DOCSLIB.ORG

Physical Accessibility Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Physical Accessibility Guide Physical Accessibility Guide Terrain Details for Paths, Walkways and Road Surfaces packed and loose gravel, slate, stone and brick grade varies from easy to steep Travel on the Grounds Wheelchairs are available at the Museum store Children’s strollers and wagons are available at the Museum store. Accessible shuttle completes a circuit around the grounds approximately every 15 minutes. Distance from Admissions to the Meeting House is approximately ¼ mile. Seating is located throughout the grounds. Service Accessibility All services at the Museum Store and Café are fully accessible. Additional accessible restrooms are located at the Railroad Station and Stagecoach Inn. The Ticonderoga reading room includes an Access and Explore notebook containing images and descriptions of areas of the boat that are not accessible. Audio and/or video interpretive installations are located in exhibitions in Beach Gallery, the Ticonderoga, Webb Gallery, the Meeting House, and Variety Unit. Handheld “i-loview” magnifiers may be checked out at the Museum store. The devices magnify up to 32x while also adjusting for brightness and contrast and are best used for reading label text and signage. Generously donated by Ai Squared, a Vermont-based accessible technology company. 1 Exhibit Accessibility Each exhibit building is listed below, including detailed information on accessibility. Unless otherwise noted, all steps are 8” high or less, and all doorways are at least 32” wide. This symbol indicates first floor accessibility Building Entrance Interior Notes Exit Apothecary Ramp, south side None Same as entrance Shop Beach Gallery Level entrance None Level exit Beach Lodge Ramp, north side 2 interior steps to 2 steps lower exhibit area Blacksmith Level entrance Rough wood floor; 2 Same as entrance Shop interior steps down into Wheelwright Shop Circus Bermed entrance Exhibit area slopes up Bermed exit Building to middle and then slopes back down Covered Level entrance Wood surface is Same as entrance Bridge rough and irregular Dorset House Ramp, south side Some doorways are Same as entrance (closed in 28” wide; 13 steps to 2015) second floor Dutton House Ramp, west porch Some doorways are Same as entrance 28” wide; 12 steps to second floor Electra Ramps, east and Some constricted Same as entrance Havemeyer west sides viewing areas; 18 Webb spiral steps to second Memorial floor; 15 spiral steps Building to bottom floor General Store Ramp, south side by Some doorways are Same as entrance path to Café 25” wide; 14 steps to second floor Hat & Ramp, south side in None Same as entrance 2 Fragrance center of building Textile Gallery Horseshoe Level entrance, west 14 steps to second Same as entrance Barn side floor; 15 steps back to first floor Horseshoe Ramp/berm, south None Same as entrance Barn Annex side Jail Ramp Level slate/concrete Same as entrance floor Lighthouse Ramp/bridge, south 16 steps to second Same as entrance side floor Meeting 4 steps, with 6 steps to main level Same as entrance House handrail Owl Cottage Ramp, south side None Same as entrance Pizzagalli Level entrance Elevator to lower Same as Center for Art level; wheelchair entrance; and Education accessible restroom elevator to lower level exit Pleissner Level entrance None Same as entrance Gallery Prentis House Three 9” steps 12 steep steps to Same as entrance (open for second floor tours only) Printing Shop Ramp None Same as entrance Rail Car 8 steps, 25” entrance Portions of corridor 8 steps, 25” exit Grand Isle door are 17” Railroad Ramp, south side Narrow corridor near Same as entrance Freight lantern collection Building Railroad Ramp, east side None Same as entrance Station Round Barn Bermed entrances, 3 None Same as entrance levels Sawmill Ramp Irregular floor Same as entrance Schoolhouse 4 steps, with None Same as entrance handrail Settlers’ Bermed ramp, south Constricted viewing Same as entrance 3 House side area Settlers’ Barn Bermed entrance, None Same as entrance south side Shaker Shed 12 steps, stair lift to 5 interior steps to Same as entrance (closed in 2nd floor (please ask next level 2015) for assistance) Stagecoach Bermed ramp, west 15 steps to second Same as entrance Inn side floor Stencil House 2 steps, 31” entrance Some doorways are Same as entrance (open for door 30” wide;12 steep tours only) steps to second floor Stone Cottage 3 steps Constricted viewing Same as entrance area Ticonderoga Ramps, east and 14 steps to second Same as entrance west entrances deck; ten steps from second to top deck; four steps from top deck to pilot house; ten 10” steps down to engine room; narrow passages Toy Shop Three 9” steps, 29” Doorway is 23” wide, Three 9” steps entrance door two interior steps Variety Three 9” steps, 29” Some doorways are Four 9” steps Building entrance door 25” wide; one step between some rooms; 15 steps to second floor Vermont Stone berm Some doorways are Same as entrance House Gallery 27” wide Weaving Level entrance Brick floor Same as entrance Shop Webb Gallery Bermed ramp, front 13 steps to lower Same as entrance (west) entrance level; some doorways are 25” wide 4 .
Load more

Recommended publications
  • Using Color As Expression
    MUSEUM LEARNING: PLANS & RESOURCES Using Color as Expression We are going to explore colors, how we see them, and the ways we can mix them to create amazing art. By exploring an important painting at Shelburne Museum–The Grand Canal, Venice (Blue Venice) painted by Edouard Manet in 1875, we will look closely at how the artist used color to create his masterpiece. Goals We will learn some art vocabulary to identify color schemes, explore Manet’s techniques and create our own version of Manet’s The Grand Canal, Venice painting. Edouard Manet, The Grand Canal, Venice (detail), 1875. Oil on canvas, Background Information 23 1/8 x 28 1/8 in. Gift of the Electra Havemeyer Webb Fund, Inc. 1972 69.15. In 1875, Manet painted this view on the Grand Canal, which H. O. Havemeyer purchased for his wife Louisine 20 years later. She was particularly fond of More Resources the picture and changed its name to Blue Venice. Mrs. Havemeyer wrote that her friend Mary Cassatt n Edouard Manet (1832-83), The Met, “congratulated us when we bought this picture, https://bit.ly/`met-SM saying she considered it one of Manet’s most brilliant n What’s the Difference between Manet and Monet, works; it was so full of light and atmosphere and The Iris: Behind the Scenes at the Getty, expressed the very soul and spirit of Venice.” Her https://bit.ly/Getty2-SM daughter Electra Havemeyer Webb inherited Blue n Impressionism: Art & Modernity, The Met, Venice, which hangs in the living room of her New https://bit.ly/met1-SM York City apartment, reinstalled in Shelburne Museum’s Memorial Building.
    [Show full text]
  • Shelburne, Vermont - a Site on a Revolutionary War Road Trip
    Shelburne, Vermont - A Site on a Revolutionary War Road Trip http://revolutionaryday.com/usroute7/shelburne/default.htm Books US4 NY5 US7 US9 US9W US20 US60 US202 US221 Canal Shelburne Museum's Sawyer's Cabin from East Charlotte, Vermont Shelburne Museum — The museum is a collection of architectures, artifacts and art from America’s past. Many items in the collection date back to the Revolutionary War period. One of the oldest homes is the Preston House. It was built in 1773 in Hadley, Massachusetts and moved to its present site in 1955. Another old home is the Dutton House. It was built in Cavendish, Vermont in 1782. Both houses are of the old “saltbox” style that was commonly found in colonial New England. The museum's Stagecoach Inn was once on the old colonial route paralleling today’s US Route 7 in Charlotte (pronounced Sha-Lot by Vermonters) in 1783. Charlotte is just south of Shelburne near Lake Champlain. Although the Revolutionary War did not officially end until November of 1783, hostilities began to subside after America’s victory at Yorktown in October 1781. With the construction of inns like the Stagecoach Inn, life in northern Vermont was returning back to normal. One of the museum's most popular exhibits is the steamship Ticonderoga, America's last vertical beam, side-wheel, passenger steamboat from 1906. The ship is grounded at the museum and in pristine condition. 1 of 3 6/16/17, 4:55 PM Shelburne, Vermont - A Site on a Revolutionary War Road Trip http://revolutionaryday.com/usroute7/shelburne/default.htm Village Center — Just north of the museum is the village center.
    [Show full text]
  • Physical Accessibility Guide 2020
    Physical Accessibility Guide 2020 Terrain Details for Paths, Walkways and Road Surfaces •Packed and loose gravel, slate, stone and brick. •Grade varies from easy to steep. Travel on the Grounds •Wheelchairs are available at the Museum Store. •Children's strollers and wagons are available at the Museum Store. •Accessible shuttle completes a circuit around the grounds approximately every 15 minutes. Service Accessibility •All services at the Museum Store and Café are fully accessible. •Additional accesible restrooms are located at Railroad Station and Stagecoach Inn. •The Ticonderoga reading room includes an Access and Explore notebook containing images and descriptions of areas of the boat that are not accessible. •Audio and/or video interpretive installations are located in exhibitions in Beach Gallery, the Ticondergoa, the Meeting House, Dorset House, and Variety Unit. •Handheld "i-loview" video magnifiers may be checked out at the Museum Store. The devices magnify up to 32x while also adjusting for brightness and contract, and are best for reading label text and signage. Generously donated by Ai Squared, a Vermont-based accessible technology company. Each exhibit building is listed below, including detailed information on accessibility. Unless otherwise noted, all steps are 8” high or less, and all doorways are at least 32” wide. This symbol indicates first floor accessibility Building Entrance Interior Exit Apothecary Shop Ramp on south side Same as entrance Beach Gallery Level entrance Level exit Beach Lodge Ramp on north side 2 interior
    [Show full text]
  • NELL Beacon January 2011 FINAL
    New England Lighthouse Lovers A Chapter of the American Lighthouse Foundation NELLNELL BeaconBeacon January 2011 NELL’S 2010 YEAR IN REVIEW By Tom Kenworthy, NELL President he weather for the weekend of January 14 Light Foundation (NLLLF). In T and 15, 2010 was sunny with blue skies: his request, Anthony stated perfect for NELL’s annual Lighthouses, Hot NLLLF needed help in Chocolate & You weekend. The Hilton Hotel, scraping, spackling, and Mystic CT was our host hotel. general cleaning. He also stated that the only reason We first visited Morgan Point the work party would be Lighthouse for our 2004 cancelled would be due to LHHC&Y. Having received so inclement weather and/or high many requests to visit/revisit seas. Thankfully, the weather, Morgan Point Lighthouse, it wind, and waves were calm and Anthony made good sense to use that reported that much was accomplished and he is as our starting point for our looking forward to another Project H.O.P.E. at 2010 LHHC&Y. the Ledge Light sometime in the coming year. Leaving Morgan Point, we made the short drive Receiving many requests from our members to to USS Nautilus and the Submarine Force travel to “foreign lands” (outside of New Museum. Here, members decided which to England), Ron and Mike put together a trip to visit first, with it being about a 50-50 split. I the St. Lawrence Seaway. On the weekend of went to the museum first and then toured the May 14-16, we went to lands not traveled to by Nautilus.
    [Show full text]
  • Exhibit Building Accessibility
    Physical Accessibility Guide 2021 Terrain Details for Paths, Walkways and Road Surfaces • Packed and loose gravel, slate, stone, and brick • Grade varies from easy to steep Travel on the Grounds • Wheelchairs are available at the Museum Store • Children’s strollers and wagons are available at the Museum Store • Accessible shuttle completes a circuit around the grounds approximately every 15 minutes • Distance from Admissions to the Meeting House is approximately ¼ mile. Seating is located throughout the grounds. Service Accessibility • All services at the Museum Store and Café are fully accessible. • Accessible restrooms are located at the Museum Store, Pizzagalli Center for Art and Education, Railroad Station, Pleissner Gallery, and Stagecoach Inn. • The Ticonderoga reading room includes an Access and Explore notebook containing images and descriptions of areas of the boat that are not accessible. • Audio and/or video interpretive installations are located in exhibitions in Beach Gallery, the Ticonderoga, the Meeting House, and Variety Unit. Exhibit Acces s i b i l i t y Each exhibit building is listed below, including detailed information on accessibility. Unless otherwise noted, all steps are 8” high or less, and all doorways are at least 32” wide. This symbol indicates first floor accessibility. Buildings with red text are closed for the 2021 season. Building Entrance Interior Notes Exit Same as Apothecary Shop Ramp on south side None entrance Beach Gallery Level entrance None Level exit 2 interior steps to lower exhibit Beach Lodge
    [Show full text]
  • ED350244.Pdf
    DOCUMENT RESUME ED 350 244 SO 022 631 AUTHOR True, Marshall, Ed.; And Others TITLE Vermont's Heritage: A Working Conferencefor Teachers. Plans, Proposals, and Needs. Proceedingsof a Conference (Burlington, Vermont, July 8-10, 1983). INSTITUTION Vermont Univ., Burlington. Center for Researchon Vermont. SPONS AGENCY Vermont Council on the Humanities and PublicIssues, Hyde Park. PUB DATE 83 NOT:, 130p.; For a related document,see SO 022 632. PUB TYPE Collected Works Conference Proceedings (021) EDRS PRICE MFOI/PC06 Plus Postage. DESCRIPTORS Cultural Education; *Curriculum Development; Educational Resources; Elementary Secondary Education; Folk Culture; Heritage Education; *Instructional Materials; Local History;*Material Development; Social Studies; *State History;Teacher Developed Materials; *Teaching Methods IDENTIFIERS *Vermont ABSTRACT This document presents materials designedto help teachers in Vermont to teachmore effectively about that state and its heritage. The materials stem froma conference at which scholars spoke to Vermont teachers about theirwork and about how it might be taught. Papers presented at the conferenceare included, as well as sample lessons and units developed byteachers who attended the conference. Examples of papers includedare: "The Varieties of Vermont's Heritage: Resources forVermont Schools" (H. Nicholas Muller, III); "Vermont Folk Art" (MildredAmes and others); and "Resource Guide to Vermont StudiesMaterials" (Mary Gover and others). Three appendices alsoare included: (1) Vermont Studies Survey: A Report
    [Show full text]
  • American Quilts
    CATALOGUE AMERICAN QUILTS 1819 -- 1948 From the Museum Collection Compiled by Mildred Davison The Art Institute of Chicago, Department of Decorative Arts Exhibition April 20, 1959 - October 19, 1959 AMERICAN QUILTS 1819 - 1948, FROM THE MUSEUM COLLECTION The Art Institute of Chicago, April Z0 1 1959 --October 19, 1959 Although patchwork has been known and practised since ancient times, nowhere has it played such a distinctive and characteristic part as in the bed covers of early America where it added the finishing touches to eighteenth and nineteenth century bed chambers. The term "patchwork" is used indiscriminately to include the pieced and the appliqued quilts. Pieced quilts are generally geometric in pattern being a combination of small patches sewn together with narrow seams. The simplest form of pieced pattern is the eight-pointed star formed of diamond shaped patches. This was known as the Star of Le Moyne, named in honor of Jean Baptiste Le Moyne who founded New Orleans in 1718, and from it was developed numerous others including all of the lily and tulip designs. In applique quilts, pieces were cut to form the pattern and appliqued to a back - ground material with fine hemming or embroidery stitches, a method which gave a wider scope for patterns. By 1850, applique quilts reached such a degree of elaboration that many years were spent in their making and they were often intend­ ed for use as counterpanes. The most common fabrics for quilts were plain and figured calicoes and chintzes with white muslin..., The source of these materials in early times and pioneer communities was the scrap bag.
    [Show full text]
  • AVERAGIUM Newsletter of Harvey Ashby Limited, Average Adjusters & Claims Consultants Summer 2000
    AVERAGIUM Newsletter of Harvey Ashby Limited, Average Adjusters & Claims Consultants Summer 2000 Is this a warranty I see before me? We have always stressed to our clients the importance of complying with warranties contained in their policies. These range in character from the ‘warranted classed and class maintained’ provision contained in the vast majority of marine hull policies, to survey warranties which require the approval of specified surveyors to certain operations conducted under offshore construction projects. The reason for this is not only the effect that a breach of warranty might have on the recoverability of a loss sustained as a result of the breach; but also the additional draconian penalty which can be applied by insurers. “JUPITER” - Bay City, September 1990 (NOAA) The Marine Insurance Act [1906] provides that a warranty is a condition which must be exactly complied with and if it is not, the breach of a warranty under the policy would be a bar to a the insurer is discharged from liability as from the date of the claim whether or not it was material to any such claim. breach. It is, of course, always open to an insurer to waive a Nevertheless, the Judge decided that the warranty was not a breach, or the policy may provide for some alternative penalty; warranty but a ‘suspensive condition’ the effect of which was nevertheless the fact, and the risk, remains that an insurer may merely to suspend cover from the time that the inspection was avoid all liability under the policy from the date of the breach.
    [Show full text]
  • Impressionist Still Life 2001
    Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998.
    [Show full text]
  • This Is the Bennington Museum Library's “History-Biography” File, with Information of Regional Relevance Accumulated O
    This is the Bennington Museum library’s “history-biography” file, with information of regional relevance accumulated over many years. Descriptions here attempt to summarize the contents of each file. The library also has two other large files of family research and of sixty years of genealogical correspondence, which are not yet available online. Abenaki Nation. Missisquoi fishing rights in Vermont; State of Vermont vs Harold St. Francis, et al.; “The Abenakis: Aborigines of Vermont, Part II” (top page only) by Stephen Laurent. Abercrombie Expedition. General James Abercrombie; French and Indian Wars; Fort Ticonderoga. “The Abercrombie Expedition” by Russell Bellico Adirondack Life, Vol. XIV, No. 4, July-August 1983. Academies. Reproduction of subscription form Bennington, Vermont (April 5, 1773) to build a school house by September 20, and committee to supervise the construction north of the Meeting House to consist of three men including Ebenezer Wood and Elijah Dewey; “An 18th century schoolhouse,” by Ruth Levin, Bennington Banner (May 27, 1981), cites and reproduces April 5, 1773 school house subscription form; “Bennington's early academies,” by Joseph Parks, Bennington Banner (May 10, 1975); “Just Pokin' Around,” by Agnes Rockwood, Bennington Banner (June 15, 1973), re: history of Bennington Graded School Building (1914), between Park and School Streets; “Yankee article features Ben Thompson, MAU designer,” Bennington Banner (December 13, 1976); “The fall term of Bennington Academy will commence (duration of term and tuition) . ,” Vermont Gazette, (September 16, 1834); “Miss Boll of Massachusetts, has opened a boarding school . ,” Bennington Newsletter (August 5, 1812; “Mrs. Holland has opened a boarding school in Bennington . .,” Green Mountain Farmer (January 11, 1811); “Mr.
    [Show full text]
  • PATTERN and PURPOSE American Quilts from Shelburne Museum
    May NEWS RELEASE 2200 Dodge Street, Omaha, Nebraska 68102 Phone: 402-342-3300 Fax: 402-342-2376 www.joslyn.org For Immediate Release Contact: Amy Rummel, Director of Marketing and Public Relations September 28, 2018 (402) 661-3822 or [email protected] PATTERN AND PURPOSE American Quilts from Shelburne Museum (Omaha, NE) – Shelburne Museum was the first American museum to exhibit quilts as works of art, a testament to the trailblazing vision of museum founder Electra Havemeyer Webb (1888-1960) and her passion for fine, folk, and decorative arts. Fascinated by design elements of color, pattern, line, and construction, and eager to recover a quintessentially “American” style of material culture, she established the core of Shelburne’s collection through the personal gift or purchase of over 400 historic bedcoverings in the 1950s. Pattern and Purpose pulls back the covers on these everyday household companions that can transcend the commonplace. Pattern and Purpose is organized by Shelburne Museum, Shelburne, Vermont. The exhibition opens to the public at Joslyn Art Museum on Saturday, October 6, and continues through January 6, 2019. Throughout the history of quilt-making, the finest pieces were often made to be admired rather than used. Brought out of cupboards and trunks on special occasions, highly-prized bedcovers linked family and community histories, bridging the gap between domestic life and public display. Young women often created quilts as part of their dowries, and quilts were gifted as expressions of friendship, devotion, or charity. By the middle of the nineteenth century, there were increasing public venues for their display, including state and county fairs, where adept quilt-makers competed for prizes and local renown.
    [Show full text]
  • UNITED STATES LIGHTHOUSE SOCIETY 9005 Point No Point Rd
    UNITED STATES LIGHTHOUSE SOCIETY 9005 Point No Point Rd. NE Hansville, WA 98340 Phone: 415-362-7255 Fax: 415-362-7464 www.uslhs.org Number 27 - June, 2017 www.uslhs.org/fun/passport-club [email protected] It’s Summer Time and Collecting is Easy! Memorial Day marked the beginning of “stamping” as many winter bound lighthouses opened their doors to stamp hunters. This is also begins the season of lighthouse festivals, challenges and cruises. The result is many opportunities to fill up your Passport book and achieve new award levels. One key to success is being familiar with the USLHS website “Fun” page (www.uslhs.org/fun). Here you will find all you need to know about the Passport Stamp Program location and policies as well as information about lighthouse accommodations, cruises, festivals and events. Some Reminders about Stamp Collecting With a new season of collecting in full swing we would like to remind you that: Only those locations listed on the website in bold letters have had their information about stamp availability recently verified. A stamp by mail is only available if (a) the listing states that this service is provided and (b) your request is accompanied by a SASE (self-addressed stamped envelope) and a donation for each stamp or for each copy of the stamp you request. To make it easier for staff and volunteers to sort mail, please note on the envelope that this is a “Passport Stamp Request.” Stamps provided by lighthouse cruise companies are only available when you participate in the cruise. Also, they are not available by mail.
    [Show full text]