This document provides an overview of learning in exhibitions. It discusses exhibitions as learning environments and different modes of learning that can take place in exhibitions, including formal, non-formal and informal learning. It also addresses lifelong learning and different learning styles. Additionally, it explores various learning resources that can be incorporated in exhibitions, such as publications, guided tours, workshops, and spatial/technological solutions. Finally, it poses questions about how learning could be supported specifically in the TANGO exhibition, which focuses on intergenerational dialogue.
This document contains information about the Georgian National Museum including a map of its branches around Georgia. It discusses the museum's archaeological excavations at sites like Dmanisi and Failaka Island, Kuwait. It also mentions workshops funded by BP for Georgian specialists and students on topics like conservation science.
Accessibility & Inclusion: Creative Content Choices (Presented at AAM2015)Sofie Andersen
What strategies help create great content for diverse museum audiences, including patrons with disabilities? Should we aim at a single specific audience or incorporate a more inclusive, universal design approach? How might this material be sourced, funded and implemented? We will address these questions and more in a lively in-depth discussion, examining verbal description for visitors with low or no vision as one model to illustrate the wide variety of options and the decision-making process.
Session Format : Talk Show
Learner Outcomes
1. Learn ways to think about the balance between best practices for access audiences and the unique needs and resources of each institution.
2. Consider strategies for creating content and programs for targeted audiences versus using a more universal design approach, and how to apply both.
3. Understand the variety of ways to source, generate and evaluate accessible and inclusive content, and learn real options for funding such efforts.
Using Common Senses: Programmatic Accessibility for ExhibitsWest Muse
You are probably familiar with the requirements of Americans with Disabilities Act (ADA) and the Architectural Barriers Act (ABA) for physical accessibility in your institution. But how do you bring exhibits alive to create inclusive experiences that meet the needs of visitors with a wide range of cognitive and sensory differences? In a lively, interactive format, this panel of exhibit designers present the philosophy, strategies, and specific techniques of audio description, tactiles, and electronic media to create displays that make exhibit content accessible to the broadest audience possible.
Moderator: Jill Rullkoetter, Senior Deputy Director, Frye Art Museum
Presenters: Charles Davis, AIA, Principal, EDX Exhibits
Lyn Henley, President, Henley Company Design and Production
Daniel Quan, Owner, Daniel Quan Design
This document provides information and guidance on disability awareness training. It discusses why institutions should make themselves accessible to people with disabilities from institutional, economic, and legal perspectives. It defines disability from a social model perspective and discusses invisible disabilities. It also covers communication strategies, welcoming different groups with disabilities, accessibility design, accommodations, and the accessible web. The overall goal is to promote inclusion and equal opportunities for people with disabilities.
This document provides an overview of learning in exhibitions. It discusses exhibitions as learning environments and different modes of learning that can take place in exhibitions, including formal, non-formal and informal learning. It also addresses lifelong learning and different learning styles. Additionally, it explores various learning resources that can be incorporated in exhibitions, such as publications, guided tours, workshops, and spatial/technological solutions. Finally, it poses questions about how learning could be supported specifically in the TANGO exhibition, which focuses on intergenerational dialogue.
This document contains information about the Georgian National Museum including a map of its branches around Georgia. It discusses the museum's archaeological excavations at sites like Dmanisi and Failaka Island, Kuwait. It also mentions workshops funded by BP for Georgian specialists and students on topics like conservation science.
Accessibility & Inclusion: Creative Content Choices (Presented at AAM2015)Sofie Andersen
What strategies help create great content for diverse museum audiences, including patrons with disabilities? Should we aim at a single specific audience or incorporate a more inclusive, universal design approach? How might this material be sourced, funded and implemented? We will address these questions and more in a lively in-depth discussion, examining verbal description for visitors with low or no vision as one model to illustrate the wide variety of options and the decision-making process.
Session Format : Talk Show
Learner Outcomes
1. Learn ways to think about the balance between best practices for access audiences and the unique needs and resources of each institution.
2. Consider strategies for creating content and programs for targeted audiences versus using a more universal design approach, and how to apply both.
3. Understand the variety of ways to source, generate and evaluate accessible and inclusive content, and learn real options for funding such efforts.
Using Common Senses: Programmatic Accessibility for ExhibitsWest Muse
You are probably familiar with the requirements of Americans with Disabilities Act (ADA) and the Architectural Barriers Act (ABA) for physical accessibility in your institution. But how do you bring exhibits alive to create inclusive experiences that meet the needs of visitors with a wide range of cognitive and sensory differences? In a lively, interactive format, this panel of exhibit designers present the philosophy, strategies, and specific techniques of audio description, tactiles, and electronic media to create displays that make exhibit content accessible to the broadest audience possible.
Moderator: Jill Rullkoetter, Senior Deputy Director, Frye Art Museum
Presenters: Charles Davis, AIA, Principal, EDX Exhibits
Lyn Henley, President, Henley Company Design and Production
Daniel Quan, Owner, Daniel Quan Design
This document provides information and guidance on disability awareness training. It discusses why institutions should make themselves accessible to people with disabilities from institutional, economic, and legal perspectives. It defines disability from a social model perspective and discusses invisible disabilities. It also covers communication strategies, welcoming different groups with disabilities, accessibility design, accommodations, and the accessible web. The overall goal is to promote inclusion and equal opportunities for people with disabilities.
This course provides students with the opportunities to be involved in live project that related to event management. The issues pertaining to the selected case studies will be highlighted and discussed considering the planning, orientation and environment of exhibition, elements and parameter of exhibition, analyzing the exhibition, and event management.
The purpose of museums is to enable all visitors to enjoy its collections and to learn. Although programs for visitors with visual impairment have appeared in developed countries, it does not seem that much has been done to integrate this group into the museum audience. Museum staff had to consider the different learning needs of visitors and consult with members of the community to gain a better understanding of what needs to be changed in order to make their museum accessible to visitors with different abilities. However, it has also been suggested that inclusive practices can be achieved through the use of Universal Design. According to McGinnis (2007), Universal Design means that exhibitions and programs would have to be designed so that everyone was able to use them. This article aims to analyze the accessibility of museums in Skopje to visitors with visual impairments, with a particular focus on how they can become more inclusive.
The document discusses a dissertation proposal on inclusive design for diverse populations. The proposal aims to identify excluded groups, understand ways of exclusion, list inclusive solutions to increase accessibility, study examples of inclusive buildings through case studies and audits, and analyze data on user groups' needs and preferences. The research will examine universal design theories and principles, accessibility guidelines, and inclusive design considerations for physical spaces. It will involve literature reviews, data collection, hypothesis testing, and analysis to understand how inclusive architecture can improve urban quality and respect all users.
A Guide to delighting EXPO 2020 visitors & capturing their attentionGemma Fabian
October 2020 will be the date when all eyes turn to Dubai expecting to see some incredible creative visions brought to life.
These factors will drive up visitor numbers, but given the extraordinary architecture and entertainment already seen in the region, it will take something highly creative and unique to grab their attention. Having been involved with audio-visual design and installation in more than 80 EXPO pavilions, we share our knowledge of the 10 factors that designers need to consider, to ensure audiences leave with lasting memories.
MOVIO: Interactive digital storytelling for mediation and valorisation of cul...Sam Habibi Minelli
One of the main goals of the GLAMs (Galleries,
Libraries, Archives, and Museums) is the promotion
and dissemination of knowledge and culture.
They accomplish their mission thanks to knowledge
dissemination activities that include, among others,
temporary and permanent exhibitions and
performances that follow codified models, whose goal is
to expose citizens to the national and international
cultural and artistic heritage. For more information about AthenaPlus project, visit: http://www.athenaplus.eu/index.php
Accessing Smartphones: Mobile for All in Museums (American Alliance of Museum...Sofie Andersen
Conference presentation on the research study of Antenna International/Antenna Lab together with Art Beyond Sight looking at the use of mobile in museums for individuals with disabilities. Contributing panelists were; Sofie Andersen, Annie Leist, Christine Murray, Danielle Linzer, Tasia Endo and Matt Kaplowitz.
Aanijalki, Opening Dialogue for Visually Impaired Inclusion in MuseumsMariana Salgado
This paper was published in the proceedings of the International Workshop of Re-thinking technology in museums. In Limerick (2005). University of Limerick
Dan Hill is a design professor and director who works on mission-oriented innovation and strategic design. The document provides examples of housing, workspaces, libraries, and other projects that incorporate flexible and adaptable designs. It suggests applying similar approaches to create interconnected green spaces, knowledge hubs, coworking facilities, and retail in Sheffield to activate the urban fabric and revive local industries.
The concept of cultural landscape has made
many cross-related professionalisms,
highlighting the need for some expertise,
mainly in the multimedia communication
for the Cultural Heritage and Museums.
A design museum is a museum with a focus on product, industrial, graphic, fashion and architectural design. Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design.
The first museum of this kind was the Victoria and Albert Museum in London. In Germany the first museum of decorative arts was the Deutsches-Gewerbe-Museum zu Berlin (now Kunstgewerbemuseum), founded in 1868 in Berlin.[1]
Also some museums of contemporary or modern art have important design collections, like the MoMA in New York, the Centre Pompidou in Paris. A special concept has been realised in the Pinakothek der Moderne in Munich, in which four independent museums cooperate, one of them being Die Neue Sammlung – the largest design museum in the world.
Today corporate museums like the Vitra Design Museum, Museo Alessi or Museo Kartell play an important role.
This document provides urban design guidelines for public realm developments in growth areas. It outlines key objectives such as demonstrating best practice in planning and design, and establishing a consistent approach across the local government area. The guidelines cover a range of design principles for public realm spaces, including place and community, flexibility, accessibility, health and wellbeing, connectivity, environmental sustainability, and financial sustainability. Specific guidelines address issues like historical context, local identity, social interaction, safety, biodiversity, sustainable materials, and long-term maintenance costs. The intention is to guide development of high quality, safe, accessible public environments.
Universal Design Guide for Inclusive Tourism by Scott and Sarah PruettScott Rains
“Inclusive tourism is a global movement to
ensure the full social participation of all
persons with disabilities in travel, citizenships,
and cultural contribution – and in the process,
to ensure the same for everyone else.”
– Dr. Scott Rains , srains@oco.net
www.RollingRains.com
For more on the Pruetts see:
Universal Design Partners
https://universaldesign.org/
Universal Design Rethinking Barriers To Quality Of LifeLaura Ve
The document discusses universal design and accessibility. It defines universal design as designing products and environments to be usable by all people to the greatest extent possible without need for adaptation. The accessibility triangle is introduced, which distinguishes between people with severe disabilities, mobility impairments, and minor disabilities. The summary discusses considerations for planning and design like mobility, vision, hearing, and more. Examples of accessibility in travel, cities, and streetscapes are provided. The use of color, light, tactility, acoustics, and healthy materials are also covered.
Access to intellectual resources without barriers means to give everyone the opportunity to partecipate in every type of environment (phisycal and learning)
An interdisciplinary studio of 16 students from architecture, industrial design, and interior design backgrounds worked to design and construct a temporary pavilion for the 80/35 Music Festival in Des Moines, Iowa. Students researched precedents, explored digital fabrication techniques, and traveled to New Orleans to experience festival culture. They developed initial proposals with a focus on modularity, constructibility, and potential for digital interaction. Their goal was to experiment with both traditional and innovative computational methods of material practice and construction.
The document discusses using multimedia in museums in several ways:
1. Multimedia can provide orientation information for visitors through interactive kiosks near entrances that overview the exhibition.
2. It can serve as a visitor guide within galleries through distributed access points that provide additional learning support.
3. Multimedia exhibits can act as explainers by illustrating essential points about exhibition content through clear storylines and easy-to-use interfaces.
4. Advanced technologies can create emotive triggers through virtual reality and simulations to heighten visitor interest.
5. Multimedia is best isolated from galleries when unrelated to content or disruptive, but can enhance experiences when directly relevant and non-intrusive.
Suvarnarekha Design Consultants is a leading architectural firm in Kerala that specializes in creating stunning and functional spaces. Our team of skilled architects in Kerala has the expertise and creativity to transform your ideas into reality. With a focus on sustainability and innovation, we strive to design buildings that not only look beautiful but also function efficiently and harmoniously with the surrounding environment. Whether you are looking to build a new home, office, or commercial space, our architects in Kerala can help you design a space that is both aesthetically pleasing and practical. Contact Suvarnarekha Design Consultants today to get started on your next architectural project. Visit here, https://suvarnarekhadesign.com/
Stefano Del Furia - Inclusive Design - Codemotion Rome 2019Codemotion
An inclusive type of approach creates better solutions, because it aims to benefit all users, therefore also those who must cope with disabilities. Thinking in terms of accessibility throughout the entire process, enables the creation of solutions for mobile applications and websites that are actually evolved and not merely alternative. When designing for human diversity, we make possible a global kind of partecipation, with a higher impact on positivity exchange and emotional benefits than we would have when addressing just the disabilities.
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
The document discusses a workshop on sensing the city that took place in Gdansk, Poland from October 18-31, 2009. It was coordinated by Gdansk University of Technology and involved partners from universities in Italy and Spain. The workshop covered general overviews of disabilities, universal design principles, and examples of their application to the urban environment. It addressed making cities accessible for all through multisensory design that takes multiple perspectives into account.
This document provides information about a design brief for an EU project located in Milan, Italy. The goal is to design an innovative product-service system to improve social cohesion and intergenerational dialogue at a public school in the Barona district. The system should be economically self-sustaining and have a low environmental impact. It provides maps and information about organizations in the Baggio district of Milan involved in radio broadcasting, including Shareradio which does training courses and live broadcasts to allow participation from the community.
The document provides a design brief for reinventing a public school in Milan's Barona district to improve social cohesion. The school is located in the central courtyard of a public housing complex. Designers are tasked with creating a product-service system that uses the school to bring together local residents and visitors in an economically self-sustaining manner through activities like workshops, repair services, and low environmental impact initiatives. A map shows the school's location in the Barona district relative to other community spaces.
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This course provides students with the opportunities to be involved in live project that related to event management. The issues pertaining to the selected case studies will be highlighted and discussed considering the planning, orientation and environment of exhibition, elements and parameter of exhibition, analyzing the exhibition, and event management.
The purpose of museums is to enable all visitors to enjoy its collections and to learn. Although programs for visitors with visual impairment have appeared in developed countries, it does not seem that much has been done to integrate this group into the museum audience. Museum staff had to consider the different learning needs of visitors and consult with members of the community to gain a better understanding of what needs to be changed in order to make their museum accessible to visitors with different abilities. However, it has also been suggested that inclusive practices can be achieved through the use of Universal Design. According to McGinnis (2007), Universal Design means that exhibitions and programs would have to be designed so that everyone was able to use them. This article aims to analyze the accessibility of museums in Skopje to visitors with visual impairments, with a particular focus on how they can become more inclusive.
The document discusses a dissertation proposal on inclusive design for diverse populations. The proposal aims to identify excluded groups, understand ways of exclusion, list inclusive solutions to increase accessibility, study examples of inclusive buildings through case studies and audits, and analyze data on user groups' needs and preferences. The research will examine universal design theories and principles, accessibility guidelines, and inclusive design considerations for physical spaces. It will involve literature reviews, data collection, hypothesis testing, and analysis to understand how inclusive architecture can improve urban quality and respect all users.
A Guide to delighting EXPO 2020 visitors & capturing their attentionGemma Fabian
October 2020 will be the date when all eyes turn to Dubai expecting to see some incredible creative visions brought to life.
These factors will drive up visitor numbers, but given the extraordinary architecture and entertainment already seen in the region, it will take something highly creative and unique to grab their attention. Having been involved with audio-visual design and installation in more than 80 EXPO pavilions, we share our knowledge of the 10 factors that designers need to consider, to ensure audiences leave with lasting memories.
MOVIO: Interactive digital storytelling for mediation and valorisation of cul...Sam Habibi Minelli
One of the main goals of the GLAMs (Galleries,
Libraries, Archives, and Museums) is the promotion
and dissemination of knowledge and culture.
They accomplish their mission thanks to knowledge
dissemination activities that include, among others,
temporary and permanent exhibitions and
performances that follow codified models, whose goal is
to expose citizens to the national and international
cultural and artistic heritage. For more information about AthenaPlus project, visit: http://www.athenaplus.eu/index.php
Accessing Smartphones: Mobile for All in Museums (American Alliance of Museum...Sofie Andersen
Conference presentation on the research study of Antenna International/Antenna Lab together with Art Beyond Sight looking at the use of mobile in museums for individuals with disabilities. Contributing panelists were; Sofie Andersen, Annie Leist, Christine Murray, Danielle Linzer, Tasia Endo and Matt Kaplowitz.
Aanijalki, Opening Dialogue for Visually Impaired Inclusion in MuseumsMariana Salgado
This paper was published in the proceedings of the International Workshop of Re-thinking technology in museums. In Limerick (2005). University of Limerick
Dan Hill is a design professor and director who works on mission-oriented innovation and strategic design. The document provides examples of housing, workspaces, libraries, and other projects that incorporate flexible and adaptable designs. It suggests applying similar approaches to create interconnected green spaces, knowledge hubs, coworking facilities, and retail in Sheffield to activate the urban fabric and revive local industries.
The concept of cultural landscape has made
many cross-related professionalisms,
highlighting the need for some expertise,
mainly in the multimedia communication
for the Cultural Heritage and Museums.
A design museum is a museum with a focus on product, industrial, graphic, fashion and architectural design. Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design.
The first museum of this kind was the Victoria and Albert Museum in London. In Germany the first museum of decorative arts was the Deutsches-Gewerbe-Museum zu Berlin (now Kunstgewerbemuseum), founded in 1868 in Berlin.[1]
Also some museums of contemporary or modern art have important design collections, like the MoMA in New York, the Centre Pompidou in Paris. A special concept has been realised in the Pinakothek der Moderne in Munich, in which four independent museums cooperate, one of them being Die Neue Sammlung – the largest design museum in the world.
Today corporate museums like the Vitra Design Museum, Museo Alessi or Museo Kartell play an important role.
This document provides urban design guidelines for public realm developments in growth areas. It outlines key objectives such as demonstrating best practice in planning and design, and establishing a consistent approach across the local government area. The guidelines cover a range of design principles for public realm spaces, including place and community, flexibility, accessibility, health and wellbeing, connectivity, environmental sustainability, and financial sustainability. Specific guidelines address issues like historical context, local identity, social interaction, safety, biodiversity, sustainable materials, and long-term maintenance costs. The intention is to guide development of high quality, safe, accessible public environments.
Universal Design Guide for Inclusive Tourism by Scott and Sarah PruettScott Rains
“Inclusive tourism is a global movement to
ensure the full social participation of all
persons with disabilities in travel, citizenships,
and cultural contribution – and in the process,
to ensure the same for everyone else.”
– Dr. Scott Rains , srains@oco.net
www.RollingRains.com
For more on the Pruetts see:
Universal Design Partners
https://universaldesign.org/
Universal Design Rethinking Barriers To Quality Of LifeLaura Ve
The document discusses universal design and accessibility. It defines universal design as designing products and environments to be usable by all people to the greatest extent possible without need for adaptation. The accessibility triangle is introduced, which distinguishes between people with severe disabilities, mobility impairments, and minor disabilities. The summary discusses considerations for planning and design like mobility, vision, hearing, and more. Examples of accessibility in travel, cities, and streetscapes are provided. The use of color, light, tactility, acoustics, and healthy materials are also covered.
Access to intellectual resources without barriers means to give everyone the opportunity to partecipate in every type of environment (phisycal and learning)
An interdisciplinary studio of 16 students from architecture, industrial design, and interior design backgrounds worked to design and construct a temporary pavilion for the 80/35 Music Festival in Des Moines, Iowa. Students researched precedents, explored digital fabrication techniques, and traveled to New Orleans to experience festival culture. They developed initial proposals with a focus on modularity, constructibility, and potential for digital interaction. Their goal was to experiment with both traditional and innovative computational methods of material practice and construction.
The document discusses using multimedia in museums in several ways:
1. Multimedia can provide orientation information for visitors through interactive kiosks near entrances that overview the exhibition.
2. It can serve as a visitor guide within galleries through distributed access points that provide additional learning support.
3. Multimedia exhibits can act as explainers by illustrating essential points about exhibition content through clear storylines and easy-to-use interfaces.
4. Advanced technologies can create emotive triggers through virtual reality and simulations to heighten visitor interest.
5. Multimedia is best isolated from galleries when unrelated to content or disruptive, but can enhance experiences when directly relevant and non-intrusive.
Suvarnarekha Design Consultants is a leading architectural firm in Kerala that specializes in creating stunning and functional spaces. Our team of skilled architects in Kerala has the expertise and creativity to transform your ideas into reality. With a focus on sustainability and innovation, we strive to design buildings that not only look beautiful but also function efficiently and harmoniously with the surrounding environment. Whether you are looking to build a new home, office, or commercial space, our architects in Kerala can help you design a space that is both aesthetically pleasing and practical. Contact Suvarnarekha Design Consultants today to get started on your next architectural project. Visit here, https://suvarnarekhadesign.com/
Stefano Del Furia - Inclusive Design - Codemotion Rome 2019Codemotion
An inclusive type of approach creates better solutions, because it aims to benefit all users, therefore also those who must cope with disabilities. Thinking in terms of accessibility throughout the entire process, enables the creation of solutions for mobile applications and websites that are actually evolved and not merely alternative. When designing for human diversity, we make possible a global kind of partecipation, with a higher impact on positivity exchange and emotional benefits than we would have when addressing just the disabilities.
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
The document discusses a workshop on sensing the city that took place in Gdansk, Poland from October 18-31, 2009. It was coordinated by Gdansk University of Technology and involved partners from universities in Italy and Spain. The workshop covered general overviews of disabilities, universal design principles, and examples of their application to the urban environment. It addressed making cities accessible for all through multisensory design that takes multiple perspectives into account.
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This document provides information about a design brief for an EU project located in Milan, Italy. The goal is to design an innovative product-service system to improve social cohesion and intergenerational dialogue at a public school in the Barona district. The system should be economically self-sustaining and have a low environmental impact. It provides maps and information about organizations in the Baggio district of Milan involved in radio broadcasting, including Shareradio which does training courses and live broadcasts to allow participation from the community.
The document provides a design brief for reinventing a public school in Milan's Barona district to improve social cohesion. The school is located in the central courtyard of a public housing complex. Designers are tasked with creating a product-service system that uses the school to bring together local residents and visitors in an economically self-sustaining manner through activities like workshops, repair services, and low environmental impact initiatives. A map shows the school's location in the Barona district relative to other community spaces.
The document describes a design brief for a community garden located in the Giambellino district of Milan. The garden was created around a small house situated in a public park as part of the Punto e Linea project. It is currently maintained once a week by a group of people of different ages and backgrounds. The design brief calls for a product-service system to allow the community garden to be economically self-sustaining after the Punto e Linea project ends, and to further social cohesion, intergenerational dialogue, and environmental sustainability in the neighborhood.
The document outlines a design brief to create a sustainable summer sports camp system for youth in the Gratosoglio district of Milan, Italy. The camp aims to optimize management and organization through a product-service design to promote social inclusion and intergenerational dialogue. The camp has hosted sports in past summers but faced issues with management. The design brief requests a system that addresses these issues.
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Internal Report.
Design and system Innovation for Sustainability research unit, Design dept., Politecnico di Milano
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it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
1. Accessible Exhibitions
What is Accessibility?
Inclusive Design
Physical Accessibility
Measures
Planning Tools
Intellectual Accessibility
Sensory Accessibility
Accessible Communication
Social and Cultural Accessibility
Accessibility in the TANGO Exhibition? References and Further Reading
2. Accessible Exhibitions This information package gives insight into how to plan and
organize an accessible exhibition – that is, both physically and
intellectually available to diverse audiences. In accessible
exhibitions moving round, seeing, hearing and understanding
have been made as easy as possible. There are many useful tools
that help in checking for whom the exhibition and its contents is
actually available, and who might be excluded.
In this section you will find information and links that encourage
looking at accessibility from many different points of view
and developing more inclusive exhibition design.
Reading tip: The starred links throughout this document take you
directly to the Culture for All service’s website, which has useful
information on various accessibility-related topics.
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3. The main entrance hall at the Design Museum,
Helsinki. Image Courtesy of the Design Museum.
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4. Accessible Exhibitions
What is Accessibility? Quick Read: Here is an excellent yet compact information
package on accessibility, provided by the Finnish Culture for All
service.
www.kulttuuriakaikille.info/accessibility_what_is_accessibility
See also: Salovaara, S. (2006). Welcome to the Museum? , p. 2.
Link:
The extensive accessibility plan of the Smithsonian Museum,
Washington D.C., contains plenty of practical advice and
concrete measures on how to ensure exhibition accessibility:
Smithsonian Guidelines for Accessible Design.
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6. Accessible Exhibitions
What is Accessibility?
Inclusive Design The way places are designed affects people’s ability to move round,
see, hear and communicate.
Inclusive Exhibition Design
Inclusive design is about making places that everyone can use. It aims
to enable everyone to participate equally and
Aspects of Accessibility independently in everyday activities. An inclusive approach to design
offers new insights into the way people interact with the built environ-
ment.
According to: Centre for Accessible Environments, CAE
Inclusive design as defined by the CAE:
– places people at the heart of the design process;
– responds to human diversity and difference;
– offers dignity, autonomy and choice;
– provides for flexibility in use.
An online film about Inclusive Design by the Royal Institute of
British Architects:
http://www.youtube.com/watch?v=fTRq1oIlT0Y&lr=1
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7. Accessible Exhibitions
Inclusive Design The idea of cultural equality is the most important starting
points when striving for inclusive design. International
guidelines and national legislation aim at equal opportunities
Inclusive Exhibition Design for diverse groups of citizens; thus everyone should be given
the opportunity to enjoy exhibitions, regardless of their physical
or intellectual capacities.
Aspects of Accessibility
Central issues that should be considered in accessibility
planning include minority rights, multiculturality and
internationality, age and different life phases.
Inclusion of diverse audiences demands that exhibitions cannot
be planned with a standard visitor in mind. Accessibility requires
acknowledging and appreciating differences
– whether in age, cultural background, gender orientation, or
intellectual or physical capacities. Variety instead of uniformity is
a recommendable point of departure.
According to: Salovaara, S (2006). Welcome to the Museum? p. 3.
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8. Accessible Exhibitions
Inclusive Design
The accessibility assessment of an exhibition can include:
Inclusive Exhibition Design – the physical environment;
– accessibility of contents through different senses;
– access to information and practical details;
Aspects of Accessibility – financial, social and cultural accessibility.
And: the audience’s ability to influence all these issues.
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10. Access and getting around can be a challenge especially in older buildings.
Visitors with limited mobility or visual impairment should be taken into ac-
Accessible Exhibitions count by certain procedures.
When planning exhibition architecture, it should
Physical Accessibility be ensured that the exhibition space is accessible with e.g. a wheelchair or an
assistance dog. It should be possible to access the exhibition space by elevator.
Measures If not, different fixed or moveable ramp systems can be used instead. Stairs and
steps should be clearly marked and handrails installed when possible.
Planning Tools The circulation routes through the exhibition space must be clearly defined,
well lit, and easy to follow. Complicated routes and dead-ends should be
eliminated. Doorways have to be cleared of obstacles, and text panels should
Accessibility in the TANGO Exhibition? not be placed in their immediate proximity. Unsteady standing signs; elements
made of seethrough materials; uneven surfaces; and carpets, stands and
objects that are the same colour as the walls should be avoided. It is also
important that the entrance to the exhibition is clearly defined by signs,
different colours and contrasts.
Larger renovations such as installing elevators are not always
possible, but even smaller reforms can make a big difference. To begin with,
handrails can be installed in staircases and seats can be placed for resting.
Clearly visible safety tape can be used to indicate stairs and steps,
non-functional signs can be redesigned, sound enforcing tele/induction loop
systems installed, and service counters lowered. Toilet facilities could be made
accessible by wheelchair. The most important thing is to provide visitors with
information on the accessibility of the exhibition in the brochures, website, and
in the exhibition space.
Case Example, Finnish Museums’ website offers a museum search by
accessibility criteria: www.museot.fi/searchmuseums/
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11. Image Courtesy of John P. http://one-
-
mansblog.com/ Used under Creative
Commons License.
12. Accessible Exhibitions
Measures In this section you will find concrete measures for designing more
accessible exhibition spaces. For visual presentations, see the
accessibility plan of the Smithsonian Museum, Washington D.C.:
Doors and Doorways Smithsonian Guidelines for Accessible Design.
Measuring Accessibility:
Circulation Routes Professional access auditors or consultants measure accessibility by
using specially designed technical devices. Access auditing tools
can include for instance a digital gradient measure, a lux light
Seats meter, and a door pressure gauge.
Vitrines
Lighting
Wall Texts
Name Tags
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13. Accessible Exhibitions
Measures
Doorways into and inside the exhibition space should be at
least 85 cm, preferably 120 cm wide, and have enough free
Doors and Doorways space for turning in front of them.
It is necessary to remember that a wheelchair requires an
Circulation Routes
approximately 150 cm turning margin. Thresholds should be
removed or lowered, when possible.
Seats
Doors have to be easy to open, and possible push buttons for
automatic doors should be installed at an 85 to 100 cm height.
Vitrines Manual doors require clear directions (push/pull) and door
handles that are easy to grab. See-through glass doors should
have tape or other markings for better visibility at 90 to 150 cm
Lighting from the floor surface.
Wall Texts
Name Tags
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14. Accessible Exhibitions
Measures The recommended width of circulation routes is approximately
150 to 180 cm.
Doors and Doorways Beyond the main route a little less is acceptable, but the
minimum should be at least 100 cm. A standard wheelchair’s
turning margin is approximately 150 cm, and guide dogs and
Circulation Routes personal assistants also need extra space to move.
Seats All unnecessary obstacles, steps and thresholds should be
avoided in the circulation route.
Vitrines
Lighting
Wall Texts
Name Tags
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15. Accessible Exhibitions
Measures
Long walking distances require seating for resting. The
exhibition space should have seats at different heights. Most
Doors and Doorways commonly the sitting height is at 45 cm, but some of the seats
should be taller, at 50 to 55 cm. Ideally, some of the chairs
should provide support also for the back, arms, legs, and feet.
Circulation Routes
In larger institutions, there can also be wheelchairs and other
auxiliary equipment for the visitors to borrow.
Seats
Vitrines
Lighting
Wall Texts
Name Tags
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16. Accessible Exhibitions
Measures
The recommended height for display cases and vitrines is at 75
Doors and Doorways
to 200 cm from the floor surface. Small objects can be placed at
120 to 160 cm from floor level.
Circulation Routes
Display cases that have space underneath are highly
recommended, since visitors in wheelchairs can get closer to
Seats them.
Vitrines
Lighting
Wall Texts
Name Tags
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17. Accessible Exhibitions
Measures
Doors and Doorways Lighting on circulation routes, service points and near steps
and stairs should be at least 150 lux and evenly distributed. Very
strong contrasts, sudden shifts from light to dark, should be
Circulation Routes avoided.
Especially information tags and wall texts need to be well lit.
Seats Shadows, reflections and mixing of different light sources cause
difficulties to see. Natural light creates unwanted shadows that
can distract viewing. Non-reflective glass surfaces and matte
Vitrines text and other exhibition materials are highly recommended.
Lighting
Wall Texts
Name Tags
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18. Accessible Exhibitions Wall texts in the exhibition space should be large and clear enough, with good
contrast. The best visibility is usually attained by using dark text on a light
background. Matte surfaces eliminate unwanted reflections and are thus better
Measures than glossy ones.
Typography should be as clear as possible, without unnecessary use of italics and
Doors and Doorways boldings. The recommended font size is usually 18 to 36 points, whereas in bigger
text panels, with longer viewing distances, the recommended size is usually at
Circulation Routes least 48 points. The paragraph alignment of the text panels is usually on the left,
and sometimes vertical columns on the left side of the text areas are used to help
people with visual impairment to better locate them.
Seats
Texts in the exhibition space should also be placed so that they are easy to read
from different heights. However, they should not interfere with or draw too much
Vitrines attention from the exhibited material. The best height to place text areas in the
exhibition space is at approximately 90 to 150 cm from floor level. Larger text
panels can be placed at 75 to 200 cm from the floor. The optimum height for info
Lighting signs is at 140 to 160 cm from the floor surface.
If there is a lack of wall space, one option is to provide a printed handout of the
Wall Texts
exhibition texts with especially good contrast and readability for people who have
difficulties seeing. Preferably, the text materials should also be offered in Braille (a
Name Tags reading and writing method for people with visual impairment that is based on a
system of raised dots) and/or audio format.
More on Braille alphabets in Wikipedia: http://en.wikipedia.org/wiki/Braille
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19. Accessible Exhibitions
Measures
Doors and Doorways
It is best to place the name tags as close to the exhibited artefacts as possible,
Circulation Routes without them interfering too much with the exhibited content. They should also be
placed logically, always to the same side in relation to the artefacts. Tags should
be visually uniform, easy to see and well lit. Tilting them 45 degrees facilitates
Seats
reading. Colour contrasts or border markings also help to make them more
visible. If it is not possible to use name tags, a list or a map can be made that
Vitrines includes all the important information on the numbered artefacts and makes it
easy to connect the text with the correct object.
Lighting
Wall Texts
Name Tags
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20. Oddly placed wall texts at the Istanbul Biennale
2011. Image courtesy of Jenni Nurmenniemi.
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21. Accessible Exhibitions * Physical Accessibility
The above link takes you to the Culture for All website, where you will find
more practical information on the topic.
Planning Tools
In the report Smithsonian Guidelines for Accessible Design you will find
important measures and figures for accessibility planning.
There are also various checklists that you can use in accessibility planning.
Here you will find some hints on how to use them:
http://www.kulttuuriakaikille.info/accessibility_checklists
http://www.mla.gov.uk/what/raising_standards/improvement/~/media/
Files/pdf/2004/disability_checklist.ashx
Quick Checklist according to the Culture for All website:
– Does the exhibition welcome participation and take diverse audiences into
account?
– Is the exhibition site physically accessible for people with mobility or
functional concerns?
– Does the exhibition allow developing knowledge between different
cultures?
– How does the exhibition communicate to different audiences?
– Should the exhibition take some specific target groups into account, and
how?
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22. Image courtesy of kvanhorn: http://www.flickr.
com/photos/kvh/. Used under Creative Commons
license: http://creativecommons.org/licenses/.
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23. Accessible Exhibitions
Intellectual Accessibility Quick read: Intellectual accessibility means that the exhibition should
be equally accessible to people regardless of their previous knowledge
or education level. Offering well-designed information materials, using
printed brochures and websites that are easy to read and look at, and
providing audiovisual materials that facilitate understanding make the
exhibition available to a wider audience.
It is important to use clear and informative, preferably plain language in all
communications. Plain language is a form of language that is
understandable for all.
Guides who are able to take diverse audiences into account can contribute
greatly to the intellectual accessibility of the exhibition. In addition,
different audioguides can be tailored for visitors with specific needs.
Helpful assistants and other exhibition staff can also have a remarkable
positive impact on the overall exhibition experience.
More on plain language in Wikipedia:
http://en.wikipedia.org/wiki/Plain_language
*Intellectual Accessibility
The above link takes you to the Culture for All website, where you will find
more practical information on the topic.
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25. Accessible Exhibitions
Sensory Accessibility Quick Read: Exhibitions should provide opportunities to use several senses.
Sensory accessibility refers to the visitors’ possibility to engage with the
exhibition by using different senses.
Sound Environment
Information can be both looked at and listened to, and sometimes it is possible
to explore museum objects by touch. Sign-language tours are tailored for people
with hearing impairments, whereas description tours bring the exhibition alive for
visitors who cannot use their eyesight. Audiovisual presentations with subtitles,
sign language and audio descriptions are helpful as well.
Clear signs and information texts written in large, easily readable fonts benefit
everyone. Technical devices, such as induction loops, and auxiliary aids, such
as magnifying glasses or flashlights, could be especially helpful for the elderly.
Some people are especially sensitive to different sensory stimuli, for instance,
light or sound. For them it could be good to provide e.g. earplugs if the exhibition
has a sound environment with loud noises or pay special attention to even
lighting.
* Sensory Access
The above link takes you to the Culture for All website, where you will find more
practical information on the topic.
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26. Accessible Exhibitions
Sensory Accessibility
One important aspect that should not be neglected in exhibition design is the
sound environment. Different sources of sound should be charted and placed
Sound Environment already when planning the exhibition, so that the sound environment does not
bother for instance people with visual impairments, who rely on their hearing to
navigate in the space, or visitors who are extra sensitive to sound. Different
sound sources should also be separated from each other as clearly as possible.
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27. Composer workshop of a Hugo Simberg exhibition. Image
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courtesy of Marjatta Levanto and Finnish National Gallery /
Central Art Archives.
28. Accessible Exhibitions
An accessible exhibition starts with good communication: potential visitors should
Accessible Communication be offered appropriate information already before they come to the exhibition.
Brochures and websites should provide basic information on accessibility: are the
facilities accessible for people with limited mobility or visual impairments? Are
assistive hearing devices and seeing aids provided? Information on each
exhibition and its background should be presented in an understandable form.
Information can be designed directly for specific target groups.
The staff can be trained in the use of plain language and graphic design for people
with visual impairments. Websites should operate also with aids for people with
visual impairments.
According to: Salovaara, S. (2006). Welcome to the Museum?, pp. 6–7.
Case Example: Browse Aloud – a computer program that reads aloud all website
content.
* Accessible Communication
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30. Accessible Exhibitions
Social and Cultural Accessibility
Interpretive systems have varying cultural origins. Thus, social and cultural
accessibility requires sensitivity to a plurality of experiences, perceptions, and values.
It is important to evaluate if the contents and displays reflect the
interests and life experiences of different audiences.
If reaching out to specific visitor groups, it might be useful to:
Build contacts and set up advisory boards of representatives of the target
groups. Develop communication skills and offer language choices, if needed.
Work together with the target groups and run community projects to make sure
that their views and concerns are included in the exhibition.
Social accessibility can mean, for instance, accessible pricing, so that people can
afford to visit the exhibition, regardless of their socio-economic background.
When possible, the admission should be free of charge or at least tickets with
discounts should be offered for specific groups. One option is to offer free
entrance at certain times.
* More on Social and Cultural Access.
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31. Image courtesy of Ari Karttunen/ EMMA,
Espoo Museum of Modern Art. -
32. Accessible Exhibitions
Accessibility in the TANGO Exhibition?
How to take into account the special features of the exhibition locale
in:
Helsinki?
Milan?
Nantes?
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33. The exhibition space at the Design Museum,
Helsinki. Image courtesy of Jenni Nurmenniemi.
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34. References and
Further Reading Salovaara, S. (2006). Welcome to the Museum?
The Finnish National Gallery Promotes Cultural Equality in Finland.
In this short article, Sari Salovaara, a museum professional who specializes in
accessibility issues at the Finnish National Gallery, opens up accessibility from
both her own perspective as a person with visual impairment and via the Finnish
National Gallery’s actions towards more accessible and inclusive exhibitions.
http://www.cultureforall.info/doc/research_and_reports/welcome_to_the
_museum_article.doc
Access for All Toolkit
Checklists for assessing barriers to accessibility and ways to overcome them.
See especially pages 6 and 8 of the pdf document.
http://www.mla.gov.uk/what/raising_standards/improvement/~/media/Files/
pdf/2004/access_for_all_toolkit.ashx
Information Service on Accessibility by the Finnish Ministry of Education
and Culture: www.cultureforall.info.
See especially: What is Accessibility? A compact information package
on accessibility:
http://www.kulttuuriakaikille.info/accessibility_what_is_accessibility
Accessibility Vocabulary
Useful accessibility vocabulary in English, Finnish, and Swedish. The file is in Excel form.
http://www.cultureforall.info/doc/what_is_accessibility/acessibility_vocabularity
_finnish_swedish_english.xls
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35. References and
Further Reading Access by Design
A quarterly journal published by the Centre for Accessible Environments.
A sample issue readable with an e-book viewer:
http://issuu.com/accessbydesign/docs/access_by_design_autumn_2010_issue_124
Cultural Diversity Checklist
www.mla.gov.uk/what/raising_standards/improvement/~/media/Files/pdf/20
04/cultural_diversity_checklist.ashx
Making Cultural Heritage Truly Common
www.cultureforall.info/doc/research_and_reports/making_cultural_heritage_
truly_common_conference_publication.pdf
Kaitavuori, K., Mäyrä, F., Nummelin, E., Sandell, R., Walters, D. & Ågotnes, A.
(2008). Making Cultural Heritage Truly Common Conference Publication, 11-12
October 2007, Helsinki. Culture for All Service web publication 1:2008.
Community relations and development Kehys. Finnish National Gallery.
Disability Portfolio
Here you will find twelve guides on how to meet the needs of disabled people as
users and staff in museums, archives and libraries. It gives advice, information
and guidance to help overcome barriers and follow good practice.
www.mla.gov.uk/what/raising_standards/improvement/~/media/Files/pdf/20
04/disability_portfolio.ashx
Articles On Intercultural Dialogue and Multiculturalism (Partly in English)
www.cultureforall.info/doc/monikulttuurisuus_kansio/perspectives_on_interc
ultural_dialogue.pdf
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36. The workshop space at the Design Museum,
Helsinki. Image Courtesy of Jenni Nurmenniemi.
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