Tactile Maps, Kensington: More Than Just Wayfinding.

Article: Andrew Mashigo, MaMoMi
Contribution: Loz Simpson, Topografik
Contribution: Mrs Shirley Long, The Royal Borough of Kensington and Chelsea
January 2019

The South Kensington and Kensington High Street stations both have tactile maps installed at the stations. The tactile map at South Kensington station is located just outside the station, on Thurloe Street, off Exhibition Road. The Kensington High Street map is installed in High Street Kensington station. To locate it, walk towards the gates and on your approach, it is situated in the corner on the left, just before the ticketing machines.

Tactile maps are images that use raised surfaces so that a visually impaired (VI) person can feel them. They are used to convey non-textual information such as maps, with tactile map symbol conventions for pictorial information sharing. Symbols are chosen as the first focus since they are the features that represent the geographic reality and data.

Image description: Image depicts the robust three-dimensional tactile map featuring colour-coding, raised letters, symbols and braille. The raised letters and braille are finished in grey colour, the park and open spaces are depicted in green colour, the buildings in purple, the roads in dark blue and bus stops are marked with round yellow symbols.
The tactile map has specially designed lectern style stand
Image credit: The Royal Borough of Kensington and Chelsea

Image description: Image depicts the robust three-dimensional tactile map featuring colour-coding, raised letters, symbols and braille. The raised letters and braille are depicted in grey colour, the park and open spaces are depicted in green colour, the buildings in purple, the roads in dark blue and bus stops are marked with round yellow symbols. The map is installed on specially designed lectern style stands.

Tactile images, maps and touch installations enhance the experiences that people with sight difficulties have, making their visit more engaging, informative and stimulating, allowing greater independence and inclusion. – RNIB Tactile Maps and Maps 2015 Brochure

The Royal Borough of Kensington and Chelsea (RBKC), working with Guide Dogs for the Blind and the Royal National Institute of Blind People (RNIB), and designed by Topografik, produced these robust three-dimensional maps featuring colour-coding, raised letters, symbols and braille. The raised letters and braille are depicted in grey colour, the park and open spaces are depicted in green colour, the buildings in purple, the roads in dark blue and bus stops are marked with round yellow symbols.

The story with the tactile maps in Kensington started with the Exhibition Road project. One of the things RBKC agreed with Guide Dogs for the Blind was to provide some form of wayfinding for blind and partially sighted people to get around the Exhibition Road area.

Most maps are designed and produced for a more utilitarian purpose. Maps represent something, often a portion of the real environment or a collection of data or ideas within that environment. The map user often must interpret qualitative and quantitative data represented on the map as well as the symbology that is actually representing those data. This sounds relatively straightforward, but map reading is a complex task, one that requires the reader to interpret the meaning of symbols and then understand the spatial distribution of those symbols. Sometimes the spatial distribution focuses on tangible features such as a street network and other times the spatial distribution focuses on intangible phenomenon such as population density. – Journal of Blindness and Innovation Research. Vol 5, No 1 (2015)

The mapmaker understands the data to be represented and then chooses the most appropriate mapping method. One of the goals of cartography production is to make the map use as efficient and effective as possible.

Tactile maps contain meaning that must be deciphered and transformed by the map user and if the same feature (a symbol representing water, for example) differs from tactile map to tactile map, then every time a tactile map reader uses a new tactile map, they will have to spend time studying and comparing the map key to the map itself, rather than attending to the geography in the map. On examining both Kensington maps we agree that they are really both effective, informative and immensely valuable.

Many people including colleagues in Cultural and Heritage institutions assumed that the tactile map projects were initiated by Transport For London (TFL) because they are located in the stations. That is unfortunately not the case.

The Exhibition Road Map was commissioned by Shirley Long, on behalf of Kensington and Chelsea. Mrs Long is a Special Projects Consultant for Royal Borough of Kensington and Chelsea (RBKC). Our understanding is that London Underground do not want to instal any more of the tactile maps, which we feel is really unfortunate. But I am reliably told that does not mean Kensington and Chelsea will not find locations outside of the stations.

We started looking at the RNIB “Maps for All” which is a layered coloured plastic map recognised as a standard wayfinding tool, but a “Map for All” would not withstand outside use so RNIB recommended a metal sculptor who had worked with them on other projects. – Loz Simpson, Topografik

RBKC set up a small working group including RNIB, Guide Dogs, blind and VI users and together produced a map everyone was happy with. It is a multi-layered etched zinc map with coloured areas, large raised lettering and Braille. It was the first of its kind. It sits on its own specially designed lectern style stand outside South Kensington station. RBKC took advice about the height and angle of the stand from RNIB and mobility groups.

Image depicts a close up view of the tactile map, looking closely from the top left side. There is a guide dog to the right with the dog handler wearing a blue Guide Dogs tee shirt, and with the man's right hand feeling the map. We can clearly see the raised letters, symbols and braille on the map.
Image credit: The Royal Borough of Kensington and Chelsea

Image description: This Image depicts a close-up view of the tactile map, looking at it from the top left side. There is a guide dog to the right with the dog handler wearing a blue Guide Dogs tee shirt, with the handler’s right hand feeling the map by using his palm. We can clearly see the raised letters, symbols and braille on the map.

Image depicts a group of visually impaired people, volunteers and staff standing around the Exhibition road tactile map for a group photograph. They are all smiling. There is also a guide dog on the right of the picture. The dog is looking towards the camera.
Image credit: The Royal Borough of Kensington and Chelsea

Image description: This Image depicts a group of visually impaired people, RNIB and Guide Dogs volunteers and staff standing around the Exhibition road tactile map for a group photograph. They are all smiling. The guide dog is on the right of the picture and looking towards the camera.

The Kensington High Street map is actually in High Street Kensington station and was installed in March 2018. Unfortunately, the map had to be mounted on a wall and tucked away in the corner inside the station because of space constraints. And because of this, it is difficult to spot and many people do not find it as accessible as they would have liked.

Just like the tactile map on Exhibition Road, this tactile map of Kensington High Street, for sight and touch, uses colour-coding, raised letters, symbols and braille to identify buildings, roads, open spaces and bus stops along Kensington High Street.

I was actually really concerned that the location of the tactile map at the High Street Kensington Station was known to only a few London underground users, and many regular VI station users were surprised to be told of its existence at our Sensory Trail of Kensington in August 2018.

Another observation was that the area was not well-lit meaning a VI person with some vision will also struggle to read and use the map visually. I brought these to the attention of Mrs Long, the project consultant.

I agree with your observations about the location of the Kensington High Street map. It is far from ideal but we were very restricted by London Underground who had the final decision on the location. Originally, we intended to put the tactile map on the pavement outside High Street Kensington station but the heavy footfall in the area coupled with a narrow pavement prevented this. This is why it had to be mounted on the wall. – Shirley Long, Special Projects Consultant, The Royal Borough of Kensington and Chelsea.

Image description: The Royal Borough of Kensington and Chelsea, working with Guide Dogs for the Blind and the Royal National Institute for the Blind, produced this robust three-dimensional map featuring colour-coding, raised letters, symbols and braille. The raised letters and braille are finished in grey colour, the park and open spaces are depicted in green colour, the buildings in purple, the roads in dark blue and bus stops are marked with round yellow symbols.
The tactile map of Kensington High Street, installed inside the station.

Other than those observations, all our VI participants felt this tactile map will help visually impaired users, including those with guide dogs, wheelchair users and other visitors, to map their way around Kensington High Street. They all felt the symbols and colours worked very well and that there was a good consistency in what they understood to be universal design practice and requirements.

The image depicts a visually impaired person touching the tactile map with his right hand. He is feeling the raised letters that read Open Space.
A Visually Impaired participant touches the tactile map of Kensington High Street.

Image description: The image depicts a visually impaired person touching the tactile map with his right hand. He is touching and feeling the raised letters that read Open Space.

We believe that the tactile maps project is a really wonderful project. The maps are informative, relevant and valuable, and can potentially change the experience of VI commuters and the way people use outdoor spaces.

The tactile maps enhance the experience of VI users and can be used as a signpost, a point of orientation and landmark. They are more than just another wayfinding tool, they are an engaging source of information and independence. – Andrew Mashigo

More investment needs to be put into creating more tactile maps so we can have them installed in many prominent locations around the city of London. On my travels to Exhibition road, I have seen the map engaging and being used by sighted travellers, a sign of their value across the community as a whole.

We want to extend our sincere gratitude to the Royal Borough of Kensington and Chelsea and Topografik for their support in providing information and images for this article. We also like to personally thank Loz Simpson of Topografik and Shirley Long, Special Projects Consultant, RBKC, for all of their assistance.

Image Credits:

Royal National Institute Of Blind People (RNIB)

Royal Borough For Kensington and Chelsea (RBKC)


Guide Dogs For The Blind


Sustainability and Materials: a DOTY 2018 Exhibition Tour Extract

Beazley Designs of the Year 2018
Design Museum, London
Tour date: Saturday 10 November 2018

The Design Museum’s Beazley Designs of the Year exhibition annually celebrates the best of design and its practitioners. Grouped under twelve “headlines”, this 11th edition of the exhibition highlights the immediacy of design and shows how designers are tackling new technologies, generating new visions, and responding to social trends and global events, sometimes with a sense of ambivalence, but always with optimism about our ability to shape the present and the future.

On this multisensory tour, we explored a range of projects from six categories, selected from Architecture, Digital, Fashion, Graphics, Product and Transport design. This tour concluded with a workshop activity that included discussions and a handling session.

Sustainability was the theme that ran through a majority of the exhibits selected for this tour, particularly the first three displays, and we felt it would be valuable to share some thoughts and findings from research for the tour. This blog focuses on those first three projects presented at the tour.

Sustainability and Materials: an Introduction.

There is a rampant global growth in the way our society is currently treading the road to the extinction of mankind, something that we all have a responsibility to fix. There are now more people on the earth living off it’s depleting resource and we all have to think about and plan for new and sustainable ways of living off the earth. The question is, what are we going to do about it? What changes and adaptations are we willing to implement and what measures are we going to put in place?

Here are a few projects from the Beazley Designs of the year exhibitions tackling the issue of environmental waste and pollution.

The Plastic-Free Supermarket Aisle

BDOTY Banner image
Image: The plastic-free supermarket aisle | Category: Graphics
Designed by A Plastic Planet and Made Thought for Ekoplaza
Image credit: Design Museum

Recyclable or biodegradable materials like glass, metal and cardboard are used to create sustainable materials for our daily use. This goes a long way to create a more sustainable environment, tackling serious issues like the deluge of plastic waste that is currently threatening our environment and the ecosystem.

Dutch supermarket chain Ekoplaza has opened the world’s first plastic-free shopping aisle, with a plan to expand the programme to all of its 74 stores by the end of the year. The aisle features more than 700 products packaged in recyclable glass, metal, cardboard and biodegradable containers, all clearly signposted by the “plastic-free” logo designed to be clear and simple.

In order for a product or material to be truly described as sustainable, it has to be environmentally, economically and socially sustainable. These aspects are known as the Three Pillars of Sustainability.

Discussion points:

Sustainable materials are derived from eco-friendly resources

Eco-friendly resources include sustainably grown fibre crops

Eco-friendly also refers to how these materials are made.

The Ecologically Responsible Denim Jacket

Denim Jeans
Image: The D-Staq RFTPi denim jacket | Category: Fashion
Designed by G-Star RAW

Denim brand G-Star RAW has developed the world’s first Cradle to Cradle certified GOLD G-Star denim fabric which is made out of 100% organic cotton. During production, the cleanest indigo dyeing technology was introduced, using 70% less chemicals, no salts and producing no salt by-product during the reduction and dyeing process.

The most sustainable and responsible washing techniques were developed to ensure that 98% of the water will be recycled and re-used, and the other 2% will be evaporated.

Discussion points:

This is made out of 100% organic cotton

It uses the most sustainable and responsible washing techniques

98% of the water will be recycled and re-used.

ZOA™, a Bio-Fabrication Project

Zoa Graphic T Shirt at Moma
Image: ZOA leather t-shirt grown from collagen
Designed by Modern Meadow
Image credit: Museum of Modern Art (MoMA), New York

Zoa™ is a new collection of products made of bio-fabricated leather, which replicates the texture and suppleness of natural leather without using any animal products. Instead, the material is grown from collagen, natural leather’s main component, but in this case, derived from yeast. As well as eliminating the slaughter of cows, and the environmental impact of raising them and tanning their hides – an often toxic process itself – Zoa’s bio-leather opens up new design possibilities, including shapes, densities and other properties not previously possible.

This solution is a whole system design through innovation and a bio-diversity approach. A small part of the innovation is creating designs using liquid leather that can be moulded into the desired designs, without the need for stitching. Liquid leather provides the ability to morph designs, to take any shape, and combine with other materials.

Discussion points:

Bio-fabrication unlocks the power of nature to offer new design possibilities

A pioneer of bio-fabrication, Modern Meadow believe that the multidisciplinary collaboration between design, biology and material science can lead to smarter ways to make evolved materials

Leather is unique for its strength and stretch, and its aesthetic appeal but the process of creating leather is still dependent on animal skins

Businesses involved in the production of leather have long complained about the problems with the supply chain, the fallibility of the material, waste in the process, and unpredictable weather can also lead to price volatility.

A lot of the waste is due to the irregular shape of animal hides, coupled with scars and insect bites, meaning up to 30 percent of animal skins regularly goes to waste.

Modern Meadows biofabricated leather
Image: A close up of Modern Meadow’s bio-fabricated leather
Designed by Modern Meadow
Image credit: Courtesy

In the early days, Modern Meadow grew skin cells to create leather but the company has since refined its approach. They now use a fermentation process to brew collagen directly. Their scientists have bio-engineered a strain of yeast that, when fed sugar, produces collagen, which is then purified, assembled and tanned to create a material that is biologically and perceptibly almost indistinguishable from animal leather.

Today, the global leather goods business is worth over $100 billion a year and produces everything from car seats to luxury handbags but the process of creating leather is still dependent on animal skins. Leather is unique for its strength and stretch, not to mention its aesthetic appeal and links to powerful cultural archetypes from cowboys and aviators to bikers and rockers. And yet raising and slaughtering the billions of animals whose skins feed the leather supply chain each year is inefficient, cruel and comes with huge environmental impact.

The irregular shape of animal hides, coupled with scars and insect bites, can mean 20 to 30 percent of animal skins regularly go to waste. Bio-fabrication meant dealing with reliable quality material in a reliable shape and size — and that is beneficial for business. Modern Meadow’s technology also allows customers to bring processes like dyeing and finishing into the formation of the material, unlocking additional efficiencies.

But while Modern Meadow plans to bring a finished good to market within two years and might one day compete with traditional leather suppliers on cost, its product — still in the research and development phase — is currently far more expensive to create than traditional leather.

“I don’t think we’ll ever look to compete with the commodity end of the spectrum. This is not about price competition,” explains Andras Forgacs, Modern Meadow co-founder and chief executive. “I think our materials in the near-term will be competitive at the luxury end of the market.”

For the rest of the multisensory tour, we discussed the Mobike, a minimalist bicycle for sharing; the Quicksee, a portable eye test kit designed by PlenOptika; and the new pound coin designed to be counterfeit-proof.

Images: The new Pound Coin, the Mobike bicycle, and the Quicksee kit.

The workshop session at the end of the tour was our opportunity to further discuss the tour and explore some handling objects from the museum’s handling collection.

Exhibition title: HOME FUTURES
Date: SATURDAY 12 January 2019
Time: 11:00 – 12:30

What to expect:
Explore today’s home through the prism of yesterday’s imagination. Are we living in the way that pioneering architects and designers throughout the 20th century predicted, or has our idea of home proved resistant to real change?

The Design Museum
224 – 238 Kensington High Street
London W8 6AG

Contact the Design Museum on +44 (0)20 3862 5900 or the Bookings Office on +44 (0)20 3862 5937
Monday to Friday 10:00 to 17:00

Text for Zoa™ leather: © 2018 The Business of Fashion
Multisensory Tour Facilitator: Andrew Mashigo
Tour Programmer: Bernard Hay, Producer Adult Learning, Design Museum
Large Print Guide: MaMoMi
Copyright © The Design Museum 2018

#designmuseum #DOTY #tour #access #sustainability #materials


A Visit to ZSL London Zoo: Summer 2017

Tags: #LondonZoo #SummerOuting #social
Banner Image credit: Ryan Prince Art.

On Sunday 16 July, we went on our first group social visit to ZSL London Zoo and we were quite fortunate to have good weather throughout our 4 hour visit, except for very light showers right at the end of the day. We were keen for our VI’s, family and companions to have a memorable and fun day out, exploring some of the animal enclosures and visitor areas throughout the zoo. We also had the opportunity to check out some of the facilities including the shops, Amphitheatre and the Terrace Restaurant.

A view of the Penguin Beach. There are 3 penguins to the left of this photograph, all perching comfortably on the side of the beach. There is a outbuilding in the background, with 2 large trees close by. In the foreground is a view of the clear blue water.

Image: A view of the Penguin Beach.
Image credit: MaMoMi.

ZSL London Zoo

The Zoological Society of London (ZSL) was founded in 1826 and is an international scientific, conservation and educational charity whose mission is to promote and achieve the worldwide conservation of animals and their habitats. Their groundbreaking science and active conservation projects are now in more than 50 countries and their two Zoos, ZSL London Zoo and ZSL Whipsnade Zoo.

Our Visit

From visiting the Land of the Lions, birds in the Snowdon Aviary, the giraffes in Into Africa, the Tiger Territory, Gorilla Kingdom, the Penguin Beach and a walk-through of the tropical birds enclosure that is called the Blackburn Pavilion, the zoo provided an intriguing space and ideal location for a group social visit. With over 20,166 animals (the official figure from 1st of January 2017) at ZSL London Zoo, there was a lot to view, experience, enjoy, have lots of conversations around and learn from.

Images, clockwise from top: Andrew giving a little intro on entry to the zoo; Lynn and Victoria have a chat; a view of the Tiger Territory through the protective glass; Camels feeding; the group listening to the Macaws as they are being fed; Devaki and our support team and family all stroking the goats in the Touch Zone; and Ramona and Jean with support team.
Image credit: Ryan Prince Art.

Admittedly, we did not expect to see all the animals but the time spent was just about right for us as we weaved around and negotiated so many outdoor spaces and indoor animal enclosures. It was an even more enjoyable day as the weather in London was quite nice, with only a few minutes of light drizzles observed near the end of our visit.


It was great to see that the zoo had a lot of accessible areas, with places like the Land of the Lions and the Tiger Territory wheelchair friendly and with lifts. We also noted that walking around was quite easy with most of the paths made with tarmac. There were also several disabled toilets located around the zoo, and for our pitstop for lunch, we chose to use the toilets by the Terrace Restaurant.

There was a limited number of wheelchairs available for hire which can be booked in advance. Understandably, the zoo has a number of listed buildings like the penguin pool, which restricts the upgrade needed to make it physically accessible to wheelchair users and children.

Assistance dogs are not currently permitted inside ZSL London Zoo because some of their animals react negatively to the presence of dogs. The Zoo is working with Guide Dogs UK to resolve this and hope to be able to welcome guide dogs to certain areas of the zoo in the future.


This was an incredibly fun day and we’d recommend ZSL London Zoo as a viable place to visit. We shall be planning more group visits in the future, with a focus on specific animals, enclosures and sensory experiences.

Images: On the left are Jean and her companion; on the right is a group photograph with all VI’s, family, companions and MaMoMi support team.
Image credit: Ryan Prince Art.

Thank you to the staff at ZSL London Zoo, with a special mention of the Discovery and Learning department, and the Press Office.

London Zoo Tiger Territory

Image: The group walking into the Tiger Territory
Image credit: Ryan Prince Art

Andrew Mashigo

Stanley Kubrick: The Exhibition

Design Museum
Saturday 14 September 2019

Stanley Kubrick: The Exhibition, tells the story of one of the greatest film-makers of the 20th century, exploring his unique command of the creative design process of film making, from storyteller to editor to director.

Image: Stanley Kubrick during location shooting | Image credit: Warner Bros Inc.

The Exhibition

On the 20th anniversary of his death, this exhibition at the Design Museum explores Kubrick’s extraordinary career and his unique creative process. This exhibition reveals a unique insight into the work and methods of Kubrick’s vast archive, focusing on the design stories behind his iconic films; from his work with set-designers such as Ken Adams to his collaborations with composers and cinematographers.

This multisensory tour explored Kubrick’s films and focused on Spartacus, A Clockwork Orange, Eyes Wide Shut, The Shining and 2001: A Space Odyssey. The access tour concluded with discussions on some of Kubrick’s soundtracks and the influence music had on his films narratives.

Stanley Kubrick

Born in New York City in 1928, Kubrick had a good middle-class upbringing in the Bronx as his father was a doctor. He did not like the process of traditional learning and skated through high school with low grades. His poor grades were not for lack of intelligence but actually because of boredom, and his disdain for the classroom setting.

With a camera as a gift from his father at the age of 13, Kubrick began seeing the world through the lens and quickly became obsessed with the camera medium, picking up skills and becoming self-taught to the point that he started selling photographs, prints, eventually getting a full time job at Look Magazine at the age of 17. The magazine paid Kubrick $25, the equivalent of £350 today for a photograph announcing the death of President Roosevelt (FDR) in 1945.

Stanley was a filmmaker who broke the mould, followed his own rules and was always waiting for a new path to take as he planned his next film. If you thought his films were complicated, deep and full of meaning, just imagine what the whole production was like.

A movie directed by Stanley Kubrick is often described by mentioning him; it’s a Kubrick film; or, it’s Kubrickian! Stanley Kubrick was one of the most innovative, visually appealing and illustrious directors.


The number of visually impaired visitors to the Design Museum has increased in the last few years and museums, in general, have a duty to make provisions for people with a wide range of needs. Museums have traditionally been a place where disabled people have felt excluded because most objects and artefacts are usually held behind glass cases and displays but there is now an increased evolution of museum public programmes creating access for their disabled audiences, a very welcome and valuable development.

Image: Andrew and visually impaired visitors at the meeting point to introduce the Stanley Kubrick exhibition at the Design Museum | Image credit: Ryan Prince

At MaMoMi, we create accessible events that enhance the experiences and expand the possibilities available to blind, visually impaired and those at risk of exclusion. We do this by facilitating the interpretation of art and design using a variety of tools and methods. We use visual culture as the platform for engagement and our motto is to engage, explore and educate. Design allows us to explore the function and ergonomics of materials and objects. Experience and research continue to show the value of visual culture and we believe it is important that these values and opportunities are open and inclusive to all.

“Our multimodal approach augments the experience of our participants, exploring the senses as we interact with visual culture and the world around us. We facilitate the interpretation of design and visual art by using various tools and processes, including the touch of original works, use of handling objects, exploring tactile images, audio description, and a mix of multi-dimensional interfaces.” – Andrew Mashigo, Founder, MaMoMi.

Read more about MaMoMi’s programme and approach on the website at www.mamomiinitiative.com

The Design Museum access programme includes the multisensory tours run by Andrew Mashigo of MaMoMi, and the BSL tours facilitated by a variety of trained and experienced BSL users. Starting with audio-description of the display and adding innovative approaches such as handling objects, tactile exhibits and 3D printed objects, the museums’ multisensory tour programme is increasingly becoming inclusive and accessible. We also run sensory trails and building tours that invite an immersive experience of the immediate environment and natural spaces.

The access tours are run bi-monthly and a full programme of events at the Design Museum can be seen on their website at www.designmuseum.org

Image: The film Spartacus is been discussed here, with the support of Lynn Cox, a visually impaired facilitator | Image credit: Ryan Prince

On the tour of the Stanley Kubrick exhibition, our road map took us through a discussion of the rug at the entrance of the exhibition, which is a replica of the rug used in the hotel corridor scene from The Shining, the one-point perspective, with installed screens showing a 49 second montage and compilation of clips from Kubrick’s movies, with the 5 screens installed at an angle to depict the One point perspective. We also talked about Kubrick’s large archive and the Napoleon library, the location scouting process, the cameras and tracking dolly, and the editing table, before exploring the pre-selected films.

The workshop session was devised to review a range of movie soundtracks from the films Spartacus, A Clockwork Orange and The Shining. To enhance the experience of the music from the soundtracks, we partnered with SubPac, a revolutionary wearable technology audio unit, with which participants were able to feel the music.

Production and Process

Image: The One point perspective corridor at the entrance to the exhibition | Image credit: Ed Reeve

The One point perspective is a drawing method that shows how things appear to get smaller as they get further away, converging towards a single ‘vanishing point’ on the horizon. 14th-century Italian architect and designer Filippo Brunelleschi was credited for the development of the mathematical technique of linear perspective in the art which governed pictorial depictions of space. He is most famous for designing the dome of the Florence Cathedral, the cathedral with the world’s largest brick dome.

The Steadicam is a brand of camera stabilizer mounts for motion picture cameras invented by Garrett Brown and introduced in 1975 by Cinema Products Corporation. It mechanically isolates the operator’s movement, allowing for a smooth shot, even when the camera moves over an irregular surface. This was key in filming The Shining. The options were to hold the camera or be mounted on a dolly.


Spartacus is a 1960 American epic historical film inspired by the life story of Spartacus, a gifted Thracian slave who leads a revolt against the decadent Roman Republic. Kirk Douglas played the lead role of Spartacus who brought a major slave uprising against the Roman Republic in the 1st century BC.

Image: Leather armour with tunic worn by Lawrence Olivier as Marcus Licinius Crassus. The original costume

Kirk Douglas brought in Kubrick to direct the film after the first week of shooting. It was the only film directed by Kubrick where he did not have complete artistic control.

The film won four Academy awards and in 2017 was selected for preservation in the US National Film Registry by the Library of Congress as being culturally, historically and aesthetically significant.

Some highlights

Kubrick found working outdoors or in real locations to be distracting; he believed the actors would benefit more from working on a sound stage, where they could fully concentrate.

To create the illusion of the large crowds that play such an essential role in the film, Kubrick’s crew used three-channel sound equipment to record 76,000 spectators at a Michigan State – Notre Dame college football game shouting “Hail, Crassus!” and “I’m Spartacus!”

The battle scenes were filmed on a vast plain outside Madrid. Eight thousand trained soldiers from the Spanish infantry were used to double as the Roman army.

The original score for Spartacus was composed and conducted by six-time Academy Award nominee Alex North. It was nominated by the American Film Institute for their list of greatest film scores.

Image: Exiting the Stanley Kubrick exhibition, on the way to the workshop session | Image credit: Ryan Prince

The Workshop

This workshop session allowed us to further reflect on key elements observed on the tour, with a special focus on how the soundtracks impact the nature and narrative of his films.

“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.” – Stanley Kubrick

“Music, at its essence, is what gives us memories. And the longer a song has existed in our lives, the more memories we have of it. – Stevie Wonder

“Music is a moral law. It gives soul to the universes, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” – Plato (Greek Philosopher, 427 BC to 347 BC).

Using the SubPac was a key tool to enhancing the experience of the truly iconic music Kubrick used in his movies. We listened to and discussed soundtracks from Spartacus (Main theme and Formation songs by Alex North), A Clockwork Orange (Singing in the rain, by Gene Kelly) and The Shining (The Shining Main Title score, and The Awakening of Jacob).

Image: A VI participant listens to Kubrick’s soundtracks via the SUBPAC S2, the seated SubPac installed to her seat | Image credit: Ryan Prince

The SubPac created such interest among our visually impaired audience and interestingly, we had a lady who was hearing impaired on the tour. For two of the participants who had never experienced sound at the range made possible by the SubPac, we initially got a mixed reaction. But after a few minutes, the intensity of the vibrations was something they were able to relate to and enjoy, with one person saying it felt like an orthopaedic chair with a massage inserted to it.

The overwhelming response was that the SubPac allowed participants to hear the sounds in ways they never felt possible, with one person suggesting this would be a great investment for both its artistic and therapeutic qualities.

The SubPac provides a deeper, more intense connection with your music.
Your body resonates with the music, as if you were in the prime location:
live at a festival, a concert, club or theatre. Using the SubPac, you feel the vibrations pulse through your bones to the inner ear and sensed as hearing.

Feeling is believing – SUBPAC

The SUBPAC comes in two types; the SUBPAC M2 wearable model, which is the model Andrew wore while delivering the multisensory tour within the Stanley Kubrick exhibition tour, and the SUBPAC S2, the seated model, used by the visually impaired participants at the workshop session. The S2 is the most powerful and accurate seated tactile bass solution on the planet.


“My experience with the SubPac was very positive because I am hearing impaired and sometimes it is very difficult to perceive sound, but with the image and vibrations together, I felt all the sound and the rhythm, and I felt been part of the music played, and it was amazing! I now look forward to hearing the birds, the sea waves and the rainfall.” – Mariana Ramos (Hearing impaired participant at the Stanley Kubrick exhibition multisensory tour)

Image: Mariana, a hearing impaired visitor, is sitting and using the SubPac S2, which is out of view | Image credit: Ryan Prince

For any enquiries about the SubPac or to have an opportunity to trial one of the units at one of MaMoMi’s events, please write info@mamomiinitiative.com to state your interest. We may be able to arrange a demonstration or give you information about events where the SubPac is currently being used.

The next multisensory tour

The next multisensory tour, the Sound in Mind tour of Yuri Suzuki’s exhibition at the Design Museum, will hold on Saturday the 9th of November 2019, from 10:30 to 12:30.

What to expect

Join this Multisensory Tour to gain a unique insight into the work and methods of sound-artist and designer Yuri Suzuki. Drawing on the different technologies shown in our atrium display, Sound in Mind: Yuri Suzuki, we explore the interplay between design and sound.


To book a place on this free tour, please email access@designmuseum.org with the title of the tour, your name and number of places required.

You also have the option to call the Design Museum’s access team on +44 20 3862 5937 between 10 am and 5 pm, Monday to Friday. Visit the Design Museum website for online booking via www.designmuseum.org

See our website event page for more details at www.mamomiinitiative.com


Tour facilitator: Andrew Mashigo

Tour co-facilitator: Lynn Cox

Photography: Ryan Prince

Wearable Technology: SubPac

SubPac Partnerships: Steve Snooks

Sensory Associations

17 September 2019

Sensory Associations is a multisensory, participatory and collaborative exploration of our senses in space and time, and developed by multisensory artist and design enthusiast Andrew Mashigo, of MaMoMi.

This iteration, exploring the audiovisual perception, was installed at Tate Exchange from the 1st to the 3rd of September as part of the Inside Job exhibition at Tate Modern.

Image: Participants watching the sensory associations video installation.

Based on an investigative approach to our senses in space and time, this immersive project explores how we observe and respond to our immediate environment.

Using a video compilation juxtaposed with recurring sounds of deliberately selected and edited tracks, it confronts and challenges the way we interpret the audiovisual perception. The response is a dialogue that opens up and initiates a new set of conversations and feedback, both artistically and cognitively.

Image: Participants exploring the audiovisual narrative translated into a tactile auditory experience.


This iteration of Sensory Associations was devised for all audiences and is particularly interested in better understanding sighted peoples association with visual and auditory perceptions. Driven by some of the misconceptions relating sight and sound we perceive, this project helps identify and highlight some of those misconceptions, with a view to improving an active and mindful use of all our senses.

The notion of preconceived ideas of what is and what is not, or of links and associations, is questioned, especially with what we think is and is not. We know that mindful flexibility of meaning and auto-suggestion can influence the range and sensitivity of sensory perceptions and this is clearly observed by and responded to in this project. Contextual information used in this installation helps participants re-consider many of their expectations and interpretation.


Heightening this somatosensory and immersive project is the use of the SUBPAC, a wearable tactile audio platform that delivers a deeply immersive and nuanced bass with far more resolution and range than traditional speakers and headphones. The use of the SubPac gave our audience a much broader audio range, opening up the auditory perception even more.

The SubPac is a valuable and integral part of this project as it takes the audio narrative used in the audiovisual installation and creates a sensorial experience for our audience, with the sound vibrations pulsing through the body to the inner ear, so users sense it as hearing. Many participants were amazed at the application of the SubPac in this project and you can read a small selection of the feedback we collected below.

SUBPAC is used by thousands of audio and VR professionals to add a heightened level of immersion, impact and awareness. There are currently two versions of the product, SUBPAC S2 for seated and SUBPAC M2x for mobile experiences. View their website via http://www.subpac.com

Some feedback:

“An interesting take on the connections between the senses. The combination of natural, animalistic sounds with industrial imagery created an inquisitive reflection and emotive response.“

“Really great. You hear something very different from what you see. Interesting regarding the perception of the world challenged by this sensory animation.”

“This is the best thing about this exhibition. I love that it is interactive and you notice all the good and bad things that happen on the screen. I love sensory associations!”

“Wonderful combination of sight, sound and physical stimulation. The great thing about the technology is that you can experience the “body rush” normally associated with high volume sound without the impact on one’s ears. Thank you!”

“I love how the sound changes my perception of the images. The SubPac gives a really nice massage and enhanced my experience!”

“A fascinating way to represent the different sensory perceptions. Challenging with all senses mixed up. Well done and thank you for sharing the experience!“

Image: The SubPac units used by our audience to experience sound tactually.

Please note that this audiovisual installation is still in development and additional sensory elements will be developed and produced next year.


Andrew Mashigo – Multisensory Artist
SubPac – Wearable technology unit
Miles-Andrew Mashigo – Video editor/Producer




#sensoryassociations #immersive #sensory #tactilesound #subpac

Somerset House New Access Programme

Somerset House Access
A New Programme for visually impaired visitors
An Introductory Tour of Somerset House with a Focus Group

Date: 1 June 2019

Image: The Edmond J. Safra fountain court, Somerset House, with the North Wing in the background.
Image description: This is on the approach to the fountain quadrangle from the Seamen’s Hall, with the fountain in the foreground and the North Wing in the background. It is a bright sunny day with the blue sky visible above the North Wing. A young girl in a bright red t-shirt can be seen on the left playing with the fountain.

This Pilot session with a Focus Group explored the possibilities and opportunities available to visually impaired and differently-abled visitors to this contemporary arts centre in the heart of London.

Image: The Old Somerset House and the Thames. Circa 1680 | Image credit: Somerset House.
Image description: The Old Somerset House is in the background and the Thames in the foreground, with several boats sailing past the Embankment entrance.

Somerset House

Somerset House is a contemporary arts centre in the heart of London offering a diverse and dynamic public programme to a large community of creative businesses, artists and makers. It is also one of London’s most spectacular and well-loved spaces where art and culture is imagined, made and experienced by over 3 million visitors every year.

The Introductory Tour

This Introductory tour, created to explore the possibilities and opportunities within Somerset House, was devised around three elements; the History, the Architecture, and the current use of the building. The tour took us from the Seamen’s Hall to the Stamp stairs, the Embankment entrance, the Edmond J. Safra fountain court, the North Wing archway and finished in front of the statue of King George III. The feedback session was moderated by Lynn Cox, a VI artist and facilitator.

Starting at the Seamen’s Hall, a space full of character and offering a sense of grandeur with its white marble floors, imposing Corinthian columns, chandeliers and huge windows, we went on to view the architectural facade at the bottom of the Stamp stairs, which is on the street level from the Embankment entrance.

A Focus Group was invited to test the resources and give their objective evaluation. A key goal for this pilot session is to develop a programme that will become a valid cultural learning experience.

Image: VI visitors viewing the architectural facade of the North Wing.
Image description: Standing at the base of the Stamp stairs, VI visitors stand in front of the facade of the North Wing. The white facade is set on a two foot plus tall dark grey plinth, installed on the right side of the room. Three VI’s and a sighted guide discuss the features of the facade.

At the base of the Stamp stairs is the installed architectural facade of the North Wing. This facade, the exterior wall or face of a building, features detailed characteristics of the architecture of the building. Facades usually involve design elements like deliberate placement of windows or doors and the elaborate features and decorations in the structure. The North Wing facade reveals the massive arched doorways, large porch and wide windows, and plenty of consideration into the types of fenestrations used including the wall panels and curtain walls.

Image: VI visitors by the Embankment entrance listening to a detailed history of Somerset House.
Image description: Standing just under the arch at the Embankment entrance, four VI visitors and two sighted guides stand together to discuss the historical information about the building.

Leading out northbound from the Seamen’s Hall to the Edmond J. Safra fountain court, we view the courtyard which is one of the grandest locations in London. It is centred around Somerset House’s iconic fountains and surrounded on all sides by 19th century buildings.

This Grade 1 listed building does have some physical access limitations because of steps from the Seamen’s Hall and narrow walkways, uneven surface of the Stamp stairs and a cobbled square that goes all the way around the fountain and leading up to the North Wing.

To help with the interpretation of the space, we made reference to the architectural facade displayed in the Stamp stairs and used a 3D model of the top of the Corinthian columns. The Corinthian column is very ornate with slender fluted columns, with elaborate capitals decorated with leaves and rings.

Somerset House Today

Somerset House is a cultural destination with residents including over 100 organisations from the arts and creative industries. The Somerset House Exchange provides a co-working space for 120 small businesses and start-ups, including Makerversity, a pioneering collection of emerging maker businesses supported since its launch.

Since 1775 when a new building was erected, designed by William Chambers, the building housed various government departments including births, marriage, deaths and the Inland Revenue.

Somerset House was established in July 1997 to conserve and preserve Somerset House as an arts centre. After a campaign to open Somerset House to the public, it became a home for arts and culture in 2000.

Future Tours

The Somerset House Learning and Skills team and the MaMoMi team are reviewing some exciting possibilities and are keen to make this programme a valid learning experience for differently-abled visitors. Updates will be posted shortly.


Somerset House strives to be open and accessible to all, and continue to work to remove barriers for visitors with disabilities and to ensure our event and exhibitions are accessible.

To discuss your visit, call 0207 845 4600 to speak to someone in visitor experience between 10.00 and 17.00. You can also email visitor@somersethouse.org.uk and someone will get back to you as soon as possible. You can also contact us at MaMoMi via info@mamomiinitiative.com


Somerset House, Strand, London WC2R 1LA

Getting here

The underground from Temple Station to Embankment entrance, which is approximately 200m. You can also use the main line stations Charring Cross, Blackfriars and Waterloo.


Andrew Mashigo: Tour Developer and Facilitator
Lynn Cox: Tour Developer and Facilitator
Catherine-Ritman Smith: Head of learning and Skills, Somerset House
Sophia-Hinton Lever: Learning and Skills Coordinator, Somerset House
Stu Baker: 3D Model Designer
Image credit: Somerset House Trust and MaMoMi
Large Print guide and Braille: MaMoMi initiative

#somersethouse #access #visual #arts #culture #education #mamomi

David Adjaye: Making Memory

A Multisensory Tour. The Design Museum 9 March 2019

The entrance to the Making Memory exhibition, showing how the photographs have been installed. The bottom photographs have been installed facing upwards at an angle, while the top row have been installed facing downwards at an angle too, making the photo displays seeming like they wrap around the viewers.

Image: Entrance to the Making Memory exhibition.


This exhibition helps us discover the work of celebrated architect Sir David Adjaye (OBE), with the tour focusing on his use of story-telling to create unique monuments and memorials, from the Smithsonian Natural Museum of African American History, to the Sclera pavilion.

Adjaye’s landmark structures in this exhibition explore the design, role and use of contemporary monuments. These monuments and memorials show how he uses architecture and form to reflect on history, memory and record human lives, answering questions of how buildings can shape our perception of events – past, present and future. Visitor’s will experience the storytelling power of architecture through an exploration of seven monumental projects.

The exhibition also uses soundscapes for each display, in response to the narrative and context of each display. The tracks for the soundscape were written by Peter Adjaye, David’s DJ brother. This soundscape, including the use of dark grey colours on the wall in the first 5 rooms, gives the overall display an immersive and emotive feel, something a few in our VI audience were quick to mention.


The Gwangju River Reading room is a pavilion on 2 levels. The top is made of timber and held on the bottom by four pillars made our of concrete. The four pillars house 200 books to celebrate the lives of the 200 people killed during the 1980 massacre.

Image: Gwangju Pavilion| Image Credit: Kyungsug Shin

The River Reading Room sits on the embankment of the River Gwangju, connecting the street level above with the grassy planes below. Completed in 2013, the pavilion’s design was influenced by traditional Korean pagoda. The memorial was inspired by the 1980 Gwangju uprising, also known as the May 18 Democratic Uprising, where local Chonnam University students demonstrated against the governments martial law practices. It was reported that 200 people died, though other records state that up to 2,000 people lost their lives during the uprising.

The pavilion consists of two primary materials, concrete and timber. The concrete base takes into consideration the maximum level of the river and is designed so that it could be submerged in water at high tide. Steps are carved into the concrete to form seating areas and viewing platforms on which to sit, read, contemplate and reflect.

Four pillars around the perimeter house the books. When the concrete is submerged, the timber structure appears to float above the water. A 1:20 scale wooden model in the middle of the room is placed on a waist high plinth. On the wall are 8 LED light box photographic displays, and on the left is a recreation of one of the 4 bookcases from the memorial, filled with a selection of books chosen by the writer Taiye Selasi.


The Smithsonian museum design was influenced by the shape of the Olowe of Ise wood craft by the Yoruba traditional craftsmen. The design of the facade was inspired by motifs created by Charleston and New Orleans metalworkers.

Image: Smithsonian National Museum of African American History and Culture | Image Credit: Brad Feinknopf

The Smithsonian is dedicated to telling the story of black American lives, from slavery to the present days. Built over 8 floors (4 above ground and 4 below ground), the building itself is a monument to the stories told inside, with the architecture actively contextualising the memories represented. The museum’s three-tiered structure is covered in bronze panels.

The museum was inaugurated by President Obama in September 2016 on the last available plot at the National Mall in Washington D.C. and was a long-awaited symbol of the African American contribution to the nation’s history and identity. Adjaye’s approach created a strong conceptual resonance with America’s longstanding African heritage.

The Smithsonian was 100 years in the making, with black civil war veterans first proposing a national museum of African American History in 1915. Even with a successful fund-raising campaign, it took 100 years for this project to come to fruition, first influenced by President Bush, and then completed during the Obama presidency. The 1:100 scale model in the middle of the room is made of wood.

Next to the model of the museum is a wooden sculpture of a Yoruba Veranda post by Olowe of Ise, circa 1910 – 1914. This Nigerian sculpture, made out of carved wood, stands at just over 5-foot tall and is placed on a 12 inch tall wooden plinth with black metal barrier. The museum’s stacked shape takes inspiration from the top portion of this early 20th century Yoruba craftwork. Olowe’s wooden sculptures were created for use as columns, holding up the porches of shrine houses and traditional dwellings.


The entrance to the UK Holocaust memorial features 22 imposing bronze fin structures symbolising the 22 countries affected when Jewish communities were destroyed during the Holocaust.

Image: UK Holocaust Memorial and Learning Centre | Image Credit: Adjaye Associates

This memorial honours the millions who died at the hands of the Nazis during the Holocaust and will be built close to the Houses of Parliament in Westminster. It seeks to inspire visitors to strive to draw meaning and purpose out of tragedy.

The new landmark – to be completed by 2022 – aims to be “a living place, not just a monument to something of the past”, offering visitors an “immersive journey” and “sensory experience” throughout the site. It will be a place to reflect upon, remind and learn from the genocide of Europe’s Jewish population.

The Memorial is embedded within the landscape, and the Learning Centre is embedded within the Memorial. Entrance to the memorial features 23 imposing bronze fin structures, with the gaps between the fins representing the 22 countries where the Holocaust destroyed Jewish communities. The striking memorial will have a modern, minimalist feel, combining a striking architectural memorial above ground that leads to an engaging, reflective and powerful exhibition below.

Visitors can expect different experiences along each pathway between the fins before the walks culminate at a cavernous main hall (known as the Threshold), intended to be a place for contemplation before moving into the adjoining Learning Centre in the level below ground.

The sound in this room is a lot quieter and sombre than the previous room, with the sound of the trombone providing a soothing and subtle presence. In the middle of the room is a 1:200 model of the centre.


The Sclera pavilion was inspired by the human eye and is a small, simple structure. It is made out of Tulipwood and is yellowish brown in colour. The tulipwood is installed vertically and hinged on the top and pinned down at its base. Every one of the tulipwood used are of different lengths.

Image: Sclera | Image Credit: Leonardo Finotti

As part of the London Design Festival in 2008, David Adjaye was selected to create a spectacular outdoor temporary structure to challenge the public perception of everyday materials. He created the Sclera Pavilion, in collaboration with American Hardwood Export Council, using tulip-wood presented as the prototype of a new material that had never been used as an external building material.

This project is the only one in this exhibition that is not a memorial as such. It was designed as a public space that could be ultimately calming and uplifting whilst in the centre of the city. The work is characterized by an innovative design that explores the possibilities of designing a unique space from a simple design element.

The shape was inspired by the human eye and is a small, simple structure that best exemplifies Adjaye’s use of architecture as a dynamic space for experience. He chose the name to make reference to a “space from my point of view.” In that sense, Sclera is a monument to slowing down.

The pavilion consists of two circular chambers. The lateral entrance to the first chamber leads into the second and larger chamber, creating a strong sense of space. The entire interior offers visitors an experience of spatiality transmitted by the elliptical shape of the wall and the floor, and the ceilings dimensional and smooth curves. The clarity of the wood and the shapes and spaces provide an intense sensory experience as the visitor moves through the work.

A 1:20 scale model of the Sclera is installed in the centre of the room, with a 1:1 scale fragment of the pavilion installed to the side. We are allowed to touch the sclera model and getting close reveals the pinkish yellowish or slightly yellowish brown colour, and light refreshing scent in the wood. It almost smells like it has a very light perfumery smell.


The National Cathedral of Ghana will have its main architectural concept drawn from both contemporary Christian architectural principles and motifs from traditional Akan culture.

Image: National Cathedral of Ghana | Credit: Adjaye Associates

Based in Accra, the National Cathedral of Ghana will be a unique 21st-century landmark where religion, democracy and local tradition are seamlessly and symbolically intertwined.

The Cathedral’s main architectural concept draws on both contemporary Christian architectural principles and motifs from traditional Akan culture. The building also references several ancient symbols, materials and processes still in use in Akan culture today.

Situated within 14 acres of landscaped gardens, the proposed design will house a two-level 5000-seat auditorium which, with the addition of two podiums designed for standing, can accommodate a congregation of up to 15,000 people. In the middle of the room is a 1:250 wooden scale model of the cathedral.

Installed in the ceiling above are 5 brightly coloured ceremonial Asante umbrella’s. Handmade in Kumasi, they are used at weddings, funerals and other ceremonies but they are also partly functional because they are used to provide shelter from the rain and sun. Only Chiefs and senior members of the Akran clans used the larger umbrellas as they are a symbol of STATUS and POWER.

There are also 5 Asante umbrella finials installed vertically along a side wall. The ASANTE umbrella finials are hand carved finials intended to sit on top of the ceremonial umbrellas. The form and subject of the finials are based on proverbs that reflect certain characteristics associated with the AKRAN clan and respective chiefs.

David also selected several artists to adorn the buildings interiors. An example of this are the 2 ADINKRA textiles from 1960 hanging on the wall to the left as you walk into the display. They are handwoven and stamped cotton Adire African textiles and have Adinkra symbols printed on the textile. Traditionally, Spiritual leaders and Royalty wore them but nowadays anyone can buy and use them. 


The Mass Extinction Memorial Observatory is designed as a continuous spiral walk wrapped around a central atrium. The spiralling form is based on the gastropod fossils, looking like a snail or slug. The inside follows the shape of a corkscrew, rising from the bottom all the way to the top of the structure.

Image: Mass Extinction Memorial Observatory

To be built along the Jurassic coast on the isle of Portland in Dorset, this memorial is a project designed to raise awareness on extinction. The observatory is designed as a continuous spiral walk wrapped around a large central atrium. Lining the interior of the MEMO will be stone carvings of 860 extinct species. The building will be on the site of the old quarry that the limestone of St Paul’s Cathedral was quarried.

The spiraling form of the building is based on the gastropod fossils commonly found in the quarry. Floors inside the building will follow the corkscrew shape.

To the right of the room is a stone carving of the Gastric Brooding Frogs. The brooding frog are ground dwelling frogs native to Australia, and was discovered in 1970 and classed as extinct in 1983, a tragic loss to biologists and environmentalists.

Fun fact: The brooding frogs were known for their ability to incubate or brood their young ones in their stomach. The gastric brooding frog were known to swallow its eggs once it had laid them, to keep them safe, with the baby frogs hopping out when they were ready.


This memorial wall for the Coretta Scott King and Martin Luther King Jr Memorial is made from Valchromat. Dr King's speeches will be carved into the stone wall of the memorial and this wall shows a new speech to text typography that will digitally carved into the wall, each word corresponding to the rhythms and pitch of the spoken word.

Image: Coretta Scott King and Martin Luther King Jr wall

This is the first opportunity to see an in-depth display of the proposed Coretta Scott King and Martin Luther King Jr. Memorial in Boston. Featuring Adjaye Associates proposal for the memorial, it will be placed at the highest point of Boston Common, the city where the Kings studied and met, serving as a place for discursive action and assembly.

The 1:1 model shows how the King’s speeches will be carved into the stone walls of the memorial. This wall is made out of Valchromat, a wood fibre panel which is coloured throughout and engineered for high physical performance. The fibres are individually impregnated with organic dyes and chemically bonded by specifically developed resins that give the panels their special properties.

The depth of the digital carvings corresponds to the rhythms and volume of the original speech so the louder the spoken word, the deeper it is carved. The King monument taps into this and instead of focusing on events, movements or specific acts, it remembers speeches and words.

Wearing powder free latex gloves, we were able to explore the depths and crevices of the text imprint to better understand the speech to text typography used.


On the top row, the first image shows the entrance to the Making Memory exhibition, with VI participants looking upwards towards the wall display as Andrew describes the photographs.

The second image shows VI participants having a close look at the Mass Extinction Memorial Observatory, a white gastropod shaped monument.

The third image shows two VI participants touching the Coretta Scott King and Martin Luther King Jr memorial, while wearing polyethylene gloves.

On the second row, the first image shows the design of a base structure for a memorial made by a VI participant.

The second image shows the upper structure of a memory box made by a VI participant.



The Design Museum
SATURDAY 4 May 2019
10:30 – 12:00

Join this multisensory tour as we step inside the world of Stanley Kubrick, one of the greatest filmmakers of the 20th century.

Stanley Kubrick: The Exhibition, will offer a unique insight into the director’s vast archive through original props and costumes, set models and rare photographs, while tracing the design story behind Kubrick’s body of work.

His fascination with all aspects of design and architecture influenced every stage of all his films. He worked with many key designers of his generation, from Hardy Amies to Saul Bass, Eliot Noyes, Milena Canonero, and Ken Adam.

Note: This tour will start at the earlier time of 10:30 to give us the best opportunity to view the exhibition at the quietest time.

The MaMoMi logo


Home Futures: Living in Yesterday’s Tomorrow

A multisensory Tour at Design Museum

Saturday 12 January 2019

This is an image of Bocca Sofa, 1970. It was designed by Studio 65 for Gufram. The Bocca Sofa, or Red Lip sofa as it is famously known, was based on artist Salvador Dali's original design, itself inspired by the lips of iconic beauty Marilyn Monroe. This is a kaleidoscopic fusion of pop art, conceptual art and modernist design. It is bright red in colour and made from polyurethane material and chromed metal as the support frame. It is 85 cm high, 212 cm wide and 80 cm deep. It comfortably sits 3 people.

Image: The Bocca Sofa, 1970. Designed by Studio 65 for Gufram.

The home of the future has long intrigued designers and popular culture alike and this Home Futures Exhibition Immerses us in a series of dreamlike passages and rooms exploring yesterday’s visions of the future.

We know that the home incites an emotional world and is not just a physical place or space. It is a place that can also define us. It is also not something that we own but it has actually become a commodity that few can really own or afford. The changing values of people in our society also express itself in how we are now more interested in access rather than just ownership. And by access, we refer to access to power, influence and recognition.

Walking through avant-garde speculations displayed alongside many contemporary objects, more than 200 objects and experiences in this exhibition that trace key social and technological aspirations that have driven change in the home.

The walls are painted white, with ceiling lighting and spotlights above and good lighting throughout. On the morning of our visit, there was an issue with the lighting levels been a bit low, but that did not impact the experience of the space. Some displays were set in wall units and plinths while many are installed independently on the floor. The rooms did not have any distinct smell other than the warmth of the installation.

Acoustically, this space was a myriad of sounds and digitally sourced conversations. Sounds coming from video installations in different rooms seem to converge in the space as we moved through it, but the sound bleed was only a concern when we congregated close to or between the sound installations.

The exhibition was set in 6 different themes, exploring different focuses on various concepts, domestic behaviours, design ideas and modular furniture systems.

Below is an image of the Gufram Cactus, 1972, designed by Guido Droco and Franco Mello. This is a green cactus shaped coat hanger standing at 7 feet tall. On the top of the Cactus is Andrew’s Fedora hat. That photo shoot request was by one of our visually impaired visitors.

Gufram was once a small production company responsible for the most iconic pieces of Italian radical furniture and is now famous for merging art and design. Their Bocca Sofa or Red Lip sofa, the featured image for this blog, was based on the artist Salvador Dali’s original design, itself inspired by the lips of iconic beauty Marilyn Monroe. This is a kaleidoscopic fusion of pop art, conceptual art and modernist design.

This is an image of the Gufram Cactus designed by Guido Droco and Franco Mello. This is a green cactus shaped coat hanger standing just under 6 feet tall. On the top of the Cactus is Andrew's Fedora hat. That photo shoot request was by one of our visually impaired visitors.
GUFRAM CACTUS, 1972. Designed by Guido Drocco and Franco Mello

Living With Others
This section explores the way in which we negotiate privacy in the home and the impact media has on domestic behaviour.

Living On The Move
We see how modular systems merged furniture with infrastructure, using simple forms and muted colours to frame furniture as a tool rather than a possession. An example is a modular toilet that can be easily converted to a bathroom or bedroom!

“Design comes from the heart and the brain, to cuddle the soul of people and improve life for the best, the livelihood of people.” – Alex Iberti, CEO Gufram.

Living Smart
This section traces the modernist ideal of the ‘home as machine’ and pairs it with the contemporary vision of the ‘smart home’. We see the principles of labour saving by using connected devices that use our data to deliver function.

Living With Less
One recurring ideal of the 20th century was that housing shortages could be solved with fully fitted home units and micro-living solutions. Less space in urban areas resulted in the emergence of hybrid furniture like the sofa bed, folding tables and integrated storage.

This is an image from the Living with less display. Here Andrew explains how the minimalist metal installation operates.
Andrew explains how the minimalist metal installation works. Next to him is a VI having a closer look at the installation.

Below is the Bench, After Judd, 2014, with visually impaired visitors standing around the bench and a few sitting on the bench. This bench confuses the role of the horizontal surface because at 12 cm high and around 4 foot wide, it can function as a seat, a table and a flooring unit. The rug on the bench is a multicoloured rug with blocks of colours in a geometric form. This gives it a mondrian-like look.

The wooden bench was at room temperature but the metal support was a little bit colder but the overall object retained its warmth. The rug was soft, with the stitching along the coloured patterns providing a tactual ridge.

This is the Bench, After Judd, 2014, with visually impaired visitors standing around the bench and a few sitting on the bench. This bench confuses the role of the horizontal surface because at 12 cm high and around 4 foot wide, it can function as a seat, a table and a flooring unit. The rug on the bench is a multicoloured rug with blocks of colours in a geometric form. This gives it a mondrian-like look.
BENCH, After Judd, 2014. Designed by Andrea Zittel

Living Autonomously
This section explores self-reliant models of domestic life that are environmentally responsible and often anti-consumerist. The idea was that an open-source system allowed anyone to make furniture and basic household appliances with parts and tools that can be reused.

Below are the VI visitors touching and sitting on the Single Bed designed by Enzo Mari. In this image, Bernard from the Design Museum explains an aspect of this easy to assemble furniture that can easily be converted to tables, chairs, bookshelves or wardrobes.

The single bed had a well-finished surface, without the worry of splints. the mattress was firm and felt well-constructed and durable. The plant in this image is artificial, with a smooth feel to touch.

In this image are VI visitors touching and sitting on the Single Bed designed by Enzo Mari. In this image, Bernard, the producer of Adult Learning at the Design Museum, explains an aspect of this easy to assemble furniture that can easily be converted to tables, chairs, bookshelves or wardrobes.
VI visitors sitting on the Single bed by Enzo Mari. Bernard, the producer of Adult Learning at the Design Museum, can be seen here explaining aspects of the bed design.

Domestic Arcadia
Some designers emphasise the home as places of irrational and emotional needs, and surreal interiors conjured idyllic landscapes, bringing natural, biomorphic forms and landscape elements into the home.

Below is the FRAME 03 from 2017 and designed by SO-IL. This stainless steel bench with a metal ring chain or mesh structure that is the sit can sit up to 7 people. The industrial material used to make this frame furniture does not reveal its function, at first sight, leaving it open to the imagination.

The mesh structure that creates the sit almost feels like a cobweb that cradles, and though it is cold to the touch because it is made of stainless steel, it feels like a piece of outdoor furniture that will work well in the garden in the summer.

The designers call it an exploration into aporetic architectural furniture, which we can interpret as characterised by an irresolvable internal contradiction or logical disjunction.

This is an image of the FRAME 03 from 2017 and designed by SO-IL, with several VI visitors sitting on it and others standing around it. This stainless steel bench with a metal ring chain or mesh structure that is the sit can sit up to 7 people. The industrial material used to make this frame furniture does not reveal its function, at first sight, leaving it open to the imagination.
The FRAME 03, 2017, by SO-IL.

After the tour, we went up to the Creative workshop to discuss the exhibition. The workshop activity included exploring some samples of objects from the exhibition and we also took the time to share ideas of what we want the home of the future to be like, for us as individuals and people with specific access needs.

What should the home of the future look like, for me?

Several VI’s reflected on the exhibition and explored ideas of what they would want to have as functional ideas for future home furniture. Today’s future thoughts and ideas can easily be an experience of tomorrow.

VI visitors can be seen sitting around the table and having a discussion in the Creative workshop. On the table are drawing materials like pencils, coloured pens, marker pens and A3 size papers.
VI visitors can be seen sitting around the table and having a discussion in the Creative workshop
A VI visitor is exploring one of the sample materials from the exhibition
A VI visitor explores one of the sample materials from the exhibition.
A VI assisted by a companion explores the material sample from the exhibition
A VI assisted by a companion explores the material sample from the exhibition

The Home Futures exhibition continues until 24 March 2019.


Multisensory Tour Facilitator: Andrew Mashigo

Tour Programmer: Bernard Hay, Producer Adult Learning

Large Print Guide: MaMoMi Initiative CIC

Copyright © The Design Museum 2019

Andrew Mashigo. MaMoMi Initiative. January 2019

Sensations and History: A Sensory Trail of Kensington

The Sensory Trail | Sunday 19 August 2018 

By Andrew Mashigo and Lynn Cox

Our summer 2018 event, Sensations and History: A Sensory Trail of Kensington, was a walk exploring some heritage and historical sites in Kensington, revealing interesting facts and trivia of selected parts of High Street Kensington and Kensington Gardens while exploring their physical and aural features. This tour, on Sunday 19th of August and for visually impaired or blind people, started at High Street Kensington station, stopping at St Mary Abbots Parish Church, the Palace Gates in Kensington Gardens, the Round Pond,  before concluding at Serpentine Gallery’s Serpentine Pavilion.

Map of Kensington

Image: Aerial map of High Street Kensington and Kensington Gardens.
Credit: Google Maps

So, what is a Sensory Trail? A sensory trail is a tour that provides a series of experiences along a route designed to engage our senses and collectively immerse participants in a multi-sensory journey. Our focus on this sensory trail was to explore and share a journey that potentially creates moments and movements. We purposely designed the walk to take us through public buildings, the park, and around art installations, with the knowledge that a montage of perspectives and responses will be created.

This Sensory trail was also an opportunity to listen, touch, and smell our environment more intently, to encourage physical interaction with the environment, and to tell stories that help build memories and make connections.

The Sensory Experience

High Street Kensington Station

Our first stop was the tactile map of Kensington High Street, installed in the hallway of High Street Kensington station. This was the first station on Kensington High Street, constructed in 1867. The station was then demolished in 1906 and rebuilt complete with a shopping arcade. Kensington Arcade, currently with 15 stores, is the entrance to the station.

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A Visually Impaired participant touches the tactile map of Kensington High Street.

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The tactile map of Kensington High Street, for sight and touch, uses colour-coding, raised letters, symbols and braille to identify buildings, roads, open spaces and bus stops along Kensington High Street.

Images: Above are two images of the tactile map installed in High Street Kensington Station, installed by The Royal Borough of Kensington and Chelsea (RBKC).

Image description: The Royal Borough of Kensington and Chelsea, working with Guide Dogs for the Blind and the Royal National Institute for the Blind, produced this robust three-dimensional map featuring colour-coding, raised letters, symbols and braille. The raised letters and braille are finished in grey colour, the park and open spaces are depicted in green colour, the buildings in purple, the roads in dark blue and bus stops are marked with round yellow symbols.

This tactile map provided a lot of discussion points. The first one was that no one seemed to know that the tactile map had been installed in the station. The tactile map is a valuable interpretation tool for both visually impaired and sighted users but does not seem to have much use. It was also felt that been tucked away in the corner of the station hall made it difficult to locate. A final observation was that the area was not well-lit meaning a visually impaired (VI) person with some vision will struggle to read and use the map visually.

Other than that, everyone felt this new map will help visually-impaired users, including those with guide dogs, people in wheelchairs and other visitors, to map their way around Kensington High Street.

Sensory Experience: Sometimes the obvious only becomes clear when we pay attention to things around us. The sound of the ticket gates swinging open and shut created an interesting and unique beat and rhythm, sometimes sounding like beats to a rock song. At other times, it felt you could hear the two-step beats to a marching band.

The synchronised sound of the tickets beeping seconds before the gates swing open and shut created an interesting melody, although sometimes jarring, and at other times sounding chaotic, especially at moments when there are multiple users.

Leaving the station and out of the Kensington Arcade, we walked past Ben’s Cookies and then Wasabi, experiencing contrasting scents. The cookies created a waft of sweet smells, the smell of chocolate, while near the exit of the station, the cooked dishes created the savoury smell of stews and seasoning. Both scents were quite pleasant and inviting, and reminded someone of grandma’s Christmas dinners.

St Mary Abbots Parish Church

St Mary Abbots Parish Church was built in 1872 by Gilbert Scott. Until the early 19th century, St Mary Abbots was the only church in Kensington.

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Participants walking through St Mary Abbots Parish Church grounds from the west entrance.

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Participants viewing the external wall of St Mary Abbots Parish Church, with a particular interest in the tombstones that have been interestingly embedded into the wall.

The current state of the church does not represent what Gilbert Scott left in 1872 but is instead the result of the repairs carried out with probably inferior materials following the bombing and burning-out of the church in WW2.

Some of the interesting features of the church’s Cathedral-like interior are the high Nave, Aisle and Transept roofs, the flat stone floor and the splendid historic timberwork used throughout. The magnificent wrought iron font is currently positioned in the corner near the west door. All around, we noticed the stone and mosaic materials, and the elegant stained glass windows.

St Mary Abbots Church entrance
Entrance to St Mary Abbots Church via the west entrance, using the great West Door.

The Font
The Font, standing near the West door, was designed by Sir George Gilbert Scott and presented to the church in 1881.

Images: The top image shows the entrance to St Mary Abbots Church via the west entrance, using the great west door.
The bottom image shows the font, a wrought iron structure installed into the roof. It was designed by Sir George Gilbert Scott and has a wrought-iron canopy, presented in 1881.

Although the nave and chancel roofs were destroyed and damage was done to stained glass and the organ during WW2, the main structure was not seriously harmed. There is a story that while the fire-fighters fought the blaze, an air raid warden played the organ to keep the water out of the pipes thus perhaps preventing more serious damage.

The Sensory Experience:

Walking through the church, you immediately sense the presence and ambience that transcends the physical. Some call it ethereal, saintly or heavenly, and I’d just like to call it the divine presence.

The timberwork used in the ceiling and the pews give the space a soft and subtle echo and creating a very immersive experience. Spoken words seem to float around as whispers, almost with an eerie charm. You only have to stay here for 5 minutes and you will definitely be taken by the tranquillity and majesty of the silence. Truly transcendental!

Interesting facts: Until the early 19th century, St Mary Abbots was the only church in Kensington. Many eminent parishioners included Sir Isaac Newton, Joseph Addison, William Wilberforce, George Canning, William Thackeray and Lord Macaulay.

The Palace Gates, Kensington Gardens.

Kensington Gardens covers 265 acres and was originally part of Hyde Park. The Gardens with their magnificent trees are the setting for Kensington Palace, the birthplace of Queen Victoria who lived there until she became queen in 1837.

Kensington Palace Gate
A close-up view of the Palace Gates, with bright golden floral designs against the black metal gate.

Kensington Palace Gates
Lynn shares some really interesting history of Kensington Gardens.

Some Interesting facts about Kensington Palace.

The Not So Good News: King George II didn’t get on well with his son, Prince Frederick, at one point having him banned from Kensington. When Frederick died after getting hit in the chest with a cricket ball, the news was delivered to George as he was playing cards. George’s response to his son’s death? “Good.”

It has a haunted Nursery: Like any good palace should be, Kensington has its fair share of ghosts. King George II is said to haunt the palace where he lived. Another is “Peter the Wild Boy”, whom George I brought back to Hanover after finding him living in the woods. It is thought that Peter suffered from a genetic condition known as Pitt-Hopkins and it is believed that he haunts the King’s staircase. Princess Sophia is another royal ghost in the palace. Apartment 1A, home to the Duke and Duchess of Cambridge as well as Prince George and Princess Charlotte, is rumoured to be one of the more haunted palaces in Kensington Palace.

It’s Rotten: A private road was built from Kensington to Hyde Park Corner that was wide enough for three-to-four carriages to ride abreast. Part of the road eventually became the major thoroughfare known as Rotten Row.

The Round Pond

The Round Pond is an ornamental lake in Kensington Gardens, London, in front of Kensington Palace. The pond was created in 1730 by George II as a fashionable addition to Kensington Gardens. It is approximately seven acres in extent, measuring approximately 200 by 150 metres. The pond is actually not round.

Sensory Trail Pix 7

Image description: The image shows some of the birds that reside in the pond.

The Round Pond is a haven for birds and contains various fish and also filled with a large variety of ducks, geese, swans and other birds all waiting to be fed by visitors. All around the birds enjoy the serene settings of the garden.

The Sensory Experience: The numbers of birds wading through the pond and flying around made the pond sometimes feel like a flying school for young birds. The cacophony of wings flapping and birds landing in the water was pretty interesting.

The Serpentine Gallery

The Serpentine continues its exploration of public art, bringing new sculptures to Kensington Gardens since 2010. The latest sculptural commission is by artist Lee Ufan, installed outside the Serpentine Gallery in Kensington Gardens.

Lee Ufan. Relatum Stage
Lee Ufan sculpture, Relatum – Stage, outside Serpentine Gallery.

Image copyright: © Serpentine Gallery 2018

Lee Ufan sculpture 1
This is a reflection from the angled, mirrored steel sheets that make up this sculpture.

Lee Ufan sculpture 2
This outdoor sculpture can be touched so why not sit and become a participant in the sculptural installation, instead of just been an observer? And that’s what we did.

Lee Ufan’s minimalist works usually use only two materials – steel and stone – characteristic of the minimalist school of thought. Relatum – Stage is a philosophical term denoting things or events between which a relation exists. Comprised of two, angled, mirrored, steel sheets and two different-sized stones, It merges the natural and industrial in a poetic installation that reflects the surrounding environment of the Park.

Text: The Serpentine Gallery

The Sensory Experience: Ufan’s stones were sourced in Wales and this steel, mirrored sheet and stones sculpture are both smooth and rough, cool and hot, dull and reflective, and eerily steady and delicate.

Serpentine Pavilion 2018

Architect Frida Escobedo’s Serpentine Pavilion harnesses a subtle interplay of light, water and geometric form to create an atmospheric courtyard. The Pavilion is an enclosed courtyard, comprised of two rectangular volumes positioned at an angle.

Serpentine Pavilion 1
The lattice of cement roof tiles is supported by concealed metal rods. The tiles were cool to the touch, smooth and felt very solid to the touch.

Serpentine pavilion 2
The pond is cast into the Pavilion floor.

Ripples and shadows form an impressive part of the shallow pond as participants wade through gently
Ripples and shadows form an impressive part of the shallow pond as participants wade through gently.

Images: The top image shows the lattice of cement roof tiles supported by concealed metal rods.
The middle image shows the shallow pond.
The bottom image shows a VI and her companion walk in the shallow pond.

The Sensory Experience: Light is dispersed around this structure with an almost geometric consistency, a result of the layering of the lattice of cement roof tiles and the play and movement of light and shadow over the course of the day. The lattice seems like a trellis for the sun to drape its sunshine with, creating interesting shades in the process.

The ceiling also has the mirrored effect from reflective metal sheets installed onto it, leaving observers with a strange sense of the ground viewed from the top.

Tactile Paving, Exhibition Road.

Tactile pavings work in the same way as tactile delineators and are used as a system of surface indicators that can assist pedestrians who are visually impaired.

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The blistered pavings are tactile paving embedded into the road as surface indicators.

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The blisters in the truncated domes are textured to give better grip.

Originally pioneered for Japanese subways, tactile delineators were first designed by Seiichi Miyake in 1965 and introduced to Okayama city, Japan, in 1967. They have now become popular in Australia, the US, UK and Canada. It became called Hazard guide for Visually Impaired in 1985.

The blistered pavings work well as they are a safe road indicator and hazard warning. Tactile delineators are also directional guides and can be both concrete slabs or metal embedded in the road. Some tactile pavings are painted to add contrast, usually yellow as is used in train and tube stations, while some designs offer pavings that match the colour of the surrounding building.

The Sensory Experience: Blistered pavings or tactile delineators are very effective surface indicators, especially for visually impaired pedestrians. There have been reports that people with a spectrum of autism find them uncomfortable. They also don’t seem to work as well in shared spaces, especially when directional tactile delineators are integrated across tactile pavings. Research continues on how shared spaces can be made safer for VI’s.

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Image: The above image shows five VI participants and a companion at the conclusion of the Sensory Trail. Three other VI’s and two companions were unable to stay for the extended trail that went on for an additional hour beyond the advertised time.

Our Thank You’s
A special thank you to everyone who participated in this Sensory Trail and for all the very useful discussions and contributions. Thank you also to Merton Sports and Social club.


All the buildings and heritage sites we explored had step-free entrances, and there was only ever one moment when we chose to use the three steps at the west entrance to St Mary Abbots Parish Church as we explored the great west door.

Guide Dogs and all assistance dogs are welcome on our Sensory Trails.

There were accessible restrooms at High Street Kensington Station, Kensington Gardens and Serpentine Pavilion, our final stop.

Large print guides of this trail are available on request.


Email: mamomi.initiative@yahoo.com

Mobile: 07956 946 571

Social Media

Twitter: @mamomi_i

Instagram: mamomi_i

LinkedIn: Mamomi Initiative


Facilitators: Andrew Mashigo and Lynn Cox

Large Print Guide Design and Print: MaMoMi

Copyright: Mamomi Initiative CIC 2018

Website: http://www.mamomiinitiative.com

#SensoryTrail #SensoryTrailKensington

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Ferrari: Under the Skin, A Multisensory Tour.

Venue: The Design Museum, London

Date: Saturday 17 March 2018

Edited Images.Ryan prince_12

Image: Visually impaired participants can be seen exploring samples of upholstery materials used in the making of Ferrari car seats.

The Tour

The FERRARI: UNDER THE SKIN exhibition commemorates Ferrari’s 70-year history and explores Enzo Ferrari’s inspirations, original photography, hand written letters, original drawings, and some cars from this iconic car brand. This tour for visually impaired visitors was an excellent opportunity to understand Enzo’s inspirations and to see the design and development processes that went into creating some truly remarkable cars.

The exhibition is dedicated to detailing the remorseless drive of Enzo Ferrari to create the perfect driving machine for track and road. There are 14 cars in this exhibition and our road map was to focus on a few models that carry a distinctive thread through the Ferrari history, allowing us to discover Enzo Ferrari’s passion and the continuing development of the Ferrari brand.

We looked at the 125S, the F40, an original 1:1 scale model of the J50, and the LaFerrari Aperta. This tour was also unique as we were able to deliver two tours on the same day, a testament to the popularity of the Ferrari exhibition.


Image: Ferrari 125 S | Image Credit: Design Museum

The 125 S was the first Ferrari, an extraordinary achievement in an Italian economy devastated by the 2nd world war. This is the only existing official replica, built in 1987.

FerrariFact – Enzo Ferrari was 49 years old when this car was created.


Image: Clay Model of the Ferrari J50 | Image Credit: Design Museum

Displayed here is an original 1:1 scale hand-crafted clay design model of the J50 which was made in 2016 in a run of only 10 cars to celebrate 50 years of Ferrari in Japan.

Experimenting with special modelling clay was first discovered in the United States in the 1920’s. Unlike normal clay, the water phase of the material was replaced with waxes and oils so that it remained soft enough to work with but firm enough to keep its form, an essential property which meant it did not dry out or harden too quickly.

The clay is initially built up more thickly than the dimensions given so the final shape is generated by a process of subtraction. Modellers continually work closely with the car designers, adjusting and appraising the car’s form as it develops.

An additional advantage of clay is that it is also possible to add material back on after it has been removed, so the process of creating a perfect car is both iterative and collaborative.

Ferrari flow line visualisation

Image: Flow line visualisation | Credit: Design Museum

Wind tunnel testing is the traditional method for developing racing car aerodynamics. Tunnel testing helps to visualise airflow over the bodywork, providing design solutions that reduce drag. Potential flow instability issues can also be resolved as accurate modelling of real world track conditions can be mimicked, providing opportunities for design solutions that can bring high-speed stability.

Fine detailing of aero sensitive areas of the car can produce substantial gains in performance and the Ferrari full scale wind tunnel test facility in Maranello allows the aerodynamicist the best opportunity to fine-tune geometry without the worry of scale effects.

Edited Images.Ryan prince_07

Image: Andrew can be seen describing the flow line visualisation

Ferrari logo_01

Image: Ferrari logo | Image Credit: Ferrari Corporate

The Ferrari logo with its iconic Prancing Horse symbolises Italian luxury, exclusivity, performance, design and quality the world over.

According to Enzo Ferrari, after he won the 1923 circuito del Savio in Ravenna, he met the famous Count Francesco Baracca, father of the world war 1 Italian ace pilot Francesco Baracca, who had died in 1918. Ferrari also met the pilot’s mum, Countess Paolina Baracca, who suggested that he should put on his cars the prancing horse that her son had used on the side of his plane, as she thought it would bring him luck.

The original “prancing horse” on Baracca’s airplane was painted in red on a white cloud-like shape, but Ferrari chose to have the horse in black. The black color signified the grief of Baracca’s squadron after the pilot was killed in action. Ferrari’s engineering department adapted the horse so that it balanced on one leg with its tail pointed upwards.

The letters S F (Scuderia Ferrari) was initially engraved at the bottom but by 1947 the letters S F had been replaced by the Ferrari name. Then Ferrari added a canary yellow background as this is the color of the city of Modena, his birthplace. The logo is crowned with green, white and red strips, which symbolize Italian national colors.

The font of this logo is stylish and effective, highlighting the brand features of the manufacturer.

The featured car, the Ferrari F40


Image: Ferrari F40 | Image Credit: Ferrari Corporate

The F40 was conceived as a special car to commemorate 40 years since the very first Ferrari – the 125 S. Enzo Ferrari suggested that the company did something special ‘the way we used to do’.

When the F40 was eventually announced in 1987 its Pininfarina designed body took everybody’s breath away. It was raw and mean, a car that looked like a racing model. The F40 model title was derived from “F” for Ferrari and 40 represented the fortieth anniversary of Ferrari car production. It was also the last new car presentation attended by Enzo Ferrari before his death in August 1988.

Edited Images.Ryan prince_18

Image: Andrew describes the unique features of the F40 to several visually impaired participants. The image shows the rear of the car and it’s distinctive rear wing.


Image: LaFerrari Aperta in production | Image Credit: Design Museum

Designed for Ferrari’s most passionate clients, the LaFerrari Aperta is the new limited-edition special series model, and just 350 models of this spider version of the acclaimed LaFerrari supercar will be built.

This hybrid combines an electric motor and battery system to give a striking performance boost as well as a reduction in fuel consumption. The LaFerrari displayed in this exhibition is a white one. We normally associate all Ferraris with their trademark red colour, called “Rosso Corsa”, but buyers nowadays have a multitude of different finishes to choose from.

The workshop session.

For the workshop session, the Ferrari F40 was our model of choice. Workshop participants were able to take some of the ideas and thoughts from the tour into this session. We also had vector drawings and a 1:18 scale model to help with our attempts to create clay models of the F40.

Understanding how to convert drawings, the 2D phase of design, into more complex 3D one is key to judging volume and proportions on a real model. It is also useful for determining the car’s surfaces and for the insertion of fine details like the lights, doors and rear wing.

We were able to create a good number of clay models which looked great, especially as many were made by first-time clay modellers. We had tools like Surform blade, slicks and spatula to help clean up the surface but not really enough time to fully benefit from their use.

What was quite remarkable is the way all visually impaired participants were able to partake in the making process and how we could feel the surfaces and intersections in the clay models, observing the harmony of the shapes and the quality of the surfaces.

Edited Images.Ryan prince_22

Image: Visually impaired participants at the creative workshop waiting for modelling clay to be used in the making session. Andrew is assisted by two sighted guides.

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Image: A sighted guide and artist helps to mould the modelling clay into round palm size shapes.

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Image: Another sighted guide helps Andrew prepare the modelling clay for the making session.

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Image: Image: Visually impaired participants at the start of the workshop session.

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Image: A visually impaired participant uses the 1:18 scale model of the Ferrari F40 as he makes his clay model at the workshop session.

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Image: A visually impaired participant uses the large vector drawings to determine the scale and dimensions of his clay model Ferrari F40, at the workshop session.

Some Testimonials:

“A fascinating exhibition and fun activity after rounded off the event very well. The volunteers were excellent, and the guides were friendly and patient.” – Ema P.

“We were impressed with how much thought and preparation Andrew put into making the exhibition and its ideas accessible to the children.” – Peter W.

“The museum volunteers were excellent.” – Jessica B.

“Impressive!” – Mihay I.


Tour Guide: Andrew Mashigo

Tour Programmer: Bernard Hay, Producer Adult Learning, Design Museum

Photography: Ryan Prince Art

Large Print Guide: MaMoMi

Copyright © 2018 The Design Museum. All Rights Reserved.

The next tour:


Saturday 12 May 2018
11:00 – 12:30

The sensory trail will stop at interesting features along a tour designed to explore specific physical features and a tactile walkway around and within the museum.

This is a free tour and early booking is advised.


Beazley Designs of The Year Exhibition Multisensory Tour

The Design Museum
Saturday 18 November 2017
A Multisensory tour | Blog

Beazley Designs of The Year exhibition

Every year, the Design Museum recognises worldwide excellence in design through its Beazley Designs of The Year exhibition. This year, the tenth year in the series, showcases some of the most original and exciting products, concepts and designs from the following six categories; Architecture, Digital, Fashion, Graphics, Product and Transport.

The tour provided our visually impaired participants with valuable insight into many of the thoughts and criteria behind current designs and concepts, and ended with the unique opportunity to explore a few original objects from the exhibition in our handling session at the end of the tour.

Edited Images. Ryan Prince_05
A Visually Impaired participant explores the Paper Mache wall by touching with her palms and then finds more detail by rubbing the wall with the tips of her fingers. She is supported by a sighted guide.

Design is all around us and affects everything we do. Will designs be the brilliant breakthrough expected, or are some just absurd experimentations? Are the expectations of some designs realistic and valuable enough for the amount of development and time put to them? Underpinning MaMoMi’s multisensory approach are a focus on the interpretation of the available information, as well as collective participation, and we continue to express and demonstrate these values in our practice.

The Tour

For this tour and workshop session, we explored four exhibits; Meet Graham, Scewo, Gita, and Nike Pro Hijab, and toured the Play Space.

Meet Graham is an interactive lifelike sculpture demonstrating human vulnerability and the bodily features that would be needed to withstand a car crash. This is partly an educational tool and partly an unforgettable public service announcement.

Meet Graham was not installed as part of the exhibition but a short film demonstrated the making and workability of the concept. It is a grotesque depiction of how a human body would need to be formed in order to best withstand a car accident. It’s features include a flat, flabby face, tough skin, a barrel-like chest and a torso like an airbag.

Meet Graham is an interactive lifelike sculpture demonstrating human vulnerability and the bodily features that would be needed to withstand a car crash
Meet Graham, an interactive lifelike sculpture

Image: Meet Graham
Credit: Transport Accident Commission

Scewo is a futuristic looking wheelchair. It is a self balancing mobility device designed by a group of students and it enables wheelchair users to reach locations that were previously inaccessible. It is designed to sit up like a regular wheelchair and has a joystick and controls attached to the end of the handlebar. The user can also use a shift in body weight to control the chair.

It has two large wheels to drive around on flat ground and an extra pair of wheels at the rear of the chair allows users to raise the chair up so that they can engage with others at eye level. It also has rubber tracks that can be lowered to the ground for increased traction, allowing it to smoothly go up and down stairs safely, even on spiral stairs. Transitioning on and off the stair is automated and accomplished by the push of a button. The design also allows for many adjustments in the seating position. Scewo is still a prototype and under active development and was viewed via a short film.

Scewo is a stairclimbing mobility device. It is a mobility device designed by a group of students and it enables wheelchair users to reach locations that were previously inaccessible
Scewo is a stairclimbing mobility device

Image: Scewo
Credit: Scewo

Gita is a robotic personal helper that carries your belongings. The company behind the Vespa scooter have made its first move into autonomous transportation with this robotic personal helper that carries your belongings for you. The two-wheeled Gita is a cargo vehicle that can track its owner and roll along behind them. It looks like a drum with two bicycle wheels attached to the outer parameter, allowing it to roll along as it navigates space.

Access to the storage compartment is via a small secure and lockable lid at the top which can be opened by a slight touch, and with a tap of a button, Gita can follow you. It is approachable and communicative, using lights, sounds and a touchscreen interface to stay in touch. Gita is tracked at all times and has a 360 degree camera.

Gita is a robotic personal assistant that carries your belongings for you
Gita is a robotic personal assistant that carries your belongings for you

Image: Gita
Credit: Piaggio Fast Forward

Nike Pro Hijab is a performance hijab by Nike that will potentially change the face of sport for Muslim women. Over recent years, meetings with top-flight athletes illuminated performance problems associated with wearing traditional hijab during competition. Specific issues with previously used garments included the garment’s weight, the potential for it to shift during action and the lack of breathability would usually disrupt the focus of the athletes during competitions.

Nike’s design team combined this information with existing Nike innovations to create the initial prototype hijabs. Equipped with the feedback and collected insight from Nike elite athletes, Nike’s design is constructed from durable single-layer Nike Pro power mesh, a breathable lightweight polyester fabric that features tiny, strategically placed holes for optimal breathability but remains completely opaque, and a soft touch. The mesh is also stretchy, so when combined with an elastic binding it allows for a personalised fit that adapts to both the wearers head and sport. Fluff threads used at the neck eliminates the rubbing and irritation that can occur when an athlete sweats. It was unveiled two days before International Women’s Day.

Nike Pro Hijab is a performance Hijab by Nike
Nike Pro Hijab is a performance Hijab by Nike

Image: Nike Pro Hijab
Credit: Nike

The exhibition tour ended with a visit to the Play Space where Nimuno Loops is installed. The Nimuno Loops tape was developed to allow Lego builders to place their creations on the walls, the ceiling, furniture and pretty much anywhere. It can be cut and can bend sideways as well. It is an extension of playing with Lego and allows for an even more creative engagement with an abundance of possibilities.

Participants were able to deconstruct, rearrange and reconstruct the play space, and this very tactile experience was truly useful as it provided opportunities for play. This also initiated the discussion around creativity through responsive design. Interestingly though, the Nimuno Loops was not developed or even officially sanctioned by the Lego company, and it is a curiosity to see how Lego responds to the increased creative functionality this sticky tape offers the Lego bricks and it’s other components.

Image: The six images posted show visually impaired participants and our sighted guides visiting the Beazley Designs of The Year exhibition.

The Workshop

The workshop session was an opportunity to physically explore some objects from the exhibition. Our handling resources included a sample of the paper mache wall, the Nike Pro Hijab, the Nimuno Loops and a few Lego brick objects.

The Nike Pro Hijab is exactly what it says it is. Constructed from durable single-layer Nike Pro power mesh, it is a breathable lightweight polyester fabric that features tiny, strategically placed holes for optimal breathability but which still remains completely opaque, and soft to the touch. Visually Impaired participants explored the hijab’s stretchy mesh which, combined with an elastic binding, allows for a personalised fit that adapts to both the wearers head and sport. At the request of the athletes, the designers placed a signature Nike swoosh just above the left ear to highlight the hijab’s pinnacle performance nature.

The paper mache wall has sustainable and recyclable qualities, and also meets the design criteria for the exhibition, exploring forward thinking methods for exhibition design and installations. This neutral coloured paper mache is a composite material consisting of paper pulp and bound with an adhesive. The sample we explored was a cut out from the actual installation and was evidence that though the exposed surface felt a bit fragile, it would actually withstand a good amount of physical handling. The rough surface felt like it would chip off easily but it remained firmly fixed on the wall. The composite material has benefits that include sound and heat insulation, and its sustainability and recyclable qualities means that when the exhibition finally closes, it will be easy to recycle. You may also perceive a soft fragrance in the paper mache, depending on the make up of the pulp.

We began to deconstruct and reconstruct the Lego brick objects, using the Nimuno Loops to create interesting variations of the objects, and making use of the tactility of the sticky tapes to rearrange the orientation and usability of the Lego bricks. This provided a really fun experience for our visually impaired participants.

A Visually Impaired participant can be seen trying on the Nike Pro Hijab, with the assistance of a sighted guide
A Visually Impaired participant can be seen trying on the Nike Pro Hijab, with the assistance of a sighted guide

Andrew, the tour facilitator, explains the benefits of the paper mache wall.
Exploring a section of the sample of paper mache wall.

The Next Tour

The next tour is the DESIGNER MAKER USER Tour: the USER experience.

This tour and workshop session will hold on Saturday 13 January 2018, from 11:00 – 12:30.

We will continue our exploration of the Designer Maker User exhibition, and investigate design and the user experience. One question is, how does design interact with our senses, as users? A workshop session will allow participants to co-design new objects that respond to the themes discussed.

This is a free tour but booking is necessary. Please book by visiting the Design Museum website, via the link here Designer Maker User tour.

Please meet in the atrium at 10.45am.


Multisensory Tour Facilitator: Andrew Mashigo.

Tour Programmer: Bernard Hay, Producer Adult Learning, Design Museum.

Large Print Guide: MaMoMi.

Image credits: MaMoMi Images, except where mentioned otherwise.

Photography: Ryan Prince Art, for MaMoMi Images © All rights reserved

Copyright © The Design Museum 2017