The scale of the crimes, the methodology of killing, forms of falsifying the facts; finally, the history of putting these tragic events straight place them as unprecedented in the history of the modern world. The museum that is to bring all this closer to the contemporary viewer must refer to two spheres of human perception: the intellect and the emotions. The essential procedure adopted as the principle is planning the exhibirion in a way so as to connect the two spheres in building a universal message.
In order to avoid a schematic approach to the museum exhibition, the project envisages the strengthening of audio-visual stimuli via temperature. Cold in areas related to emotions is to be a “subthreshold” factor reinforcing their operation.
The objective of the project is, therefore, to design the showroom space so as to have a direct effect on visitors’ emotions without losing the educational nature. Only such exposure may become a function of the collective memory.
And not only for Poles. The true history of such perfidious genocide could become a universal experience complementing the picture of monstrosity of the 20th century.
As a warning for present and future generations.
An important part of the exhibition is what is known as the witness.
The restoration nomenclature refers it to an authentic piece of wall, for example, remaining in the structure of a later dated building. As a chronologically earlier element, the witness is a testimony to history.
The principle of “attesting to authenticity” lies at the heart of the idea used in the design concept of the museum.
Any multimedia content from the exhibition will be saved on servers and managed centrally. It may also be available in the multimedia room (the 3rd floor – the second stage of the investment) where, after seeing substantial parts of the exhibition, a visitor can analyse any part of history in detail.
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