The document describes plans for exhibits at several different museums or attractions focused on history. It discusses using personal stories and first-person perspectives to engage visitors in the history, rather than just presenting facts. Stories will be told through a variety of media like images, objects, audio, and interactions to create immersive experiences. The goal is to move away from passive presentations of information towards experiences that appeal to visitors' curiosity and emotions, by showing many sides of the historical topics in an entertaining way.

1. Fra plancher til oplevelser
Mette Bjerrum Jensen

13. En hær af beton

14. F
N
G
H
A
B
C
D
E
I
J
K
L
M
A B
C
D
E
F
J
K
L
M
N
H
I
G
Factual Atlantik wall stories in gallery (told in 3rd person, present) tense
Deserters
Regelbau system
Bunker specs
From barack to bunker
Post mortem
Wreckmaster Dahl
Bunker specs
Sunken bunkers
Artillery & Tankbarrier
Bunker specs
Clearing mines
Bunker specs
Tirpitz gunbarrel
Bunker specs
Army of concrete- texture stories
An army of concrete | 189

16. 4 Paul Pleines, hunt for the bombers -
daytime/nighttime
Daytime Nighttime
An army of concrete | 215

17. 4.1 Night-time: focus and work 4.2 Daytime: free andrelax
An army of concrete | 217

19. 5 Love andwar

20. 5 Love and war

22. Army of concrete
‘Anarmy of concrete’ tells the story of the Atlantic Wall in WesternJutland. From
the outside it’s a landscape of bunkers,where visitors find mostly factual
information on the Atlantic Wall. Inside visitors go back in time and enter little
worlds where they find personal stories. These stories stand for something
bigger, representing groups in Danish society at thetime.
Together these stories allow visitors to construct the history of World WarII in
WesternJutland and especially of the AtlanticWall.
180 | An army of concrete

24. Før og efter
• Informativt
• Passivt
• Lang tid, samme
”oplevelse”
• Pleines reflekterer
– gør du?
• Fakta på plancher
• Spil
• Billeder + genstande
• Fortælling/audio
• Pleines til stede?
• Flere sider af historien
– Hvad synes du?
• Udgangspunkt i
nysgerrighed og følelser

25. Havets guld

29. 1 Amber fever
1.3.2 Static capacity
In this pole visitors learn that amber has got static
qualities. When visitors activate the screen the video
starts. A stone goes down and turnsthe hairs static.
Next to the screen there is a lump on a chain, with
which visitors can try for themselves.
Collection
• One lump onchain
• One on loan to make thevideo
128 | The gold of the west coast

31. 3 The Amberforest
3.2 The resin
Frontside: this showcase displays a sectionof tree
trunk with dripping resin and resin inside. Here we
explain the origins of the differentshapes.
Some were formed inside the trunk, others got a
variety of shapes because of the way they dripped
down on the outside or from abranche.
Collection
None
The gold of the west coast | 165

32. 3.4 Frozen time
We make a setting in which a drop of resin isin the
act of catching a fly. Weare looking intothe
possibility to make this half 3D: the drop is real but
cut off on the back. On the back weshow
a film of fly being caught in honey. The story is
about that dripping resin sometimescaught
insects, which has resulted in what we now call
inclusions. These inclusions have sort of frozen time
and give us a lot of information on theforest: the kind
of animals that inhabited the amber forest and the
kind of plants growingthere.
Next to the big drop we show the real thing: actual
inclusions with magnifying glasses that visitors can
look at. On the side there areviewing glasses to
check 3D pictures ofinclusions.
Collection
A selection from the inclusionscollection
(approximately 10-15).
On the side: viewers with 3Dpictures of
inclusions
3 The Amberforest
Inclusions with insectsInclusions withplant material
168 | The gold of the west coast

33. 3 The Amberforest
3.4 Be an inclusion
Below the showcase there is a space in the tree
trunk that kids can get into. They canlook outside
through an amber-like material. The kids will feel
like an inclusion and parents get the perfect
photo-occasion.
The gold of the west coast | 169

38. Før og efter
• Kronologisk fra for 40
mio år siden
• Hovedvægt på
kulturhistorisk
kronologi (inkl. kopier)
• Alt fortalt på samme
måde – plancher på tre
sprog og montrer
• Tager udgangspunkt i
egen fascination af at
finde rav
• Vægt på stemning –
ravskov, ravsamler,
wauw
• Stor variation i
fortællestil

39. Den skjulte vestkyst

41. 9 Stories of the lifeboatman 10 The lifeboat service
2 The “Garden of Eden”
1 Land of themammoths3 Vikings by the NorthSea
5 The localskipper
7 The strandedship 11 The sand country8 Milking the bluecow
tunnel
14 camping life
15 Changing landscape
and humanhabitation
12 The long journey
6 Dead man’s hill
4 Sønderside
The Smuggler’s town
4.5 SmugglersInn
13 The military firing range
Thematicallayout
40 | The gateway to the west

43. For each story we use specific contemporary imagery to create a visual language.
In doing so we create a fitting atmosphere for each story while adding to the visual
richness of the gallery as a whole. This visual language will be basis for the graphic
designs and scenography inside theshowcases.
Visuallanguage AV
Audio beacons in each dune
unlock the stories. In a number of
cases we use videoprojection to
help telling thestory.
Story point ofview
The focus is on the human aspect (if appropriate), using
personal stories. The point of view of the storyteller is
3rd person. Someone is telling you about for instance
the lifeboat man’s story, a bitlike a fairy-tale. There will
be 2 alternatingstorytellers.
The gateway to the west | 37

44. 6.1 Main stort:
Dead man’s hill
There were many myths about dead man’s hills and
stranded people. The dead man’s hill struck fear on
the local community.Fishermen’s wives for instance
were scared to go past the hillalone
- they preferred to pass in a largegroup.
Source:
Dead Man’sHill.100316.JK.docx
The gateway to the west | 63

46. Storyboard: ragingstorms
• The sea becomes more rough and rainy. Dark clouds cover the sky, which createsa
painterly image, and the image slowly starts to look like apainting.
• We hear thunder and the flashes light up the whole room. In the distance we see a silhouette of
a ship that is stuck on a sandbank. It’s large sails are being torn apart by the wind.
• The crew is desperatly fighting the situation and launch an emergency rocket.It’s
explosion above us lights up the sea and thesky.
• A lifeboat approaches the ship. We see the mast of the ship breaking intwo.
• After another crashing thunder and intense flash, part of the painting freezes and nowhas a
wooden frame around it, floating on thewaves.
Special effects
- We feel wind
- We feel drops ofwater
- Explosion aboveus
storytime:
11:00 - 13:00
The gateway to the west | 103

47. Gateway show: ExperienceoutlineVisitors go on an Odyssey through time. Their adventurous travels
bring them all the way back to the time of the ice age where they
encounter a herd of reindeer that they escapejust in time. From
then on they proceed in time living different
adventures on land and on sea to finally reach a save haven being
a modern campsite. All in all a spectacular 4-6minutes journey
that creates a sense of place and gives a good basic understanding
of the region’shistory.
96 | The gateway to the west

48. Før og efter
• Ville fortælle det hele
• Fakta-baseret
• ‘Hvad kan vi fortælle
dig’
• Ingen personhistorier
• Alle historier fortælles
ens
• Den dramatiske vinkel,
den gode historie, den
overraskende fortælling
• Har udvalgt de bedste
historier
• Baseret på
personhistorier
• Oplevelses-baseret
• Alle emner vises på 3-4
måder

49. ”Hvordan er I nået dertil? Ikke at komme med ”se, hvad vi kan
fortælle Jer”. Men at I prøver at nå publikum med det, de synes er
spændende?”