4月19日，阿默斯福特集中营国家纪念馆新馆开幕。在二次世界大战期间，这里曾作为中转站和集中营关押过约47,000名囚犯。受阿默斯福特集中营国家纪念馆的官方委托，Tinker imagineers为这里构思了永久性展览，讲述了那些囚禁、被囚禁者与援助者的故事。他们是谁？他们的故事穿越历史，仍能触动今天的人们。博物馆的景观、建筑和展览都诉说着这段历史，将集中营中那些关于压迫、不公与恐惧的故事置于人们面前。
On April 19, the new museum of National Monument Kamp Amersfoort was inaugurated. During the Second World War, around 47,000 prisoners were held at this transit and prison camp. Tinker imagineers was commissioned by National Monument Kamp Amersfoort to develop the concept and the permanent exhibition. It tells the stories of the prisoners, a helper, and the perpetrators. Who were they? Their stories come to us from the past but are still relevant today. The redesigned outside area, architecture, and exhibitions at the new museum illustrate what went on inside. The history of the place becomes palpable: the oppression, the injustice, and the fear.
▼博物馆入口，the entrance © Mike Bink
阿默斯福特集中营国家纪念馆与多家事务所紧密合作，拓展维度，赋予历史场地新的意义。其中Inbo负责建筑设计，Juurlink + Geluk负责景观设计，Tinker imagineers则进行了展览的策划与概念设计。进入博物馆后，参观者拾级而下，便进入了营地下方巨大、肃穆、没有过多装饰的空间。保留下来的建筑与材料唤醒了旧日氛围，明与暗的交替更加强了时空变幻的错觉。
Inbo (architecture), Juurlink+Geluk (landscape), Tinker imagineers (concept and exhibition design) and National Monument Kamp Amersfoort collaborated closely on the renovation. In their unique way, they added a new dimension to the significance of this place. Upon entering the museum, visitors walk down the stairs and enter the immense space, soberly and modestly furnished and located underneath the former camp. The architecture and the use of materials and original elements recall the atmosphere of the past. This is reinforced by the transition from light into dark and back into the light again.
▼从楼梯进入展览空间，walking down the stairs and entering the space © Mike Bink
展览空间内，令人印象深刻的黑白影像揭示了集中营中的生活，墙上的大幅地图显示出囚犯运进运出的轨迹，人仅仅被看作一个数字。而随着展览的进行，他们的姓名和面孔将重新浮现。巨大柱子上的照片介绍了那段历史中的重要人物，肖像下方的抽屉里展示着私人物品，参观者可以通过音频设备倾听他们的故事。打开抽屉时，照片将被点亮，与房间尽头的黑白展示墙形成鲜明的对比。
The impressive video footage in black and white reveals what life in the camp was like. A large map on the wall shows the transports of prisoners coming in and going out. They were seen and treated as mere numbers. In the exhibition, their names and faces are returned to them. Photographic images on gigantic columns introduce the visitors to the individuals who played important roles in and around the camp. Their belongings are displayed in the drawers below the portraits, and their stories can be heard on audio devices. The portraits 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.
▼展览空间，the exhibition hall © Mike Bink
▼柱子上展出的照片，photographic images on gigantic columns © Mike Bink
▼黑白的巨幅展示墙，the black and white portrait wall at the back of the room © Mike Bink
▼倾听与阅读每个人的故事，listen and read the stories © Mike Bink
展览还映射了当今的不公平现象。柱子后陈列的饥饿、虐待与歧视等集中营中的罪行，在今天仍然十分普遍。此外，参观者还将通过社会实验亲身体验到受害者的困境，从而对同伴压力、权威与信任等方面有更多思考。阿默斯福特集中营国家纪念馆的负责人Willemien Meershoek介绍说，“这项名为‘对与错’的计划以虚拟现实技术为媒介，在博物馆的特殊语境下探讨了当今的种种话题。”
The 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, abuse, and discrimination – all still quite common today. In addition, a social experiment confronts visitors with uncomfortable dilemmas. There, they experience the effects of peer pressure, authority, and trust. Willemien Meershoek, Director of National Monument Kamp Amersfoort: “This programme, called Right or Wrong, uses Virtual Reality to address current issues that take on special meaning in the context of the museum.”
▼柱子后陈列的罪行，important camp themes listed on the back of the columns © Mike Bink
▼互动装置，interactive installation © Mike Bink
▼展板细部，details © Mike Bink
▼通过虚拟现实技术进行社会实验，using Virtual Reality to participate in social experiment © Mike Bink
在地下的游览结束后，参观者将到达一处反思空间，从历史出发思考当今社会的困境。贯穿展览空间的脚印提醒着人们所扮演的角色，正前方垂直的镜面墙用于书写感想。在微妙的灯光和烟雾效果中，墙体反映出参观者自身的影像，使人们不禁陷入沉思之中：我刚刚经历了什么？留下了怎样的痕迹？
At the end of the underground visit, there is room for reflection: reflection on the past and the visitor’s own role in contemporary dilemmas. The footprints on the floor – a recurring theme, both inside and out – refer to the roll call and are at right angles to a mirror wall that can be written on. The visitor’s own mirror image and subtle light projections and smoke effects reinforce this sense of contemplation. What did I just experience? Which traces do I leave behind?
▼沉思的空间，room for contemplation © Mike Bink
▼墙体反映出参观者自身的影像，the visitor’s own mirror image © Mike Bink
展馆之外，参观者可以通过钢制的模型了解集中营的规模。出口处的视野面向射击场展开，石人纪念雕像标志着游览的终点。随着疫情政策逐渐放宽，博物馆即将对公众开放。
Once outside, a steel model of the camp illustrates its scale. The museum exit offers a view of the shooting range with the Stone Man memorial at the end. The museum will open its doors to the public as soon as COVID-19 restrictions are relaxed.
▼从楼梯到达室外，the stairs leading to the outside © Mike Bink
▼钢制模型，the steel model of the camp © Mike Bink
▼石人纪念雕像，the Stone Man memorial © Mike Bink
Client: National Monument Kamp Amersfoort Concept & exhibition design: Tinker imagineers Construction & hardware: Flink VR Experience: Tinker imagineers, YIPP, Shosho, BureauMaike Soundscape reflection room: Studio Rockfish Architect: Inbo Landscape: Juurlink+Geluk
