Diese Bachelorarbeit untersucht, wie Museen Barrieren abbauen und Inklusion fördern können, indem sie blinde und sehbehinderte Menschen partizipativ in die Museumsarbeit einbinden, um ihren individuellen Bedürfnissen gerecht zu werden. Dafür werden vier barrierearme Museen und Projekte innerhalb Sachsens vorgestellt und Experten*innen-Interviews mit Mitarbeiter*innen der Institutionen geführt. Anhand des Hygiene-Museums Dresden, des Staatlichen Museums für Archäologie Chemnitz, des Bach-Museums Leipzig und des Museums der bildenden Künste Leipzig wird qualitativ gezeigt, wie die Zielgruppe der blinden und sehbehinderten Menschen einbezogen wird, um barrierefreie Elemente umzusetzen. Additiv wird ein Interview mit Dirk Sorge als Mitarbeiter der Servicestelle Inklusion im Kulturbereich und selbst sehbehinderter Mensch geführt. Durch seine breiten Erfahrungen und Kompetenzen im Umgang mit Museen kann dadurch eine fünfte Perspektive aufgezeigt werden. Die ausgewählten Institutionen dienen exemplarisch als Vorbild und Inspiration für andere Museen und können neue Impulse in der inklusiven Museumsarbeit geben.:1. Einleitung S.6 2. Blinde und sehbehinderte Menschen – medizinische und gesellschaftliche Aspekte S.9 2.1 Behindert sein oder behindert werden – Beeinträchtigung und Behinderung S.9 2.2 Blind ist nicht gleich blind – Definition Sehbehinderung und Blindheit S.10 3. Auf dem Weg zum barrierearmen Museum S.13 3.1 Mehr Inklusion wagen und fördern – Bewusstseinswandel S.13 3.2 Warum barrierefrei – Gesetzliche Grundlage S.15 3.3 Erweiterung zur Inklusion S.19 3.4 Vernetzung und partizipative Ansätze S.21 4. Umsetzung von Barrierefreiheit – Untersuchung an fünf Perspektiven aus Sachsen S.25 4.1 Methodenwahl leitfadengestütztes Expert*innen-Interview S.25 4.2 Kurzprofile der befragten Museen und Expert*innen S.27 4.3 Interviewleitfaden und Kategorien zur Auswertung S.31 4.4 Methodenkritik S.34 5. Darstellung und Auswertung der Ergebnisse S.36 5.1 Impuls und Motivation zur Gestaltung barrierefreier Maßnahmen S.36 5.1.1 Anlass und Zeitpunkt der Implementierung S.36 5.1.2 Vorerfahrungen zu Blindheit und Sehbehinderung S.39 5.2 Umsetzungsfelder S.40 5.2.1 Stellenwert der Barrierefreiheit und Verankerung im Leitbild S.40 5.2.2 Barrierefreiheit im Museumsgebäude S.42 5.2.3 Barrierefreiheit in der Ausstellung S.44 5.2.4 Vermittlungsangebote sowie deren Kommunikation und Marketing S.48 5.3 Partizipative Ansätze und personeller Verankerung S.50 5.3.1 Einbezug der Zielgruppe sowie externe Beratung S.50 5.3.2 Ansprechpartner*innen innerhalb der Institution und Zusammenarbeit S.58 5.3.3 Qualifiziertes Personal und Weiterbildungen S.61 5.4 Erfahrungen und Weiterentwicklungen S.66 5.4.1 Erreichen der Zielgruppe S.66 5.4.2 Reflektion und Feedback S.68 5.4.3 Empfehlungen an andere Museen S.70 5.4.4 Wünsche für die Zukunft S.72 6. Zusammenfassung – Barrierefreiheit und Inklusion als partizipativer Prozess S.78 Quellen- und Literaturverzeichnis S.81 Anhang S.88

This building is about the moment. It is about the moment when the image and the viewer begin a dialogue of existence. It is about the moment when a photographer and a model begin a relationship that is as intimate as that between a mother and child. It is about the creation of space to house those moments. It is about the creation of the image from light to negative to print to viewer. This building is about light. it is about the way light is framed. It is about the way photographs are records of light. It is about how humans see light and experience light and live in the light. It is about controlling and channeling the power of light. It is about harnessing the awesome power of light. This building is about growth. It is about a place from my past growing into an idea for the future. It is about my own growth as a person - physically, intellectually, and professionally. It is about the growth of a passion for photography and architecture in a way that I can share. / Master of Architecture

The origins of this project lie in a desire to understand the relationship that exists between light and architecture. Natural light has always played a role in the evolution of architecture, helping us make countless decisions about the things we build. From their siting to their plan, to the nature of their openings, our buildings have to a great extent been shaped by the sun and the moon. The project became a search for new ways for architecture to express the conscious relationship that needs to exist among light, material, structure, and space. / Master of Architecture

CARPET is a mystery, It is not just woven one knot after the other It is a POEM, written one word after the other A SONG, composed one note after the other A PAINTING, done one color after the other A WALL, stacked one brick after (on) another. My architectural thesis began with the question of the relationship between the realm of the world most ancient craft and craft of building : The textile art and architecture. Two branches of art which are said their inventions coincide with each other and both came from the same origin : a pen (fence),an interwoven partition. The question of thesis led me to start my research on textile arts and weaving in particular which first became a problematic quest, since the remnants of the textile products, which are still to be found diffuse almost everywhere,have only very recently started to attract attention and the existing information pertained to their history or complex technical aspects of this branch will not suffice the profound need of surveying on textiles. The Carpet Museum will become a shelter for the preservation of this ephemeral craft, protecting this forgotten branch of art. The art of weaving has always been presented within art collections that include other decorative/technical arts, without having a well-deserved position for itself. I began the thesis by weaving : I wove a small piece of rug to explore architecture through the structure of carpets, textiles and weaving. In the design of the carpet museum,each building element such as bearing wall,window,stair,ceiling or sitting area became an architectural manifestation of a woven craft. / Master of Architecture

This paper summarizes the process by which I created a podcast that examines institutional siloing in universities and nonprofit cultural organizations and suggests methods for how collaborative work could happen in these settings. The podcast draws on three case studies from three different institutions to examine how collaboration does and does not happen. I also examine how universities, as a place of higher learning and training, can function in a way that restricts interdisciplinary work from occurring. This is focused on exhibition creation but can be applied to other projects as well. One of the greatest challenges to collaborative work is the flow of money through cultural organizations, which I explore through a consideration of granting organizations and institutional budgets. Included with this is a poster that serves as a checklist for project teams. This project is an advocation for collaborative practices and a reflection on the organizations in which we operate and how and why we must do more to maintain interdisciplinary work in the field of public humanities. / History / Accompanied by one .WAV audio file: 1) Mattx27s Thesis Podcast Final

Museums today frequently consider education as one of their priorities. As such, museum administrators will provide resources, field trips, or professional development opportunities to support teachers and schools. In an era of high-stakes testing, museums, like schools, are also influenced by standards that may dictate what information is taught and when. Therefore, to remain relevant and useful to school systems, museums have altered their educational practices to align with standards. Some museums choose to provide professional development workshops for educators that focus on a topic included within those standards. The Holocaust, a topic that is mandated by over 30 states, is an example of one such topic—albeit one that might also be difficult or controversial to teach. A regional Holocaust Museum that has chosen to provide a weeklong professional development opportunity for educators on teaching the Holocaust serves as an example of a museum providing support to local school divisions. However, the literature indicates that museums and teachers, while both working toward the goal of educating students, often have little communication with each other. While multiple studies have examined how teacher participants react to professional development workshops, far less attention has been paid to those that plan such opportunities. The multi-tiered issue of interest, then, is that little is known about how museum educators plan a Holocaust-related professional development opportunity, what role they play in workshop implementation, and what they consider to be crucial when preparing teachers to cover the topic This qualitative inquiry focused on understanding how museum educators planned and presented a weeklong Holocaust education workshop for teachers. The research question was developed to determine how museum staff members understand the Holocaust and Holocaust education, and how that understanding influenced their role when implementing the workshop. Data collection methods included observation and semi-structured interviews. Analysis methods utilized in this study included first and second cycle coding methods, as well as episode profiles for each participant. The key finding from this investigation suggests that museum educators' understanding of the Holocaust and Holocaust education greatly shaped their planning processes, as well as the role they fulfilled in workshop implementation. Though museum staff members agreed that the Holocaust is difficult knowledge, they each approached the topic and how it should be taught in a different manner. The implications of this study, its limitations, and suggestions for future research are detailed herein. / Ph. D.

Buildings have identities. Like people, they have an essence that people can appreciate whether or not they can consciously evaluate that impression. Buildings can have personality and character. They can be amiable, reserved, even abrasive; we can enjoy or detest being in them. How does design imbue this character? Sometimes a building's identity is so sympathetic towards a program that the original use is apparent even after a change of use. Is this solely the result of conscious alteration, or can the original architect assist this constancy by so thoroughly infusing character into the design that, short of demolition, a semblance of identity will always be retained? Buildings have identities which can be enhanced or repressed through renovation. But can a building inform? Can a building be a devise for spreading information? What essential characteristics are necessary for identification? Would a building, possessing the characteristics of another object, be identifiable as that thing? Can a building be an insect? / Master of Architecture

This project will address light use in a museum. The focus and the program will require give and take in order to provide sources of natural light without compromising conservation standards. The building will house exhibits of film and photography, including theatres, dark rooms, prints, and projections as well as all the necessary program to support the building including a cafeteria, restrooms, a gift shop, as well as indoor and outdoor gathering spaces. The building site is in DC. When choosing a site I consulted with the National Capital Planning Commission's urban plan of Washington. They have published on their website a study that has listed the city's potential monument and museum sites. When evaluating these sites I decided to use views to and from the sites, as well as acreage to dwindle down the options. / Master of Architecture

This thesis is a study of creating the first-ever camera museum by using unique building forms and structural elements, as well as water and light features. Additionally, throughout this thesis project, I would like to celebrate the Canon franchise with all the camera enthusiasts and express my personal appreciation to Canon camera who has always been a companion in my entire architecture journey. The building site, shape and location allow a discovery of the building elements and shape consequently while participating in the building visit. From far beyond, the building can be seen as a simple sculpture piece as an iconic gateway of this Canon Park. While approaching and pursuing the passage into the museum, building shape and components start to build the experience more than just a museum. Different lighting conditions, vertical and horizontal circulation methods, building form and structure are used to direct not only the journey of Canon camera, but also an experiment of my own architectural language. / Master of Architecture

Haunted heritage plays an important part in a late modern society in which death is supressed. Parallel with societal changes there is an upsurge of interest in the non-institutional paranormal beliefs. This thesis examines and analyses a museum named Haunted Museum in the town of Borås in Sweden. It is the only museum dedicated to haunted objects in the Nordic countries. This thesis examines what makes this museum special by using triangulation method. Haunted Museum is examined with a site visit, compared with a qualitative text analysis in which the content and meaning of texts surrounding the Haunted Museum are examined. The third triangulation method is a survey study that examines the motivations and factors influencing people visiting the museum. The results show that people visiting the Haunted Museum are motivated by personal interest in non-institutional paranormal beliefs. The museum uses an active and productive online community with other pedagogical methods to create a participatory, engaging and ever-changing museum. The museum also plays an important existential part for people donating haunted objects. Before entering the museum these haunted objects have been described to cause different problems in their homes. Haunted objects have an ability to create an uncanny atmosphere in the space surrounding them. The Haunted Museum and its owners of paranormal investigators uses the experience of the uncanny alongside with techno-scientific methods in an attempt to document and research paranormal phenomenon. They are driven by a desire to explore an outer-worldly and inner-worldly reality inhabited with spirits from the dead. This spiritual practice uses the two binary opposite worldviews created by the secularization process in the modern society. Thus dialectically transcending the two opposites reclaiming the importance of the immaterial reality and its spiritual heritage. This is a two years master´s thesis in Museum and Cultural Heritage Studies.