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

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.

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

Lichtenberg Museum: Comprehensive inclusion consultation for new permanent exhibition

Medienraum Lichtenberg Museum

What was Lichtenberg yesterday? What is it today? And how are the two connected? With its permanent exhibition, the Museum Lichtenberg invites you on a journey of discovery.

Thanks to Julia Novak, Dr. Tim Weber, Dr. Dirk Moldt and Dr. Thomas Thiele, a museum for everyone has developed. Julia Novak: „It wants to appeal to everyone. That’s why we avoid barriers, structurally, in terms of content and language. We designed the museum to be inclusive, interactive and participatory.“

My contribution as a consultant was to introduce those involved in the project to the many possibilities of inclusive conception and design even before the planning stage. The selection of exhibits, the display, tactile fonts, Braille texts and tactile graphics, the orientation plan and the floor guidance system also with the general visitor guidance were affected. With ideas, praise but also with criticism the agency buerojolas created a fantastic exhibition worth visiting.

Lichtenberg Museum

From the first conversation on it was thought inclusively. The curator Julia Novak and the project manager Dr. Tim Weber and Dr. Thomas Thiele approached me with joy and enthusiasm for a „Museum for All“. Already in the first round we created free space for new ideas with all participants. All those in charge and those carrying out the work were carried along and sorted out all their thoughts on content, design, orientation and conveyance based on the holistic view of inclusion and Design for All. With great results and on a large scale. While not everything is perfect here in Berlin’s „Museum Lichtenberg“, we have created a great museum where everyone, yes everyone, takes their part.

Lichtenberg Museum

Lichtenberg Museum

Lichtenberg Museum

 

 

Berlin Global Exhibition at the Humboldt Forum Berlin

Exponate

The Berlin Global exhibition at the Humboldt Forum in the Berlin Schloss has successfully opened and contains wonderful objects for an entertaining visit.

It is with some pride that I point out having contributed three special exhibits to the exhibition. Of course, my works are designed in an inclusive spirit and include Braille. My team partner werk5 | new craft is responsible for the production of the exhibits.

Outdoor exhibition in the "Naturpark Südgelände" with a haptic experience

© Grün Berlin: Frank Sperling

If you want to inspire all users, let them grasp! What is essential for blind people is also a popular added value for sighted visitors of all ages. If tactile elements are part of the exhibition, all visitors feel attracted and their hands wander exploratively over the instructive content.

Only exhibitions with tactile and three-dimensional exhibits meet the requirements of „Design for All“, „Good Design“ (Dieter Rams) and the legal requirements of accessibility.

In Berlin’s „Naturpark Südgelände“ I was able to support the senate-owned Grün Berlin GmbH with my consulting assignment and thus launch, constructively accompany and successfully conclude a fantastic exhibition project for the users and for the client. Already during the tendering and conception phase, the course was set for a fully integrated implementation. Here, the question of how to now add accessibility was not asked after the fact, but rather a coherent and thus aesthetically flawless design concept could be developed.

The exhibition includes over a dozen panels on local flora, fauna and technology. Worth a visit for all! Have fun!

All photos: © Green Berlin/Frank Sperling

© Grün Berlin: Frank Sperling
Exhibit panels of the didactic open-air exhibition with tactile elements of the nature park.
© Grün Berlin: Frank Sperling
A small child enthusiastically discovers the tactile model of the long-eared owl, a symbol of nature conservation (artist Stephan Hüsch)
© Grün Berlin: Frank Sperling
Tables with tactile overview map and technical sights of the nature park
© Grün Berlin: Frank Sperling
The hands of a blind woman explore a tactile graphic on the sound production of grasshoppers

 

 

Ölgemälde haptisch erfassbar – die nächste Stufe

Zusammen mit unserem #goinclusive-Partner Werk5 GmbH arbeiten wir weiter an der nächsten Generation inklusiver taktiler Medien. In der Werkstatt liegt derzeit für den Dauertest unter Sonnenlicht und massenhafter Berührung die farbige Variante des Felix-Nussbaum-Gemäldes „Selbstbildnis mit Judenpass“.

Das neue und einzigartige ist die vollfarbige Kopie des Gemäldes auf der taktilen Form. Daraus ergibt sich eine einzigartige Symbiose aus Realität und Gemälde. Blinde, sehbehinderte und sehende Besucher erleben und begreifen das selbe Objekt.

„Faszinierend! Es ist, als ob Felix Nussbaum selbst da wäre.”

Taktil und noch näher am Original
Nussbaum in Farbe – noch näher am Original

How does an oil painting become a crowd puller and also "visible" to blind museum visitors?

An important painting by Felix Nussbaum, the „Self-Portrait with the Jew’s Pass“, is to become a new crowd puller at the Felix Nussbaum Museum in the Osnabrück Museumsquartier through a 3D implementation.

Nussbaum-Relief

For this purpose, we used our capabilities to model the painting digitally as a relief and then to have it created from a Corian block using a computer-controlled state-of-the-art 5-head milling machine. Using CAD, we determine the surface structure (for the adequate haptics) and depth of the components according to pedagogical aspects for the blind and, like a sculptor, we redesign the work in the artist’s sense – with a focus on tactile mediation.

Umsetzung eines Felix Nussbaum-Gemäldes in Relief und Braille

Consulting services for the redesign of the exhibitions in the Museum Lichtenberg

Ansicht Museum LichtenbergA reference library on Berlin and regional history and a local history archive are attached to the museum.
In addition, programmes on district history, the preservation of culture and tradition, as well as museum education projects and research activities with and for children and young people or groups of schoolchildren are offered.

The contract for expert consulting and supporting planning and implementation includes:

  1. Expert consulting regarding inclusion and the corresponding pedagogy during conception, curation and design.
  2. Expert evaluation and consultancy on drafts, concepts and plans for accessibility and inclusion. If necessary, recommendations for the improvement of accessibility or the achievement of inclusion.
  3. Assessment of concepts and drafts by representatives of the user groups and feedback workshop to check results. 
Expenses for management, support, organisation, accounting etc.
  4. Final approval of furniture, architecture, exhibits, guidance system, design etc. in terms of accessibility and inclusion. If necessary deficiency report.

We offer a unique tactile printing technology

Simulation einer Ölgemäldestruktur

Our unrivalled printing technology allows us to produce artwork in full colour range in any tactile structure. It is ideally suited for the presentation of works of art and for tactile graphics.

The final exhibit is hard and therefore has minimal abrasion by touch, and has a high to medium resistance to vandalism. The reproduction is very inexpensive.

We ensure low effort and low cost of production for replacement and exchange in case something has been damaged.

Simulation einer Ölgemäldestruktur
Simulation einer Ölgemäldestruktur
Simulation einer Holzstruktur
Simulation einer Holzstruktur

 


 

Humboldt-Forum beauftragt inklusive Exponate für die Dauerausstellung „Berlin und die Welt“

Gemeinsam mit dem Stadtmuseum entwickelt die Kulturprojekte Berlin GmbH eine Ausstellung über Berlin und die Welt im Humboldt Forum.

Auf einer Fläche von 4.000 qm verknüpft die Berlin-Ausstellung anhand verschiedener Themenaspekte die internationalen Verflechtungen der Stadt und befragt ihre Vergangenheit und Gegenwart. Im ersten Obergeschoss des wiederaufgebauten Stadtschlosses fügt sich die Berlin-Ausstellung räumlich wie inhaltlich als Bindeglied im Humboldt Forum ein. Sie soll zeigen, wie die Welt Berlin beeinflusst, aber auch, wie Berlin auf die Welt wirkt.

Einzelne Ausstellungsflächen werden Künstler*innen, Vereinen und Initiativen für themenspezifische Präsentationen zur Verfügung gestellt.
Zum Anschauen, Anfassen und Zuhören entwickelt, wird die Ausstellung auch integrative und partizipative Elemente einschließen, die Besucher*innen teilhaben lassen.

Für die Entwicklung dieser Stationen, die als inklusive Ereignisse für alle geplant sind, wurde ich beauftragt. Die Vermittlung mit allen Sinnen für ein großes Publikum soll in dieser Ausstellung eine besondere Rolle spielen.