A man stands in front of a large screen displaying a grid of black-and-white historical mugshots. He observes with hands clasped behind him, setting a reflective tone.

The National Archive

The Great Escapes

Field with Peter L. Dixon Design
Heritage
XR
Branding
Exhibition
Visitor satisfaction
94%
Visitor dwell time
57 minutes

Growing emotional connection through immersive storytelling

When The National Archives set out to tell the stories behind Great Escapes: Remarkable Second World War Captives, the ambition was to create more than an exhibition. The aim was to evoke the emotional reality of captivity, revealing the resilience, ingenuity and humanity of those who lived through it.

Working in collaboration with Peter L. Dixon, Field developed a comprehensive exhibition design that brought together spatial, graphic and audiovisual elements into a single, cohesive experience. Within a relatively compact gallery, the challenge was to create a journey that felt both impactful and deeply personal.

Our approach focused on reduction and restraint. By using a minimal visual language, we allowed the powerful archival content to take centre stage, giving space for the stories of Prisoners of War and Civilian Internees to resonate with clarity and emotional weight.

Visitors are guided through a carefully structured, sequential narrative, from capture, through life in captivity, to liberation. The experience begins before the gallery itself. A one-way tunnel acts as a transition space, stripping away familiarity and control. Rough concrete walls, narrowing proportions and a lack of choice in direction create an immediate sense of confinement preparing visitors for what lies ahead.

Within the gallery, a consistent palette of materials, including stained birch ply, valchromat and a sustainable concrete-effect finish, creates cohesion while supporting shifts in tone and atmosphere. Each section introduces a distinct emotional register, building a layered and immersive experience.

The first space is deliberately light and restrained. White walls and pale timbers provide clarity and context, introducing the realities of captivity and the framework of the Geneva Conventions. This simplicity allows the content to speak directly, without distraction.

In contrast, the second space moves into darkness, both physically and emotionally. Here, personal stories emerge, revealing the harsh realities of imprisonment alongside moments of creativity and escape. Subtle breaks of light punctuate the space, hinting at hope and resilience within the darkness.

A central moment within the exhibition is the AV installation, Numbers, Names, Faces. Played across the entire gallery at regular intervals, it creates a shared, unavoidable experience. Unlike the rest of the exhibition, it introduces sound, interrupting the space and drawing all visitors into a collective moment that reflects the repetitive, controlled nature of life in captivity.

“You have to feel it.”
Ted Lees, Prisoner of War

The result is an exhibition that moves beyond information. It creates a powerful, embodied experience, one that connects visitors emotionally to the past, and reveals the enduring strength of the human spirit.


A woman stands thoughtfully in a dimly lit museum, facing an exhibit. The environment is dark, with blue lights creating a contemplative mood.
Illuminated museum exhibit with text panels on British civilian internment during WWII. Keywords like "British" and "Isle of Man" are highlighted.
A dimly lit museum exhibit with visitors observing a wall of historical black-and-white portraits. Blue lighting adds a reflective and somber atmosphere.

”This is a space to share what they did with the remainder of their lives, the stories they passed down, the legacy they left. Colour and light enabled us to hint at hope and positivity. These still had to be subtle underlyings though - we had to find that very fine balance without creating an effect that was too positive, and blind to the many thousands who were never freed.”

Juliette Johnstone, Exhibitions Manager at The National Archives

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