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Tempered glass with an etched surface was selected for all maps and display surfaces. The material is unobtrusive and economical, and the etched technique provides raised information including tactile drawings, text, and Braille on a non-glare surface. Maps are further enhanced with contrasting colors on the back surface.

We substituted many of the archeological pieces with replicas for tactile discovery. They are displayed on the slanted glass surfaces, along with Braille and bilingual text in large characters. Tactile drawings call attention to the objects' significant characteristics. The original pieces are exhibited in the adjacent display cases.

A segment of Raynes Rail, a Braille and audio handrail activated by photosensor, further informs all visitors and also protects the edge of the glass lectern. The complete audio system — including electronics and speakers — is integrated in the rail, so visitors don't carry a special device.

Visual Art for the Visually Impaired

Touchable replicas were a good substitute for pre-Colombian pieces, but paintings, equipment, and furniture were more problematic. For the first time we attempted to translate paintings for blind visitors.

In the Founder's Gallery, two portraits of 19th-century revolutionary hero Simon Bolivar represent the young victorious general and the mature defeated man. Tactile silhouettes depict the contrasting body language, and the audio system plays excerpts of Bolivar's writings from both periods.

The tactile translation of paintings, an idea first viewed with skepticism, delighted both blind and sighted visitors who were able to appreciate the Bolivar portraits beyond the images and within the historical context. Other paintings from the 18th to 20th centuries have already been designated for such treatment in phase two of the program.

Near the Bolivar paintings, another lectern faces an antique press on which the Colombian Bill of Rights was printed. A diagram highlights the machine's technical features while the audio commentary recites excerpts from the Bill of Rights.

Once the tremendous paperwork required for a government contract was completed, the biggest challenge was to accommodate all the information we wanted to offer on a limited surface. It took careful editing to reduce the amount of text, typical for commentary in a historical museum, to a shorter version for the Braille description.

This comprehensive program has been very successful with the public. It has also established new standards among the museums in Latin America.

I am still in awe that a national museum with limited funds (there is no admission fee), in a country of political turmoil, has extended itself to invite all its citizens to come and share in their national heritage. In doing so, the National Museum of Colombia has set new standards in Universal Design.

Coco Raynes is principal of Coco Raynes Associates in Boston. Her firm has worked extensively towards providing equal information to blind and visually impaired travelers in public spaces.

The National Museum of Colombia is one of the projects selected for Exemplars of Universal Design, a CD-ROM produced and distributed by the Center for Universal Design at North Carolina State University.

Artwork is traced in etched glass, make paintings "visible" to the blind. Photo: Coco Raynes A tactile map to an archaeological gallery. Photo: Coco Raynes The Raynes Rail can be installed like a conventional handrail but contains Braille navigational information and a photosensor. Photo: Coco Raynes A painting of 19th-century revolutionary hero Simon Bolivar, which was translated into etched glass for all to see. Photo: Coco Raynes Through Braille description and etched translations of the paintings in etched glass, blind visitors can learn about Bolivar's transformation from young victorious general to mature defeated man. Photo: Coco Raynes   Click on thumbnail images to view full-size pictures.