Page 47 - Studia Universitatis Hereditati, vol 10(2) (2022)
P. 47
ia universitatisFigure 3: Tactile representation from Guide to Za- on the right, on the same slope, tactile displays
greb City Museum - photo of a portable hearth from are applied - interpretations of floor plans or pic-
museumaccessibility:developmentofgoodpracticeforthepromotionofarchaeologicalheritage 47 Early Iron Age (photo: Miljenko Gregl, Zagreb City tures or graphics (at first on paper), or a small-
Museum). er shelf is installed on the right, on which is at-
tached a replica of an object or a tactile display
Figure 4: Special guide through the permanent exhi- that interprets a picture, graphic, floor plan, and
bition of the Zagreb City Museum for a blind and deaf the like. The objects are made of original mate-
-blind persons (photo: Miljenko Gregl, Zagreb City rials or similar – examples of ceramic and metal.
Museum). The creation of these replicas went through the
fingers of collaborators in the Croatian Associ-
ation of the Blind. They learned from their mis-
takes, and the abundance of details decreased
over time. They tried to find the most efficient
way of presentation that would be clear to a
blind person and most legible with fingers.
Over time, many objects were replaced by
displays in more durable material because tactile
displays on paper wore out and did not always
meet all the needs of blind people. Almost all
tactile displays on paper are gradually being re-
placed by tactile displays performed in acrystal.
Replicas are also made in acrystal, and with the
touch and feel under the fingers, and the repro-
duced details, it mostly meets the needs of blind
and partially sighted people. The author of the
replicas and 3D renderings is professor Mladen
Mikulin, an academic sculptor who intensively
collaborated and consulted with blind people in
the Croatian Association of the Blind. Follow-
ing their descriptions, remarks and wishes, he
creates objects that aesthetically meet high cri-
teria, are functionally legible to blind people and
provide information that helps them create an
idea about the object.
In essence, tactile info points are not in-
tended only for people with disabilities (Fig. 5).
The main descriptions are intended for all visi-
tors, and the fact that the adaptation for blind
people takes place in the same position is just
the way to equality and sensitizing the public to
the needs of all people, sighted and blind. Every-
one, not only blind people, can feel replicas. In
this way, the sighted person touches the object in
the museum. At the same time, they realise that
there is also a text in Braille. This combination
develops into meaningful communication with
greb City Museum - photo of a portable hearth from are applied - interpretations of floor plans or pic-
museumaccessibility:developmentofgoodpracticeforthepromotionofarchaeologicalheritage 47 Early Iron Age (photo: Miljenko Gregl, Zagreb City tures or graphics (at first on paper), or a small-
Museum). er shelf is installed on the right, on which is at-
tached a replica of an object or a tactile display
Figure 4: Special guide through the permanent exhi- that interprets a picture, graphic, floor plan, and
bition of the Zagreb City Museum for a blind and deaf the like. The objects are made of original mate-
-blind persons (photo: Miljenko Gregl, Zagreb City rials or similar – examples of ceramic and metal.
Museum). The creation of these replicas went through the
fingers of collaborators in the Croatian Associ-
ation of the Blind. They learned from their mis-
takes, and the abundance of details decreased
over time. They tried to find the most efficient
way of presentation that would be clear to a
blind person and most legible with fingers.
Over time, many objects were replaced by
displays in more durable material because tactile
displays on paper wore out and did not always
meet all the needs of blind people. Almost all
tactile displays on paper are gradually being re-
placed by tactile displays performed in acrystal.
Replicas are also made in acrystal, and with the
touch and feel under the fingers, and the repro-
duced details, it mostly meets the needs of blind
and partially sighted people. The author of the
replicas and 3D renderings is professor Mladen
Mikulin, an academic sculptor who intensively
collaborated and consulted with blind people in
the Croatian Association of the Blind. Follow-
ing their descriptions, remarks and wishes, he
creates objects that aesthetically meet high cri-
teria, are functionally legible to blind people and
provide information that helps them create an
idea about the object.
In essence, tactile info points are not in-
tended only for people with disabilities (Fig. 5).
The main descriptions are intended for all visi-
tors, and the fact that the adaptation for blind
people takes place in the same position is just
the way to equality and sensitizing the public to
the needs of all people, sighted and blind. Every-
one, not only blind people, can feel replicas. In
this way, the sighted person touches the object in
the museum. At the same time, they realise that
there is also a text in Braille. This combination
develops into meaningful communication with
