Savanna Michelle Falter Enhancing Museum Experiences: 3D Printing & Visual Impairments 10 August 2017 Edinburgh, Scotland
Savanna Michelle Falter Enhancing Museum Experiences: 3D Printing & Visual Impairments 10 August 2017 Edinburgh, Scotland
10 August 2017
Edinburgh, Scotland
Institutional Analysis:
programmes concerning Scotland’s past. The organization works to “inspire communities and
people to discover, explore, and enjoy Scotland’s past.”1 Currently, they organize events for the
Scottish Archaeology Month and DigIt! 2017, coordinate Adopt-a-Monument for different
community groups, and have multiple educational resources for all interested. For how much
Archaeology Scotland is involved in, it may be surprising to learn that their permanent staff is
only eleven people. Through their website, Archaeology Scotland provides many educational
resources such as information about women at war, carved stones, Scottish graveyards, the
equips the group with valuable conservation information and techniques. This project has been
community-based projects included conserving a hut circle at Mellon Udrigle and a chapel and
archaeology and heritage. Throughout the year multiple programmes and events take place such
as walks, showcases, exclusive tours, and public digs.3 In conjunction with Immersive Minds,
DigIt! 2017 integrated history and technology by creating an interactive map of Scotland in
1
Archaeology Scotland website- Mission Statement
2
Adopt-a-monument website
3
DigIt! 2017 website
Minecraft. Immersive Minds is a small technology company that integrates history and heritage
with video games. According to Stephen Reid, the leader of Immersive Minds, the Minecraft
initiative for DigIt! 2017 was one of the most successful projects they’ve led.4
Artifact kits are another prime example of how Archaeology Scotland attempts to educate
others. Themed kits, containing original or replica objects, are loaned to classrooms and
community groups throughout Scotland. One of Archaeology Scotland’s most popular kit is the
Ancient Roman kit, which includes a bronze spearhead and other items from the period of
Historic Environment Scotland because it does not own any properties. It also holds unique
events that focus on inspiring people not usually targeted by heritage organizations. For example,
Archaeology Scotland’s “Women at War” project collaborated with Ross-shire Women’s Aid to
inspire women who had been victims of domestic abuse. Their efforts focused on conserving the
histories of the Women’s Royal Naval Service at HMS Owl, a training base during WWI.5
Overall, Archaeology Scotland fills a unique niche that allows this small charity a big
voice concerning Scottish archaeology. I believe that what comes with their small size is the
ability to push the boundaries of what heritage and archaeology are. DigIt! 2017 and their other
projects are distinctively unique and inspiring. The Scottish community that they serve is always
4
Information from conversation I had with Stephen during a Museums and Gaming event
5
Information from ‘Women at War’ brochure produced by Archaeology Scotland
Improving the Museum Experience:
Since the dawning of Postmodernism in the 20th century, museums have become
increasingly aware of their audience—specifically visitors who come from low and working
classes, those who are apart of an ethnic or racial minority, and those with disabilities. Along
with this awareness came the increase in effort to make museum buildings and exhibitions
accessible to people with disabilities. Because of the Disability Rights Movement in the 1990s,
multiple countries passed laws making it illegal to discriminate against someone with
buildings. Because of these advancements, heritage organizations and museums in general have
adapted their services to accommodate their visitors. Although they have made progress in
accommodating people with disabilities, they are still considerably lacking in their offerings
3D Printing:
Along with postmodernism, our society saw the rapid increase in technological
advancements. In the 21st century, 3D printing has now infiltrated the commercial and public
process. The most affordable 3D printers melt plastic and add it layer by layer to create the
object.6 A 3D model can be created using multiple different techniques including 3D scanning an
object, using 3D digital modeling software, or using a pre-existing 3D model. The availability of
3D models to print has grown in the last few years and a popular site called Sketchfab has
6
Information about 3D printing can be found on 3Dprinting.com
created a platform for heritage institutions to publish their 3D models for the public to look at
3D modeling and printing has an enormous potential to enhance the experiences of all
museum visitors because of its ability to inexpensively print 3D replicas of artifacts. Not only
can it add an new element to all visitors, it has the ability to enhance the experiences of people
Throughout the late 1980s and 1990s, the Disability Rights Movement gained momentum
in the United States and other countries.7 In 1990 the landmark Americans with Disabilities Act
was passed—prohibited discrimination based on disability. In 1995 a similar, but not as full-
fledged, law was passed in the United Kingdom making it illegal to discriminate against disabled
people in employment. Service providers must make “reasonable adjustments” to allow disabled
people to access their services. In 2001, the Special Educational Needs and Disability Act was
2004, buildings were required to become physically accessible by making reasonable structural
changes. In 2005, an amendment to the Disability Discrimination Act extends to include land,
transport, and small employers. Along with the amendment came the duty for public entities to
promote disabled people’s equality and attempt to involve them when designing laws and
policies. In 2010, the Equality Act is passed by parliament. It outlawed direct or indirect
discrimination and harassment in employment, education, and the provision of goods and
services. It also outlawed discrimination against persons with disabilities, people associated with
7
All information concerning UK Laws is from “A Disability History Timeline; The struggle for
equal rights through the ages”
a disabled person, or the perception of disability. These laws directly affect how accessible
museums are and how people with disabilities experience museums today.
Today most museums and heritage organizations are physically accessible. Many have
ramps, elevators, extended doorways, automatic doors, and accessible restrooms. Larger
institutions tend to provide wheelchairs when requested and some have gone an extra step by
providing folding chairs for all visitors to use throughout the exhibition rooms. Large museums,
such as the National Museum of Scotland, have attempted to accommodate more than just
physical accessibility. The National Museum has conduction loops at reception areas along with
lifts and audio guides. Many galleries, such as the Glasgow Museum of Modern Art, provide
large print versions of primary source materials. Although not common, some museums do allow
visitors to touch actual artifacts through touch tours and object handling sessions. Audiovisuals
A common accommodation made for people with VI is providing Braille labels for each
artifact in an exhibition. However, providing Braille labels is not fool proof. Today, most people
with VI cannot read Braille, rendering the labels useless and therefore not providing a way for all
visitors to interact with the exhibition in a meaningful way. Providing Braille labels is a good
start but having a sign language interpreter on call and having tour guides trained in giving
descriptive tours is a more effective way of reaching people with VI and providing a meaningful
experience.
experiences are still not equally worthwhile. Ultimately, changing a museum to be physically
accessible is only half the journey. Everyone’s experiences should be meaningful when going to
a museum. Fiona Candlin, in her controversial essay Blindness, Art and Exclusion in Museums
and Galleries, critiqued art institutional practices concerning people with VI stating, “Blind
people are constituted as a marginal group not because their blindness makes them so, but
because the ocularcentricity of museums and galleries ensures that non-visual engagement with
art and artefacts remains virtually inconceivable in all but the most innovative institutions.” In
Scotland only 7 out of 600 heritage organizations (museums & galleries included) provide some
sort of programme specifically to accommodate people with disabilities.8 If the scope of this
research was widened to the UK overall, we may see the number grow with the addition of large
and innovative museums in London such as the Tate Modern and the Victoria & Albert Museum.
There are many ways to address the issues surrounding accessibility in museums and galleries,
Museums need to go farther than creating spaces that are physical accessibility. Museums
need to begin by training staff on all levels, developing aids and programmes while consulting
people with visual impairments, and publicly advertising what the museum offers people with
disabilities. The goal of museums should be for any person to be able to come into a museum or
gallery with little to no planning ahead of time and have a meaningful experience. This goal is
hard to achieve because of many obstacles facing heritage organizations—they are centered on
one sense—sight. “Sight structures museum education.” 9 They must begin to think about other
senses that can be utilized in exhibitions. Elizabeth Sweeney, the accessibility educator at the
dialogue allows opportunities for participants without previous knowledge of art to participate
8
Research conducted by Edward Dodson, Yilun Zhuang, and myself during our internship with
Archaeology Scotland, Summer 2017
9
Article by Fiona Candlin, “Blindness, art and exclusion in museums and galleries”
equally with those who may.”10 By using new technology, such as 3D printing, museums and
Creating a meaningful museum experience must begin with how exhibits are designed. It
educational programme, or a touch tour. Obviously, the exhibition content must be accessible to
all visitors at multiple levels of intellect. An exhibition must also be physically accessible,
including the objects and how they are presented. It is critical to create color contrast between
items in an exhibition and their backgrounds. People with VI need a 70% contrast between colors
in order to distinguish between the wall & floor and object & background.11 Removing tripping
hazards and providing cane detection rails can improve the physical accessibility for people with
visual impairments in exhibitions. It’s also imperative to provide object and wall labels that are
Labels are almost as important as the objects within an exhibition. For many people with
visual impairments, getting the proper historical background and context in an exhibition can be
quite a challenge. Some museums have attempted to accommodate people with VI by installing
Braille labels, however, these are not 100% fool proof. To begin, Braille labels need to be at the
proper height and positioning to accommodate those who can read Braille. The labels should be
laid flat so visitors at all heights can read the text. In the Victoria & Albert Museum braille labels
were designed to pull out from under objects in areas where space was limited.12 It is also
imperative to have someone who can read Braille proofread the text before it is manufactured
10
Elizabeth Sweeney’s article “Walking with Janet Cardiff, Sitting with Massimo…” 2009
11
Smithsonian Guidelines for Accessible Design
12
V&A Article; All information concerning Braille labels
and when the labels are installed in order to assure the correct object is matched with the correct
label. However, there is a very limited audience who can read Braille.
Regardless of the availability of Braille labels, many museums have developed other
means of providing information for people with VI. Descriptive audio guides and tours have
been established as an effective alternative to providing Braille labels. Descriptive audio guides
are guides specifically recorded in order to assist visually impaired visitors through an electronic
device. Descriptive audio guides describe the objects presented in the exhibition and, ideally,
provide information on how to physically navigate through the museum. Many heritage
organizations have moved towards this alternative by providing downloadable audio files on
Ideally, tactile books and maps can allow people with VI a way to navigate the museum
instead of being shown through the museum. These books can add to the gallery giving the
visitor another way to interpret the exhibition. Making tactile images, such as maps, can be quite
difficult. It is crucial for curators to understand that not every visually impaired person has been
taught how to interpret through touch. Focusing on key descriptions and lines and removing less
important components within a book or map is key to developing an effective tool. Again, in this
situation, conducting focus groups and gathering feedback from visitors with VI can improve
their experiences overall. Tactile books and images must be interesting and informative.
Touchable objects are another effective way to provide a heightened experience for a
person with VI. When developing a touch tour or selecting objects to be touched, it’s imperative
to consult people with VI. Conducting focus groups and reaching out to VI organizations can
13
V&A Article; Information about descriptive audio guides
provide insights into the needs and requirements for visitors with VI, such as which objects
would be ideal to touch. Objects should not be chosen simply because they look good to touch.
They must have qualities that allows the visitor to understand the object in relation to the
collection and that fits the narrative of the exhibition. Providing artifact replicas to be handled
can provide an insightful experience for someone with VI. The Museum of Modern Art in New
York City has created a touch tour called “Please Touch the Art.”14 During the tour, visitors are
allowed to touch tactile versions of famous paintings, such as Starry Night by Vincent Van
Gogh. While the visitors feel the painting, the guide provides a descriptive dialogue to guide the
visitor through what they are touching. It’s imperative to choose objects that enhance the
Large museums and heritage organizations offer touch tours or object handling sessions.
However, people with high vision create most of the tours without consulting anyone with VI.
The session cannot simply be to pass around an object quickly through a group of people. There
needs to be descriptive commentary along with each object in order to guide the viewer on which
aspects to focus on. The description needs to provide historical context and place the object
within the exhibition’s main objective. The most successful touch tours involve a curator who
selects the objects to be touched and writes the commentary accompanying them.15 Each visitor
will need time to examine the objects—taking the pace of the visitor is key for a significant
experience. Object handling or loan kits can be an effective means of teaching visitors about the
14
Narratively Culture; Please Touch the Art
15
V&A Article
objects in an exhibition and their history. Only 51 out of 600 heritage organizations in Scotland
3D printing can provide an inexpensive way to create reproductions that can be handled
without concern from curators. For example, artifacts can be scanned with a 3D laser and then
3D printed using various materials. However, understanding the size, weight, and temperature of
an artifact and being able to recreate those aspects is challenging.17 Creating accurate and
engaging 3D replicas is only one of the challenges for museums. Not only is the technology of
3D printed limited in the materials it can print in,18 many 3D printers are restricted in the size
they can print. Art museums have another challenge to face—how to make paintings interactive.
There have been many initiatives taken on by museums and organizations in the last ten years.
Three projects have gained international awareness for their tactile paintings.19
The Museo del Prado museum held an exhibition called “Touching the Prado” in which
six 3D tactile paintings of masterpieces were specifically created for blind and visually impaired
visitors. The paintings featured raised edges and the use of different textures to describe the
images portrayed. The Prado chose classical paintings by Goya and Leonardo Da Vinci. 20
Fernando Pérez Suescun, the curator of the exhibition, stated, “Non-sighted visitors have been
didactic material such as texts in braille, audio guides, and opaque glasses aimed at facilitating
16
Research conducted by Edward Dodson, Yilun Zhuang, and myself during our internship with
Archaeology Scotland, Summer 2017
17
Touch in the museum: Sculpture, art, aesthetics, and visual impairment
18
Inexpensive 3D printers use plastic to print models, while more expensive printers can print in
metal and wood.
19
Tactile Paintings: Prado, VR VIS, & Unseen Art
20
“Touching the Prado”
the experience for fully sighed visitors.”21 Even though the paintings the Prado produced were
tactile, they were not 3 dimensional portrayals of the images. The raised edges of the paintings
masterpieces using computer software and rapid prototyping devices. VR VIS’s project uses
computer-aided design to convert paintings into 3D complex reliefs. Their tactile reliefs identify
important structures, add depth through multiple different layers, and adds texture information
from the original painting.22 Even though VR VIS did not use 3D printing specifically, their
method of constructing the textured reliefs through layering could easily be applied to 3D
printing.
Unseen Art is an excellent example of how 3D technology can enhance the experiences of
people with VI. Although they are only focusing on classical paintings, such as the Mona Lisa,
any person with a 3D printer can print the model and be able to experience the painting in their
own home.
Conclusions:
21
“Touching the Prado”
22
VR VIS “Tactile Paintings” webpage
23
All information from Unseen Art webpage
The Disability Rights Movement in the 1990s gained momentum with monumental laws
banning discrimination against people with disabilities and requiring equal access to public
institutions. Heritage organizations in Scotland, and the world for that matter, have a long ways
to go in order to provide equal and meaningful experiences for people with disabilities. Although
there have been advancements in the physical accessibility of museums, too few have
programmes or other accommodations for people with VI. With the increased awareness and
cultural changes of our society, museums and heritage organizations need to begin designing
exhibitions with all visitors in mind. Museums are based on only one sense—sight. In order to
create a more educational and enhanced experience, museums must stop thinking of people with
disabilities as an after thought and start putting their needs at the forefront.
Personal Reflection:
My time here in Scotland has definitely been an adventure. Interning with Archaeology
Scotland was a worth-wild experience and a placement I’m proud to put on my CV. Although
the overall experience was rewarding, parts were quite challenging. The lack of communication
with Arcadia and myself concerning my placement before arriving in Scotland was, personally,
quite irritating. I expected to be told the second Arcadia knew what my placement was so I could
prepare and fill out the proper paperwork with my college. One problem I encountered because
of this mishap was that I was unable to receive 3 credits for the actual internship because I did
not have the proper information, such as where I was interning at, who my supervisor was, and
how many hours I would be working per week. Because I lacked this information I was unable to
fill out the proper paperwork with my college and advisor. However, I did receive 6 credits for
the two courses I took during the first month of the program.
Working abroad was an invaluable experience for me. The work environment was not as
different as I thought it would be. Rather than being offered tea every hour, working at
Archaeology Scotland’s office was pretty comfortable. The office etiquette was quite relaxed,
especially in the attire expectations. I dressed quite professional (black slacks, nice blouse, &
close-toed shoes) while many others in the office (mostly men) dressed quite casual, wearing
jeans and a jumper with sneakers. This experience has only enhanced my career ambitions. I still
want to pursue a job as an art museum curator, but I believe I will definitely incorporate 3D
printing, design, and my research about all visitor experiences. I plan on studying abroad for my
Braden, Caroline. Guest Accessibility/Special Needs Assistant, The Henry Ford. “Welcoming
All Visitors: Museums Accessibility, and Visitors with Disabilities.” University of Michigan
Museum of Art, 2016.
Candlin, Fiona. “Blindness, art and exclusion in museums and galleries”, International Journal
of Art & Design, 2003, pp. 100-110. Birbeck University of London ePrints.
Denis, Daphnée. “Please Touch the Art”, Narratively Culture, 2013, http://narrative.ly/please-
touch-the-art/
Gallace, Alberto & Charles Spence. “Touch in the museum: Sculpture, art, aesthetics, and visual
impairment”, In Touch with the Future: The sense of touch from cognitive neuroscience to
virtual reality. April 2014, Oxford Scholarship Online.
Grant, Loren. NHS North West. “A Disability History Timeline: The struggle for equal rights
through the ages.” March 2013.
Murphy, Adrian. “Touching the Prado: a hands on approach to accessibility”, Museums &
Heritage Advisor, Fall 2015, http://advisor.museumsandheritage.com/features/touching-the-
prado-a-hands-on-approach-to-accessibility/
Sweeney, Elizabeth. “Walking with Janet Cardiff, Sitting with Massimo Guerrera, and Eating
Apples with R. Murrary Schafer: Meaningful Museum Experiences with Participatory Art for
Visitors with and without Visual Impairments”, The Journal of Museum Education, Vol. 34, No.
3, Fall 2009, pp. 235-248.