Aktuelles

Veröffentlicht am

Inklusion und Universal Design? Mit dieser Grafik schaffen Sie bessere Lösungen.

Gesellschaftsgrafik Das sind wir 2025. Welche Bedarfe von welchen Menschen ausgehen und welche Maßnahmen sie unterstützen.

Die Basisgrafik für inklusives Denken und Arbeiten. Nutzen Sie sie bereits bei der Planung Ihres Projektes. Dadurch erhalten Sie inklusive Konzepte und Designs, statt eines Konzeptes und Designs, das hinterher nur „erweitert“ oder „angepasst“ wird. Das sind IMMER nur Kompromisse zu Ihrem Nachteil und auf Ihre Kosten.

Ich habe meine Grafik aktualisiert und überarbeitet. Sie umfasst jetzt weitere Anforderungen und mehr Lösungen.

Bitte nicht vergessen – bei allem, was Sie diskutieren: Es gibt keine besonderen Bedürfnisse! Ihre Aufgabe liegt im Perspektivwechsel. Wir haben alle die gleichen Bedürfnisse! Es gibt aber unterschiedliche Anforderungen, wie sie erfüllen werden.

Veröffentlicht am

Das Barrierefreiheitsstärkungsgesetz (BFSG) – Pflichten und Risiken für Anbieter von Produkten ab 28. Juni 2025

Ab dem 28. Juni 2025 tritt das Barrierefreiheitsstärkungsgesetz (BFSG) vollständig in Kraft. Vielen ist nicht bewusst: Das Gesetz betrifft nicht nur Webseiten und digitale Dienste, sondern auch ganz konkret Produkte und Dienstleistungen.

Für Anbieter bedeutet das: Sie müssen dafür sorgen, dass ihre Angebote von Menschen mit Behinderungen gleichberechtigt genutzt werden können. „Das Barrierefreiheitsstärkungsgesetz (BFSG) – Pflichten und Risiken für Anbieter von Produkten ab 28. Juni 2025“ weiterlesen

Veröffentlicht am

Innovative ways of inclusive outreach at the Technikmuseum Berlin

For the Technikmuseum Berlin, I developed a groundbreaking and innovative exhibition piece together with Ellen Schweizer six years ago. It was one of the first exhibit tables that broke down a painting in its historical context into all details and highlighted each protagonist as an individual tactile graphic.

This intensive didactic preparation remains unparalleled to this day. Not only are the individual protagonists of the painting presented with high contrast, without perspective and in detail, but they are also described via audio description.

They are put into context through the centerpiece of the installation, a 3D relief, which the sculptor Stephan Hüsch created as a tactile interpretation of the painting under our guidance for blind accessibility. This was a process of intensive collaboration and led to an outstanding result in terms of accessibility.

Large table with tactile graphics and texts in the museum for didactic preparation of a painting
Railway Bridge Ehrenbreitstein, Paul Friedrich Meyerheim 1875. The monumental oil painting by Paul Friedrich Meyerheim (1842-1915) is 3.80 meters high and weighs almost 850 kilograms. It depicts the typical means of transportation around 1870. The painter created this and six other paintings for the villa of the Borsig manufacturing family in Berlin-Moabit.

Tactile graphics

The cultural-historical contexts are conveyed briefly on a text panel and more comprehensively in several thematic chapters via audio. The effort behind this project does justice to the significance of Paul Friedrich Meyerheim’s work. The painting was commissioned by the Borsig family.

Blind person reading at a table with tactile graphics and texts in the museum

Watch Meyerheim Relief video

Meyerheim’s „Railway Bridge at Ehrenbreitenstein“ is an important historical document of the technical revolution in the late 19th century. The bridge represents the overcoming of natural conditions through modern technology. The work documents the general feeling of departure into a new age of motorized future. The fascination of Jules Verne’s world come true. Machines replace muscle power and enable the transport of people and goods over long distances in the shortest time. At the time of the work, there were already 600,000 km of railway tracks worldwide. Through the development of the steam engine, it was possible for the first time to use waterways all over the world independent of current, wind and muscle power. Iron constructions enabled large spans of bridges with high load-bearing capacity.

Veröffentlicht am

Barrierefreie Orientierung eingeplant: Das Präventionszentrum VBG BGW Hamburg

Als Experte für Inklusion und Barrierefreiheit durfte ich an einem wegweisenden Leuchtturmprojekt in der Hamburger HafenCity mitwirken. Im 18-geschossigen Präventionszentrum der Berufsgenossenschaften BGW und VBG verschmelzen modernste Architektur und konsequent inklusives Design zu einer besseren Form der Gebäudeerschließung.

Architektursimulation

Mein Beitrag konzentrierte sich auf die Beratung der Akteure bei der Planung und dem Design hinsichtlich funktionaler und ästhetischer Barrierefreiheit. Dazu gehörte auch die Weiterentwicklung der Hausschrift Meta durch einen neuen Schriftschnitt „DGUV Meta taktil“ – eine Pyramidenschrift, die in der Beschilderung taktil erfassbar ist. Darüber hinaus habe ich das Orientierungs- und Bodenleitsystem mitgestaltet, das sich wie ein einladendes Band für alle Besucher:innen durch das Gebäude zieht. Durch die Kombination der diversen Elemente ermöglichen wir allen Menschen eine selbstständige und intuitive Orientierung im Gebäude.

Statt isolierter Speziallösungen oder gar nachträglicher Korrekturen und Erweiterungen, haben wir von Anfang an ein Gebäudedesign für alle Menschen geschaffen. Denn echte Inklusion bedeutet, dass wir auch alle Räume autonom erfassen und nutzen können.

Verpassen Sie nicht die zum Projekt gut bebilderte Projektseite meines Auftraggebers Ippolito Fleitz Group GmbH. Es lohnt sich.

Veröffentlicht am

The Cologne City Museum as a new benchmark for inclusion in Germany

Taktil gedruckter gelber Stern. Zugängliches Exponat mit Braillebeschriftung im Kölnischen Stadtmuseum

On March 23, 2024, the Cologne City Museum opened in its new exhibition rooms (Haus Sauer) in the center of Cologne. In my opinion, it is the museum with the most inclusive exhibition in Germany, setting new standards. Its unquestionable self-image of an inclusive exhibition concept has raised the bar several notches.

„It is now state of the art for museums to offer one inclusive station per themed area or room. Strictly speaking, however, this approach is anything but inclusive, as it provides exclusive content via exclusive routes to exclusive stations. These usually don’t even pursue the same educational goal as the rest of the exhibition, let alone achieve it.“ Steffen Zimmermann

Preparation and consulting

Here, in the Cologne City Museum, we took a more fundamental approach. This is crucial for the high aesthetic inclusive quality. My consulting services on all inclusion issues were called upon very early on. As early as the conception stage and in close collaboration with the curators and scenographers, we looked at and discussed the entire list of exhibits from an inclusive perspective (i.e. „How can we make it better for all visitors?“), spontaneously explored possibilities of how and whether the respective object could be presented inclusively – and then made a preliminary selection based on these standards. As a result, many exhibits were removed from the display case, others were replaced, purchased, created as replicas or printed to make them freely and openly accessible. We decided which graphics were didactically feasible for everyone, which texts and objects and which photos and paintings. It was not so much a question of „What do we highlight?“ but rather „What do we unfortunately have to do without?“.

Execution included

After the final decision was made, it was also my task, together with the designers from neo.studio, to develop the didactic design of the objects and to create a tactile layer and lettering (also in pyramid writing and Braille) for all selected objects and graphics and finally to produce them with my printing partner. I also developed a stringent and intuitively usable tactile floor guidance system that also fits in perfectly aesthetically. The audio and videos are of course coordinated with the guidance system and additional information. The checkout counter is equipped with an inductive hearing system. The MultiMediaGuide naturally also offers videos in German sign language. The signage is non-discriminatory. The entire exhibition is accessible without thresholds.

Services for blind visitors

There are many opportunities for blind people to experience the city’s history in the new museum. The floor guidelines lead from the sidewalk to the entrance door, the cash desk and the checkroom. Then through all the exhibition areas and, of course, to the sanitary facilities. There are tactile overview plans on all floors for orientation. The most important texts in each exhibition area are also in Braille, and some graphics can also be experienced tactilely. Many exhibits explicitly state: „Touching allowed!“. The MultiMediaGuide also offers a guided tour specially adapted for people with visual impairments. People who are blind or visually impaired and have an assistance dog are allowed to bring it into the museum.

„The collaboration with the scenographers and exhibition designers neo.studio Berlin and the curators Stefan Lewejohann and Sascha Pries was characterized from the very beginning by equality and the common desire for a barrier-free place for everyone. This resulted in a wonderfully comprehensive project for me over two years. In addition to the inclusion advice and the floor guidance system, I produced around 166 (!) objects – all tactile – from information boards to plans, graphics and panels to exhibits. That’s an unusually large amount on 700 square meters with a total of 650 objects.“ Steffen Zimmermann

The Cologne City Museum writes:

A city museum for everyone

Inclusion and accessibility were key objectives when redesigning the permanent exhibition. In terms of both the spatial design and the content, the museum team focused on contemporary standards to ensure that everyone has an unforgettable visit to the museum. The exhibition areas are barrier-free throughout. Blind and visually impaired people are guided to important objects and content via a guide for the blind. For some selected exhibits, the explicit rule for visually impaired people is: „Touching allowed!“ In addition, numerous „hands-on“ stations have been designed for visitors with visual impairments. All main texts in the exhibition are also in Braille. There are also tactile graphics; the popular city model also makes the topography of medieval Cologne tangible with a haptic mediation element. The MultiMedia-Guide offers numerous other barrier-free functions. Source: Cologne City Museum press release from March 22, 2024

The new address:

Cologne City Museum Minoritenstrasse 13 50667 Cologne Postal address and administrative entrance: Kolumbahof 3 Opening hours: Tuesday Tuesday: 10 a.m. to 8 p.m. Wednesday to Sunday: 10 am to 5 pm 1st Thursday of the month: 10 am to 10 pm (except on public holidays) On public holidays (such as Good Friday or Easter Monday): 10 am to 5 pm

Veröffentlicht am

A thought experiment for curators - What does inclusion cost?

Taktile Stadtentwicklungspläne im Kölnischen Stadtmuseum

Mind game: You are Linda P.

When Linda P. goes to the Cologne City Museum with her husband and children, they walk through the building as a group, talking and pointing out, discussing and adding to their knowledge of each area and aspect of the exhibition. They ask each other questions and share what they have learned.

Does it matter whether Linda is blind or not? It doesn’t matter in the Cologne City Museum because each themed area is equipped with a comparable depth of information and range of objects in different ways. But it does play a role in the other museums when Linda is guided to only a few, mostly monothematic „inclusion exhibits“, which, as Linda then realizes, actually ensure her exclusion. In fact, she didn’t notice anything about the actual exhibition or her family.

This photo shows a value-added exhibit for everybody. The historical city model (left in the picture), which is only visually accessible, is made much more interesting and informative by the didactic presentation on different levels that can be moved over one another (topography, urban development, important buildings, urban structure). These are, of course, tactilely legible alongside the models of the important buildings. This didactic presentation is the key to achieving the educational goal for all visitors.

And so, to conclude, the crucial question: what does inclusion in museums cost?

It costs the investment in a good didactic concept (which of course thinks inclusively) and often not only brings added value, but also the utility value for some exhibits that would otherwise remain inaccessible to the majority of visitors. Incidentally, Linda P. and her family would not have come without the inclusive design of the exhibition because they naturally wanted to experience the day together.

A multimedia guide provides further background information and the text version in sign language for those interested. The museum’s inclusion concept, the tactile implementations and the floor guidance system were created by Steffen Zimmermann, the exhibition design by @neostudio.berlin

Veröffentlicht am

Netflix-Projekt „Alles Licht das wir nicht sehen“

Titelseite zur Miniserie "Alles Licht das wir nicht sehen" der Netflix-Broschüre in Braille und Schwarzschrift

Ich bin über dieses Projekt besonders glücklich. Ich zeichne für die Brailleumsetzung und -Produktion verantwortlich. Das Besondere: Hier hat ein großer Konzern, Netflix, und eine großartige Agentur „einfach mal gemacht“ statt nur Charity und Sonntagsreden oder Pflichterfüllung mit Minimalaufwand. UND: Es ist begeisternd geworden! Schaut euch diese Ästhetik an! Projektmanagerin Saskia Alexandra Anton und Art Director Maarten Dijk bei Agentur XY haben ohne Abstriche an das Design oder an die Barrierefreiheit gearbeitet. Die Produkte strafen die Zweifler lügen! Danke! Ich war gern dabei! Tolle Leute.

🏆 Beim Type Directors Club New York gewinnen wir mit „The Unsceen“ für die Netflix Serie „All The Light We Cannot See“ in der Kategorie „Communication Design: Non-Traditional Media Publication“ und zudem „Judge’s Choice“.

Die Fotos sind alle von der ausführenden Agentur XY in Berlin mit ©2023

Innentitel der Netflix-Broschüre zur Miniserie

Blick in die Netflix-Broschüre in Braille und Schwarzschrift zur Miniserie

Veröffentlicht am

Publicly open buildings - accessibility requirements - elevators

Today I would like to remind you of the urgent need for accessible emergency call systems in elevators, in particular the obligation to offer visual emergency calls so as not to endanger people with hearing and speech impairments. Current emergency call solutions in most elevators are usually limited to solely acoustic communication, which prevents people with hearing or speech impairments from accessing the control center in an emergency.

This inadequacy not only violates the German General Equal Treatment Act, but also various building regulations and standards. The Basic Law and the UN Convention on the Rights of Persons with Disabilities are clear with regard to the non-discrimination of people with disabilities. The disability equality laws enshrined in the German federal states reflect these requirements.

They emphasize that accessibility is crucial in all publicly accessible buildings, regardless of the nature of the service. The Model Building Code and DIN 18040-1 indicates that accessible elevators require two-way communication.

Germany follows the EU standards, which state that emergency call systems and voice communication must be both audible and visual. Accessible elevators must comply with the multi-sensory principle, especially for people with hearing or speech impairments who are dependent on visual communication.

Many manufacturers already offer visual emergency call systems that enable communication via touch displays or smartphones. These solutions support multiple languages and ensure that individuals with hearing or speech impairments can also communicate effectively with the outside world in an emergency.

It is obvious that the exclusive use of audible emergency calls is a clear violation of legal requirements and restricts the equal use of the elevator for everybody. The responsibility for the correct implementation and functionality of the emergency call system lies with the manufacturer of the accessible elevator, and non-compliance may result in legal consequences and liability in the event of incidents.

Veröffentlicht am

How to avoid additional costs for inclusion

I have been regularly involved with cost issues for over 13 years and have implemented many projects. Most of the consulting and design projects have been for museums, but also in the wider education sector or in architecture and product development. In recent years, the implementation of inclusive goals has gained momentum. As a rule, it succeeds best where diversity is demanded as a matter of course by one decision-maker person in the company or institution with commitment. The reaction of the uninvolved is quite openly or in thought almost always “ well, for these few people we should spend so much money? Who pays the costs for inclusion?“.

I have an answer for that. It’s below, but you have to read the few lines in between to interpret it. I thought about it for a long time and finally found the clue to the problem within the question itself. After all, inclusion is not actually in question because of the cost, but, and this is my analysis, because it is not taken for granted. By „taken for granted,“ I mean something like laying power lines when you build a house. You use it to make sure the building is accessible, in some sense barrier-free, through lighting – especially if you’re going to use it at night. And you use it to operate your assistive devices, such as washing machines and heating, for people whose own energy is not sufficient for all tasks. So without electricity, the people who use the building would be very handicapped.

For the following reasons, among others, Germany is probably also in last place in the EU comparison when it comes to the implementation of the specifications by the EU and the UN. We usually don’t live with our parents or grandparents in the same house and experience every day how exhausting it is to get old once our legs and eyes don’t work anymore. We did not go to the same class with the (10%!) children who were and are sent to „special“ schools simply because of physical characteristics. That’s why we don’t know them and aren’t friends with them. That is why we have not learned to consider that they also are part of us and that it must be indisputable that all people can live as self-determined and cohabited as possible. We have not learned this. We have to make up for it, and we have a lot of catching up to do.

Now to the answer promised above, where does the money come from?
You will find it in the total budget (and not even hidden). Here’s how: When you cost a project, you require all service providers and internal project participants to „think of the power lines for your house up front.“ You will rightly expect this of all professionals in every trade involved in building a house. It’s unthinkable to do otherwise.
Expect it just as naturally that your partners think inclusively and with everyone in mind; that they already set the course in the conception and – if necessary with the involvement of consultants and experts – revise the non-inclusive ideas, because insufficient, once again to find better solutions.
If your calculation exceeds the budget as a result, the budget is set too low or elaborate creative solutions together to make changes to material, scope, size, execution, duration, etc., in order to achieve your goal.
That’s the way it’s always been. In the past, however, it was usually because you didn’t take various things into account (see above). You will all agree that human rights are non-negotiable, but maybe other things are.

And it works! With fantastic and unique results that inspire project participants and users. I know, because I have accompanied some teams in their work to the goal with team meetings, workshops and conception as well as consulting.

Veröffentlicht am

More visitors to the museum

It is absolutely true that art, culture and education are topics that do not excite or interest all people equally. Some are hard to reach – despite educational missions, outreach and outbounding. But if we look at those we can interest and perhaps even inspire, why do so many never or rarely come to our buildings? We are talking about over a third (!) of society here – what prevents these people from going to the museum?

In fact, questioning the following points will help here:

Easy and understandable way to the museum for everyone.
Very, very clear optical and tactile wayfinding
Detailed advance information about contents and accessibility
Easy, pleasant, non-academic language
Accessible exhibits or optional tactile models/replicas and explanations in large print and Braille,
No steps, stairs, or other barriers for the elderly and people on wheels
Make all information available through at least two channels, namely never exclusively audio guide or exclusively text information
These aspects, and a little more, are important to consider as a museum or exhibition hall. In my work with such institutions, we have come up with wonderful solutions that don’t break budgets but do break down barriers for a third of society.

Veröffentlicht am

The TellDing acoustic information and guidance system in Leipzig's Grassi Museum

TellDing im Grassimuseum

At several locations and stations within the museum building and the exhibition, visitors are now informed acoustically about what they are facing or where and how they can get further. The TellDing system responds with different content depending on the visitor’s language or information needs. Without a cell phone or app, without an audio guide to take along. You simply wear a lanyard with an electronic entrance ticket (TellDing avatar) around your neck. The TellDing then provides the appropriate information at the elevator or exhibit or guides blind visitors to it.

Das Erklärvideo zeigt den TellDing Avatar

The explanatory video in the museum shows the TellDing avatar. Children receive different or differently prepared content than adult, foreign-language, blind or disabled visitors. Also, the distance from which the audio message is output may differ depending on the user:in. The elevator should announce itself to a blind visitor from a distance, while the exhibit will not output the description until it is in close proximity. More information can be found on the website TellDing.com

Die Installation beinhaltet das Gerät und einen kleinen Lautsprecher

The installation includes the device and a small speaker

Veröffentlicht am

Speaker at the Baukulturkongress 2022 - Building Education

Today’s children are tomorrow’s planners, decision-makers and clients. I explain on the podium how to make inclusive thinking a topic in school, for example, via the topic of inclusive planning and building culture. In the audience are architects, teachers, educators. By raising awareness of open and broader thinking at an early age, they can transfer knowledge they have gained themselves to other areas of life and apply it later in their careers.

BAUKULTURKONGRESS 2022
November 17/18, 2022
Hans Sachs House Gelsenkirchen

Veröffentlicht am

Finally a standardized and tactilely and visually understandable symbol for escape routes and emergency exits for tactile plans.

No question, the challenge is immense and so is the responsibility. An internationally understandable symbol was sought that speaks for itself tactilely and also visually. Orientation plans are a shared aid for both sighted and blind people. Particularly in an emergency, information must be grasped quickly. Until now, a sign has been missing from industrial standards and current draft standards. Thus, we have developed a new sign in recent weeks and submitted it to the commission.

 

Symbol für Fluchtweg Notausgang taktile Pläne
The possible new international optical and tactile symbol for tactile orientation plans in buildings.

It plays a significant role for the speed if symbols are already learned and do not have to be reinterpreted. The symbol for the emergency exit and escape route must indicate a clear direction and it must be possible to distinguish it from the ordinary exit. Even illiterate people and people speaking foreign languages should have no difficulty with this.

Thus, we have used the X for “ exit“, „out“, „away“ as the lowest common denominator, and the large directional arrow on green, which is also known from the visual world. In the application in the plan, the symbol is placed rotated in the direction of escape. The white elements are tactile and the green area is to be printed visually only. The minimum height is 12 mm (green frame)!

Veröffentlicht am

One of the most inclusive museums in Germany is being planned

Since the beginning of 2022, I have been consulting on the reconstruction and the conception and implementation of the new permanent exhibition with neo.studio neumann schneider Ausstellungsarchitekten for the Cologne City Museum. In many parts, concerning the several hundred tactile and inclusive components, I am also involved in realization.

The exhibition content is made accessible through all media and senses. A multimedia guide with several specialized tracks leads through the museum. Exhibition content – from A-text to C-text is simply worded and available in Braille and audio and large print with excellent contrast on walls and tables. In addition, there is subtitling of videos, audio description of videos and objects, videos in DGS (German Sign Language) and the most important info also in pyramid writing. Of course, a floor guidance system leads through the exhibition. This is both a visual guide for the sighted and tactile for the blind visitors. On each floor there is a floor map that is visually and tactilely appealing. Very many of the exhibits are free to access and, of course, may be viewed with the hands. All floors are accessible by elevator.

The contract with the City of Cologne includes consulting on the selection of exhibits and the implementation of content according to inclusive aspects and curatorial objectives. Examination of the educational goals for feasibility. Concepts and drafts for alternative forms of presentation. Broadening and balancing the individual experience as part of an overall experience with all visitors. Consulting with the designers and architects involved and designing inclusive forms of presentation. This includes texts, graphics and alternative presentation of artwork. Implementing Braille and Profiled Lettering on exhibits and panels.

Rad also (German):

„Die Erarbeitung der neuen Dauerausstellung war ein spannender, intensiver Prozess” von Kurator Sascha Pries

„Wir wollen Geschichte erlebbar machen” – Ein Interview mit Silvia Rückert

Veröffentlicht am

Guest column by a blind art connoisseur

Anette Bach

Can art be comprehended?

A Rodin exhibition at the Folkwang Museum in Essen! For me an event! The years of my life when I was able to see were characterized by joy and interest in art. I loved drawing, but also paintings and sculpture. Even though I can no longer see, my interest in, I would even say my need for art has not changed. So I go to Essen. I remember Rodin’s works well. The famous „Thinker,“ „The Burghers of Calais,“ and first „The KUSS.“ What would the exhibition bring? Pure frustration! I was not allowed to touch anything.

I did not like to believe it at all. What could I destroy in stone sculptures if I only touched them with my hands? I was not allowed to touch anything even through a silk cloth that was laid on. I begged, scolded, argued. The acidic air of the Ruhr, the flies, spiders and dust would surely pose a greater threat to the integrity of the artwork. Nothing to do!

I think that’s not the way to do it! I too know, of course, that it would not be reasonable to open all museum and exhibition contents to every groping hand. But there is much more possible than is conceded. Certainly, I have often succeeded in organizing guided tours in which the showcases were opened after all or the boundary grids were pushed aside. But that was always a matter of luck and depended on the good will and high-handedness of the respective guide. I would like to see a change in thinking. All exhibitors should be obliged to make their exhibition accessible to visually impaired people. There are concepts for this and more can be developed. Exhibitors should have to have convincing arguments for what is not possible. There will always be such things, but it must not happen that we are forced into the role of supplicants, persuaders or rioters who demand something that is supposedly impossible.

If a fairy godmother ever came my way, I would wish that perhaps every state would create a facility that is chock full of models. There are so many magnificent, exciting and incredible things that people have created: The Inca’s buildings, the Taj Mahal, the Sydney Opera House or the Elbphilharmonie. Even if I could go everywhere and be allowed to walk around and touch everything, most of it would still not be accessible. I wouldn’t even recognize the David that Michelangelo created if I were allowed to climb around on the five-meter-high marble structure.

In the age of scanners and 3D printers, making models is probably just a matter of will.

My doorbell rings. Do fairies come through the front door?

About the author
Anette Bach heads the Hesse district group of the DVBS.

The 66-year-old organizes regular events on current topics and excursions with the leadership team, whose dates are published at dvbs-online.de and which are also open to interested guests.

The article was first published in Horus 2/2018 / Accessible Culture – Marburg Contributions to the Integration of the Blind and Visually Impaired. It was published here with the kind permission of the author.

Veröffentlicht am

The TellDing® comes to the GRASSI Museum für Völkerkunde zu Leipzig

An exhibition should be a multimedia experience and accessible to all. No complex installations will be made and no app or devices are necessary.

The TellDing® system, developed by me, reverses the technical bring and is exactly for this reason extremely interesting and without alternative for certain applications!

The task:

An object should 1. be able to be found only by hearing (in the dark or for blind visitors:inside).

2. the object should identify itself and provide audio or video.

The users do not need 3. a device or an app.

Use cases:

The exhibits in the exhibition are recorded.
A door, an elevator, the stairs, the toilet – i.e. the destination guidance.
The room text or ambient sound should be played.

The visitor does not need the guide or the smartphone in his hand. The intelligence is in the device at the exhibit or at the POI (such as doors, elevator, room text). It recognizes what it should offer him/her on the basis of an element carried by the visitor on the lanyard.

Veröffentlicht am

Auf der Exponatec Cologne 2021 können Sie mich vom 17.—19. November treffen

Exponatec

Auf der Exponatec Cologne 2021 können Sie mich vom 17.—19. November 2021 auf dem Messestand A068-B069, Halle 2.2. persönlich kennenlernen. Sprechen Sie mit mir über alles, was barrierefreie und inklusive Konzeption angeht, über Produkte und Exponate, Unikate und Serien. Alle Fragen des Design für Alle und der Kommunikation für Alle sind willkommen. Sie finden mich am Stand werk5 | new craft, interactive scape und evelution.

Wenn Sie vorab mit mir einen Termin ausmachen, bin ich auch sicher voll und ganz für Sie da. Bei Bedarf kann ich Ihnen auch ein Ticket zukommen lassen.

Exponatec

http://www.go-inclusive.de