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The Dutch “Police Label Secure Housing” a Successful Approach

100%
Jongejan A.
Internal Security
|
2010
|
vol. 2(1)
147-162
EN
The Dutch Police Label Secure HousingR (since 1994) is a part of a broader policy called Crime Prevention Through Environmental Design (CPTED) and Designing Out Crime (DOC). The police label has reduced crime through the application of CPTED principles and by ensuring that the shell of the dwellings can stand up to criminal attack for a contact time of at least for 3 minutes. The label has been so successful that many local planning authorities in the Netherlands have adopted the Police Label Secure Housing into their planning policy guidelines. This label enables police officers to structure negotiations on safety and security with the various players involved in the maintenance of existing houses / dwellings, estates, environments and neighbourhoods.The police label has, of course, developed a great deal further since 1994 and the first evaluation of the scheme in 1998. Much of the design guidelines have since been updated to allow for greater flexibility and interpretation. The guidelines were written in a form that could be equally understood by the town planner, the architect and the police officer. The risk of dwellings developed and certified by the Dutch 'Police Label Secure Housing' being burgled has dropped by a spectacular 98%!
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Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)

63%
Doroszuk H.
Ikonotheka
|
2019
|
vol. 29
229-248
EN
The Exhibition of Modern Art (Wystawa Sztuki Nowoczesnej) organized in 1948 in the Palace of Art (Pałac Sztuki) in Cracow was one of the most prominent art events in Poland during the last century. It is considered one of the unprecedented moments in shaping the modernity. The exhibition was thought to be designed as a whole venture, integrating the modern art demonstration with the will to make it accessible to all the social groups. The desire of the authors was to endear the authorities, since the Stalinist repressions were approaching, and present the modern art as accessible to the society and needed in the “new socialist order”. Simultaneously, the primal context for the exhibition, underlined by its authors as well as the critics in subsequent years, were the surrealist exhibitions in Paris. This new avant-garde mode of displaying, so attractive for the Polish artists, put in the foreground not the traditional reception of art, implied by the traditional museology, but mostly focused on the spectator’s experience and used all possible kinds of tools to enhance it. These two approaches were usually presented as antagonistic and impossible to reconcile. The article attempts to analyze the tools which the display’s authors used to merge the avant-garde display with didacticism. While looking at the Recovered Territories Exhibition which took place a couple of months earlier, one might notice that the Exhibition of Modern Art was not the first display that accommodated the avant-garde solutions to the didactic and propagandistic venture.
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