Museums a Whole New World for Visually Impaired People Ginley Disability Studies Quarterly

8/12/2019 Museums a Whole New World for Visually Impaired People Ginley Disability Studies Quarterly

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A listed building, in the United Kingdom, is a building that has been placed on the

Statutory List of Buildings of Special Architectural or Historic Interest, similar to the

National Register of Historic Places in the United States. However, this gives us the

opportunity to show how an historic building which was not designed with disabled

people in mind can be made into an accessible environment for all users in the twenty

first century.

The V&A is part of a family of museums consisting of The V&A in South Kensington

and the V&A Museum of Childhood in Bethnal Green. It also operates an accessible

archive and store at Blythe House in West London (jointly run with the British Museum

and the Science Museum).

The purpose of the Museum is to enable everyone to enjoy its world class collections

and to explore the cultures that created them: to inspire those who shape

contemporary design.

Over the past ten years, the museum has been pro-active in developing inclusive and

accessible services and premises for its visitors, including those with sight problems.

The V&A's aim is for disabled people to come in off the street, just as any visitorwould, to enjoy the collection. Historically this approach has not been the norm for

museums as many would not be either physically or intellectually accessible. This is

why in the V&A's FuturePlan, a redevelopment of the South Kensington and Museum

of Childhood sites, access for disabled people is a priority.

FuturePlan

FuturePlan is an ambitious programme dedicated to restoring and enhancing the

V&A's original 19thcentury architecture, opening up previously hidden areas to the

public and improving visitor facilities. Over the past ten years 70% of the Museum's

public space has been transformed through FuturePlan phase 1. Following the

completion of the British Galleries in 2001 more than forty FuturePlan projects have

been completed, transforming accessibi lity throughout the museum.

The picture below shows the V&A entrance completed in 2001, where a ramp now

gives access to wheelchair users to the main entrance. This is great for wheelchair

users, who can now gain access to the entrance, but what happens when you get

inside? And what about other visitors with disabilities? What facilities are there for

visually impaired visitors in particular? This article will show how the V&A has taken a

long term approach on accessibility through FuturePlan and considered visuallyimpaired people when implementing services and policies.


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Cromwell Road Entrance, V&A Museum

Organisational Strategy

Organisations need to consider that accessibility is not only physical adaptations tobuildings, it is about the management and services which also aid access. By

creating a strategy that pulls together all elements of disability into one document

focusing on the moral, legal and business case and how that can impact on day-to-

day activities for both staff and visitors.

The V&A began this process in 2002 when it employed me as the museum's first

Disability and Access Officer. I was also the first blind employee of the V&A. This was

a new area of work, as my previous work experience was providing a consultancy

service to the RNIB (Royal National Institute for Blind People) and several property

service companies.

As a Consultant for RNIB, I worked to develop improved access to sporting and

leisure venues, undertaking access audits and training staff and sports commentators,

so working in a museum was a step into the unknown. However, service provision in a

museum is the same as i t is for sporting venues or other customer facing

organisations regardless of the visitors needs e.g. asking a visitor/customer if you can

assist works for a museum as well as a retailer. For example, in 1998, I was refused

into a cinema as I was told my Guide Dog was "a fire hazard". The Operations

Manager thought he knew what was best for me without asking, surprising as we had

never met before. If the Operations Manager had asked how I could be assisted, it


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would have saved his organisation thousands of pounds in legal fees and

compensation as this was the first successful Guide Dog case under the Disability

Discrimination Act in the UK, which has set a precedent for all service providers.

I carried out an access audit of the museum to understand the levels of provision for

disabled visitors including visually impaired people. The audit looked at the levels of

service provision for visitors, and how FuturePlan can achieve accessibility.

The Disability Action Plan published in 2004 highlighted the positives and set out athree-year plan of action for those areas that required attention.

The Disability Action Plan was partly driven by the Disability Discrimination Act (DDA)

which came into law in 1995, which places a duty on service providers to make

'Reasonable Adjustments', remove any physical barriers to accessing the building and

also remove attitudinal barriers to allow disabled people to access services. The

DDA was based upon the Americans with Disabilities Act (ADA), however it did not

provide the legal rights which came with the ADA. The DDA has now been

incorporated into the Equality Act which came into law in 2010.

The Audience

Why is it necessary to provide access to museum collections for visually impaired

people? At the V&A, which is partly government-funded, visually impaired visitors are

as entitled to gain access to the collection as any other tax payer. As stated above,

the DDA places a legal duty on the museum to make 'Reasonable Adjustments' to

services and collections. If you have always enjoyed art and design, why should you

stop once your sight fails?

It is estimated by the Royal National Institute for Blind People (RNIB) that there are

about two million people in the UK who are registered blind or partially sighted

(Visually Impaired). This means, that for every thirty people within the UK, one will have

a sight impairment which substantially affects their day-to-day activities. As the

majority of Visually Impaired people are 50 years or older, it is important that

adjustments which are made today will also benefit people for the future.

Gallery Interpretation

Visually Impaired visitors are faced with particular issues when visiting the V&A

because so much of what is presented in the galleries is visual. The first FuturePlan

project to be completed, giving improved access for visually impaired people, was the

British Gallery where an Access Consultant was employed and had input into both the

interpretation and physical access of the gallery.

The Gallery Interpretation policy developed out of FuturePlan, considers interpretation

to be "the bridge between the Museum's objects and expertise and our visitors'

curiosity and knowledge". The policy goes beyond labels and panels to include new

media that invite touch, action, analysis and reflection. This is a move away from the

traditional where museums have hidden objects in glass cases, inaccessible to many

people especially those who cannot see.


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The objective of the Gallery Interpretation Policy is that accessible interpretation

elements will create a minimum standard for interpretative provision. Three key

questions were asked during consultation with Visually Impaired visitors:

Is the provision clearly marked and easy to use?

Does the provision significantly aid understanding of subject matter?

Does the provision encourage further exploration of the V&A from the user?

Touch Objects and Braille

One of the major changes in FuturePlan was to incorporate touch objects into

galleries. The Interpretation Strategy has made touch objects the norm in the V&A,

allowing all visitors to interact with the objects. Museums used to invite visually

impaired visitors in to touch objects after the museum had closed. Doing this when the

museum was open would have encouraged able-bodied visitors to touch these

objects too. Now, permanently-displayed objects can be investigated and appreciated

by all visitors, not just those with a visual impairment.

There has been much debate in the museum sector as to whether original or replica

objects should be used as touch objects. The V&A uses both originals and replicas in

galleries as it is not always possible to show an original object due to security reasons

or its requiring a high level of conservation. Below, is a photo of a Ming vase, in the T.

T. Tsui Gallery, which is permanently on display. It is an original made in 1550. The

vase is a touch object, giving all visitors, including Visually Impaired people, an

opportunity to interpret such a precious object. Located next to the vase is Braille

information giving further accessibility. However, due to the height and positioning of

the Braille, the object and the accompanying Brai lle aren't as user friendly as they

should be.


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Ming Vase, T.T. Tsui Gallery

By assessing the accessibility in the British Gallery and other gallery projects, the

museum learnt much about how touch objects and Braille information should be

designed into a display. Initial consultation on touch objects and how they might be

displayed was undertaken with visitors with varying success. The museum ran Focus

Groups to assess the requirements of visually impaired visitors, researching the

preferred height of the objects, the use of Brai lle and also the type of objects which

would be of interest. Some objects were chosen purely because they looked tactile.

For instance, blocks of different woods were offered as touch objects so visitors could

feel different grains. However, to help conserve the wood, the museum treated it, so

preventing the visitor from interpreting the object. This set of touch objects had very

little learning before treatment and became completely irrelevant afterwards.

Further learning from the gallery development was the use of interpretive provision

aimed at making information more accessible. In the British Gallery, tactile line

drawings were installed so visually impaired visitors could understand images such as

The Crystal Palace (a building which housed the Great Exhibition in 1851). Raised

lines outlined the edge of the structure and significant detail within, with further raised

lines leading from the outer part of the panel to letters of the alphabet, indicating

important areas of the building. The lines leading from the alphabet directed the user

to Braille information. However, the amount of raised lines put into the images made it

impossible to follow, thus rendering the activity pointless.

The importance of selecting any object is that it fits in with the story of the gallery and


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conveys what the Curator wishes it to say. An object should not be chosen because it

looks good to touch; it must have qualities which help the visitor to understand the

object in relation to the collection and the technique by which it is made. For example,

the Ming vase shown above was selected due to it being from a significant period in

Chinese history and not just a beautiful object to be touched.

Suitably designing a touch object in a gallery is more than just putting it on a ledge and

fixing a Braille panel next to it. For each object for instance, consideration needs to be

taken on how high or low it will be positioned since children and adults will all want to

touch.

Putting a Braille panel next to an object seems an easy task, however at times you

could think you are designing a new rocket system for NASA. Following research

undertaken with Visually Impaired visitors, it was found that Braille panels next to

objects should be laid flat as this allows visitors of all heights to read comfortably.

Occasionally, panels have also been designed to pull out from under the object where

space has been a factor.

By assessing the visitor's interaction with objects and Braille, the following dimensionswere found to be usable for a wide range of visitors:

Object height 30" from the floor. The base of many objects should be at the

specified height to prevent tall people from having to bend forward. However, if you

display large objects e.g. motor vehicles, consideration must be taken regarding

which part of the vehicle is significant enough to be touched.

Braille information 30", flat to a table top or as a pull out panel. It is important that

the panels are located next to the object and are not located in any circulation routes

which may prevent the label being used.

The inconsistent approach to Brai lle in V&A galleries could often be difficult for users

to find and both Grade 1 and Grade 2 Braille were used. Grade 1 Brai lle provides

information in alphabetical form, being the first level learnt when using Braille. Grade

2, our preferred choice contracts words e.g. the word "The" becomes one symbol and

not the three alphabetical characters.

Guidance on how to produce the panels and the specification of Grade 2 Braille, and

more importantly the management of the process were outlined. Another failure of the

British Gallery was that Braille panels were installed at the wrong object and the

manufacturer did not label the panels in print. Also the museum did not have a Braillereader on site during installation. Therefore, written guidance on how this process

should be achieved was produced.

The following requirements cover production of Braille and management of the

installation process:

All Braille text should be produced in Grade Two Braille. The Braille

should conform to British Braille guidelines and only use Braille

symbols such as: punctuation, number signs or letter signs.


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As a general principle the Braille panel should contain the same text

as the print label. Occasionally there may be a need for slightly

different information in the Braille panel but this should be the

exception.

Braille panels should be located either: flat on a surface with the

touch object or as a pull out panel. The Braille panels should never

be located flat on walls as this is difficult to read by Braille readers

as a person's height may prevent them from comfortably reading thetext.

The specified height from floor level of the panel should be no less

than 30". This allows children and wheelchair users who are Braille

readers to have access to the information.

All Braille panels must be checked by a Braille reader before any

manufacturing takes place. On receipt of the Braille panels, proof

reading by a Braille reader must be carried out before installation.

The Braille reader should also be available during installation and on

hand to check that the panels are being installed at the correctobject.

Audios and Audio Description

The V&A is moving away from the use of Brai lle for touch objects in galleries as there

is a limited audience who read Braille. With the limitations on funding and the will to

provide access to a wider audience the museum wishes to provide greater

accessibility through new technology. Audio descriptions of objects are being written

and recorded to assist visually impaired visitors to listen to descriptions downloaded

via their own smart phones.

Over the past several years, the V&A has been assessing the accessibi lity of

multimedia guides in many organisations which provide information to all visitors in

their chosen format. The aim would be for the museum to provide a system which is

both user friendly to all visitors and accessible to those who are not as technically

minded or have been excluded by new technology.

I visited three museums whilst in Boston in the United States in 2011 and assessed

two multi medias, one at the Hall of Patriots Place an American Football Museum who

use an Infrared system and the Museum of Fine Art in Boston who use I Pods.

Both systems had benefits and drawbacks, meaning that not one system would satisfy

all user needs including those who are Visually Impaired. Benefits such as language

selection and audio features made the systems more accessible, where usability in

selecting menus and options on touch screens may be a barrier to independent

usage. Therefore, in the short term the V&A will provide audio descriptions in an MP3

format which is downloadable from the museum's web site.

In 2006, the first audio descriptions accompanied videos in the Jameel Gallery of

Islamic Art. These descriptions have proved beneficial for all as the Describer


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highlights significant images within the video which even many sighted visitors had not

noticed such as certain colours or inscriptions. Further audio descriptions have been

developed for the Furniture Gallery which opened in December 2012 and the Europe

Gallery which opens in 2014. The new audio descriptions will be available both in the

galleries and via the museum's web site.

A self-guided audio trail had also been planned to take Visually Impaired visitors

around the museum, locating ten touch objects. Due to the complexity of the building

and the large walking distances, only the audio description of the objects has been

produced, and not the directional information as first planned.

Complex buildings such as the V&A with eighteen split levels make it impossible for

visitors to follow directions, especially those with a visual impairment. Audio guides in

some museums give directions from object to object by using stride length and then

visual clues. As people's strides differ and not all visually impaired people are

prepared to stride out in unfamiliar places, this directive becomes non-effective. Only

when internal guidance systems similar to external GPS are available will visually

impaired people be able to self guide around large museums like the V&A.

All of the ten audios can be downloaded from the museum's website in an MP3

format, making it accessible to all smart phones and MP3 compatible phones.

However, visitors who do not use smart phones are not forgotten as the museum will

provide the audios on a device which can be picked up on arrival at the museum.

Tactile Books

Being able to access photographs and paintings can be difficult for Visually Impaired

people. Audio Description as outlined above can assist, however using a tactile

image can add to the description given enabling the visitor to further interpret thework. The V&A has developed its provision since first making line drawings available

to visitors in the late 1990s, interpreting images for the Photography Gallery.

Books developed for the Paintings Gallery took on both the tactile image form and

techniques we use today. However, not all Visually Impaired people have been taught

to touch which can make reading tactile images difficult, so on occasion it is

necessary to remove less important elements enabling the user to focus on key

images of the work.

To try and develop this form of interpretation further, the V&A has worked with the

Royal National Institute for Blind People to make tactile images more accessible. The

tactile books have: Braille information of gallery panels; gallery plans so the visitor can

orientate themselves in the gallery; and descriptions of the tactile images as well as

the tactile image i tself. Where necessary, the images have been simplified to highlight

the key elements of a picture.


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Tactile Book With Braille Description

To help the V&A and RNIB further get it right, a focus group was run to develop

resources for the Medieval and Renaissance Gallery, the final FuturePlan project. The

group, all Braille readers, evaluated the tactile images and their accompanying

descriptions with the following outcome for producing tactile image books:

The images must be interesting and informative.

Textures and lines must be distinguishable.

Braille labels on the images in full where at all possible.

Have a key on the image page when abbreviations have to be used due to

space limitations.

Keep titles simple.

Do not mention things that are not shown unless relevant to the image.

It is not enough to just have the tactile images - having only half of the information does

not give equal access. Description of the images was written to help the visitor

navigate around the image. From the Focus Group, the following directions helped

when looking to provide images and text:

The descriptions must explain the image so the visitor understands. Reading

and understanding the descriptions takes quite a lot of time so the descriptions

need to be written as concisely as possible.

Ensure that the important details are given first e.g. having to turn the page

sideways to read the image.

Important to have the details about size date etc. at the beginning in order to

start the process of understanding.

Use vocabulary which is suitable for a wide audience.


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V&A Touch Tour

Do not assumed knowledge, on occasions further explanation may be required.

Accessible Talks and Events

The Learning Department has developed further interpretive provision by

programming talks for disabled people; the V&A is one of the first museums in the

world to have done so. The aim of the programme is to encourage disabled visitors to

the museum by offering events which cater for their specific needs. The programme

focuses on both the permanent collection of the museum as well as special

exhibitions.

The V&A first started providing talks and touch tours for Visually Impaired people in

1985 after receiving requests from societies for the blind. The programme soon

developed into the programme we have today, where one touch tour or handling

session takes place per month or on request. Monthly talks for visually impaired

people take place in galleries, led by Curators and V&A Guides complementing the

touch objects permanently displayed. Whenever a new gallery opens a programme of

events is planned to show visitors the newly displayed objects.

It is not always possible for visitors to touch objects in an exhibition due to loan

agreements with the owners. Therefore, Curators will give a talk and handling session

in a seminar room which focus on objects from the exhibition. Although this is not theinclusive experience we would like to offer, touching objects before entering the

exhibition allows the visitor a better understanding of the display when described to

them.

Planning a touch tour is just like planning any other talk:

You select your subject and the date of the talk.

Book a speaker, Curator or V&A Guide.

Work with the Curator/speaker to select suitable objects which can be touched.


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Arrange for volunteer guides to assist the visitors during the talk.

When leading a touch tour or handling session, the V&A directs the Curator/speaker

to consider the following:

When in a public gallery and walking is involved, then around seven or eight

objects to talk about will be sufficient. If it is held in a room as a handling

session, eight to ten objects can be used.

Where possible, allow the visitor to touch objects with their bare hands. Be

guided by the Curator who will specify if gloves are to be worn.

The visitor will need time to examine the objects and there will be long pauses

and the need for individual explanations. Always take the pace from the visitor,

even if the visitor examines the object before you start your description.

Focus your description on what is being touched at any time, and offer to guide

the hand, when appropriate.

When objects cannot be touched, it may be useful to use materials or objects

which relate to the work being described. Any additional objects or materials,

which are to aid a touch tour, should be relevant and not take the visitors mind

away from the original piece.

Only end the session when the visitor is satisfied that they have gained the

information they wish to take from each piece.

Behind The Scene Talks

Much work goes on behind the scenes in the museum, from conserving objects to

dressing galleries. So visitors can learn about the work undertaken by staff who do not

have a customer facing role, behind the scene tours are organised. The talks allow

Visually Impaired visitors to touch objects which are in the process of being conserved

before going into galleries or exhibitions. For example, visitors to the Stained Glass

conservation department watched the making of a stained glass replica that is now

permanently displayed in a gallery. Also curators from the Fashion department have

demonstrated to visitors how they dressed mannequins for the Ballgowns: British

Glamour since 1950 exhibition.

Audio Described Events

Audio Description is often used for television programmes, films and theatre, however

the same techniques can be used in describing museum objects or live

performances. For example, audio description has enhanced performances in

Fashion in Motion, the catwalk fashion show at the V&A starting in November 2004,

and also the Chinese New Year celebration.

As both events are live, the Audio Describer is positioned away from the performance

but within visual range. Having watched the rehearsals, the describer gets an

understanding of the running order allowing them to have prepared information of the

performance to hand. The narrator describes information a visually impaired person

might not be able to see so they can interpret the subject in a more accessible way.


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The visitors receive the commentary via radio receivers enabling them to sit anywhere

within the auditorium.

The audio described events complement the described talks (verbal description) that

happen when objects cannot be touched. To aid speakers to deliver more descriptive

talks, including a touch tour to visually impaired people, the museum has developed

guidance:

Each session should last an hour and a half to two hours maximum.

Take your time - Speak clearly and do not try to overload too much information

into a session. Pay close attention to the speed at which you speak, and pace

yourself.

Ask questions to the visitor - this will allow the description to flow and meet the

needs of the visitor.

Do not be afraid to use words such as: sight or see. Use everyday words and

terms when describing an object.

Many blind people who have lost their sight have a visual memory of colours,

which will help to build up a picture of the object in their mind.

The use of size can be beneficial because everyone can relate to it. Using

examples of size, from everyday experiences and objects will enable a visually

impaired visitor, to relate to the object. Size in terms of the human body may be

particularly useful, e.g. a London bus is five times the height of a person.

Use the basic information found on a label, such as the name, title or subject of

the object etc as a starting point before the description.

A general overview of the object, which describes the object as a whole, can

include subject matter if appropriate. Include the style of a work of art, or the

context of an object. In a tour which includes descriptions of several objects,

make comparisons between objects, styles and methods of production.

To provide a starting point to the description of where objects are placed within

the work, you might use the position of the numbers on a clock. For example,

you may begin at the top of a painting, which would be 12 o'clock, and work

down to the bottom of the picture, until you arrive at 6 o'clock.

Do not skip around the object as this may confuse the visitor. Move in a logical,

sequential order. Give accurate, precise instructions for moving from one place

to the next. If you are working with a sculpture, work in a sequential movement,

e.g. start from the head and move down to the feet.

Once you have set the scene with a general description, fill in the gaps with

specific details. Take time to show the relationship between details and the

entire object.

Take the lead from the visitor in when to finish a description. Dependant upon

the interest or experience of the visitor will determine the length of time spent at

an object.

Practical Art Workshops


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The V&A offers more than just touch tours and audio descriptions with a planned

series of workshop activities as part of the public programme. Providing practical

activities allows visitors to express their own interpretation of the museum's collection.

The V&A has been proactive in providing events which are accessible to visually

impaired visitors for many years.

In 1998, photographer Eric Richmond tutored a group of nine visually impaired

people. They produced black and white pictures of the Sculpture Court which were

displayed outside the V&A's Canon Gallery of Photography. Participants reported that

the course helped them to learn about photography and gave them greater access to

the collections. Photography has been a favourite amongst visually impaired visitors

with the museum running more than ten workshops since 1998.

Drawing and painting workshops for visually impaired visitors have also been popular.

Terry and Lilly, who have never seen, were interested in Constable's work. Using his

sketches of the sky and light reflections on landscape, a series of raised drawings

were produced and the pictures were described. They also found it of help to paint the

sky themselves so that they formed a better understanding of how it continually moves

and how Constable portrayed this. The Constable pictures and the raised drawings

were displayed in the Constable Room at the museum.

Touch Me, a V&A exhibition held in 2005, explored the sense of touch both physically

and emotionally. Visually impaired people participated in a workshop run by Carmel

McElroy, designer of the Feeling Rug Knitted Fingers. Participants created their own

rugs inspired by Carmel's exhibited rug, giving their own interpretation on her work.

The most recent workshop focusing on the Constable and Turner paintings Seeing is

Art, run by Sally Booth an artist who is herself visually impaired, taught visitors the

techniques in which Constable and Turner created their work. Sally is now workingwith the museum to run regular workshop sessions focusing on other V&A collections

including ceramics and photography.

Staff Training

To help achieve the work outlined above, the museum needs to have staff who wish to

provide equality in service. The Disability Action Plan not only looked at the services,

facilities and premises but challenged people's attitudes: if you can't get past the

person on the door, it is pointless having an accessible environment.

The V&A has implemented training for staff to breakdown attitudinal barriers which

prevent visually impaired people accessing the museum. Front of House and Learning

Department staff received disability awareness training and visual awareness

training, which I run.

Having a basic knowledge of the needs of the visitor and being able to ask the right

questions "how can I help you?" aids a better customer service and more importantly

takes the assumption of knowing how best to help the visitor without the knowledge

base.


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The Visual Awareness training is more than showing how to guide visually impaired

people; a context of why we are doing such training is needed. Giving staff the

background of visual impairment, facts and figures and dispelling some of the myths

is important not only for their work at the museum but for life outside.

Safely guiding a visually impaired person around the museum is key to aiding an

accessible visit. Therefore, some of the training is undertaken using blindfolds. This is

not to show the person undertaking the task what it is like to be blind, it is to highlight

how difficult it can be when Visually Impaired people visit an environment such as a

busy museum. Being able to see the size of a room differs greatly to interpreting the

space without sight and this task aims to highlight such factors.

Personal Experience

What is it like for someone who is visually impaired to work in the arts? Being blind

and working on disability issues did not mean that I was the right person for the job.

When I came into post, I was still studying the MSc Inclusive Environments Design and

Management at the University of Reading. I had been working on disability issues

since going blind in 1994 and the MSc was a way of formalising my experience with a

qualification.

Like most people starting a new job, I wanted to make my mark, but in an organisation

as complex as the V&A where do you start. Having little museum experience,

combined with no interest in art, this role was going to be a challenge. I now have an

interest in art, making it accessible to those who would like to access it and those who

wish to work in the museum.

I have often been asked, "why are you working in an art museum if you don't like art?"

The reply is "the job I undertook was what made me apply". The role encompassesevery aspect of the V&A's work, from the strategic planning to designing new

galleries, developing policies and practices, staff training and managing the talks and

events programme for disabled visitors, how often you get an opportunity to do so

much variation in a job.

A lot of good work was happening at the museum on disability issues when I first

came into post; however it was all isolated with no coherent approach, or often not

known by others around the museum. To help the museum to take a coherent

approach, I wrote the first Disability Action Plan as outlined above. Putting together

my experience as an Access Consultant and studies at the University of Readingwhere I gained an auditing qualification, I audited the museum to find the levels of

service or not as the case maybe.

I am not a person who likes to write lots of policies and then let them gather dust on a

shelf; however, it is essential to write strategies and guidance which will lead to an

outcome. The action plan was referenced to the Disability Discrimination Act, codes

of practice produced by the Disability Rights Commission, Museums Libraries and

Archive Council's Disability Portfolios and my own experiences and ideas as an

access auditor.


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The Codes of Practice aimed to assist employers, service providers, premises

owners and education providers on how to meet the Disability Discrimination Act,

however they were long and often confusing as what would work for one disability

wouldn't work for another. With my interpretation of the Codes of Practice, the plan

pulled together the positives and set out a plan of action for a three year period. The

action plan was seen as best practice by the employers Forum on Disability in the

2006 Disability Standard, the first benchmarking survey on disability in the world. As

this was the first Disability Action Plan I had personally written, it was pleasing to have

gained such recognition but more importantly it was being implemented throughout

the museum.

Any action plan isn't worth the paper it is written on unless a budget is allocated to

undertake the projects. After a short negotiation with the Finance Director who had

some knowledge of access work, I walked out of his office with the best part of

100,000 ($160,000) increase in budget for year 1 projects. This budget gave me the

opportunity to implement many projects, including:

The instillation of a Fire Pager System which alerts deaf people to the fire alarm;

Assistive technology on computers in the National Art Library and Prints and

Drawings study room;

The design and printing of the V&A's first Access Guide.

One of the greatest challenges at the museum was getting people on-side as often

people didn't relate to disability or disability issues. Several colleagues felt that

accessibility is just a whim, and as we haven't had any disabled people come to the

museum in the past, why should we make the building accessible. On one project,

colleagues felt that if I spent the money on my proposal it would be "criminal" and "I

was beating the museum with a stick". Fortunately these people have now left the

museum, with more open minded people in these significant positions.

Being at the right place at the right time is important when developing policies and

practices which have long term implications. One of the practical changes made by

the V&A's Project team on FuturePlan was to include me into the design process. It is

too late when your half way through a project to make changes as it becomes difficult

to alter designs and becomes more costly. Since we have taken this approach, I feel

access is more integrated and "we often get it right, more than we get it wrong".

The V&A journey to accessibility has been long and difficult and sometimes sole

destroying. The challenges which have been met and often overcome have led to

improved accessibility for all visitors. I have found that access can be achieved even

in organisations with complex structures; perseverance and a thick skin are key

elements in the armoury of an Access Officer.

After ten years of work in the V&A, I feel I have learnt a grate deal, stretching myself on

a daily basis. I hope I have shown colleagues that blind people can work and achieve

their goals and access is for everyone to address and not just key individuals.

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Documents

Museums a Whole New World for Visually Impaired People Ginley Disability Studies Quarterly