seen and treated as mere numbers. But regain their names and faces through gigantic portraits printed on pillars. Their belongings are displayed in the drawers below the images, and their personal stories can be heard. These gigantic images introduce the visitors to the individuals who played important roles in and around the camp. They light up when the drawers are opened, and the contrast with the black and white portrait wall at the back of the room is striking. <\/p>\n<p>Then and now<br \/>\nThe exhibition also links to the injustice carried out in our times. On the back of the columns, important camp themes are listed, such as hunger, and discrimination \u2013 still quite common today. In addition, a social experiment confronts visitors with uncomfortable dilemmas. They experience the effects of peer pressure, authority, and trust. The programme, called Right or Wrong, uses Virtual Reality to address current issues that take on special meaning in the context of the museum. <\/p>\n<p>Room for contemplation<br \/>\nAt the end, there is room for reflection on the past and the visitor\u2019s own role in contemporary dilemmas. The footprints on the floor \u2013 a recurring theme, both inside and out \u2013 refer to the roll call and are at right angles to a mirror wall that can be written on. One's own reflection, subtle light projections and smoke effects strengthen this feeling of contemplation. What have I just experienced?<\/p>\n"},"permalinks":{"fr":"https:\/\/int.design\/fr\/projets\/national-monument-kamp-amersfoort\/","en":"https:\/\/int.design\/en\/projects\/national-monument-kamp-amersfoort\/"},"titles":{"fr":"National Monument Kamp Amersfoort","en":"National Monument Kamp Amersfoort"},"wp_fields":[],"laravel_id":""},"_links":{"self":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/project\/80929","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/types\/project"}],"wp:attachment":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/media?parent=80929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}