與30歲的兩廳院同為國家級藝文門面的美國華府甘迺迪表演藝術中心 (The John F. Kennedy Center for the Performing Arts)，已有45年的歷史；表演藝術中心內部六大小廳院全數皆有共融 (integrated)、散落式(dispersed)、在不同票價區的輪椅席位，也有身障者便利的網路購票系統與售票機制。使用者可依個人需求、喜好和經濟能力享有自主選位的權利。
Wheelchairs and acoustics – yes, of course the seating – ANY and ALL seating in the theater effects acoustics, and so does what is put on the floor (carpet, wood, tile), what the shape of the hall is (square, fan-shaped, rectangular), and how the walls are shaped and what covers them, the height and angles of the ceiling, etc. However, we know that: Every performing arts center, theater and music hall and venue in the United States since the ADA was passed in 1990 has been built, modified or renovated to include wheelchair accessible locations without a loss of acoustic integrity and quality.
For example, the Kennedy Center has renovated all 6 traditional theaters in the building with resounding success to be wheelchair accessible. We work with qualified competent architects , acousticians, and builders who have the knowledge, expertise and experience to ensure that our venues are not only accessible to people who use wheelchair or other mobility devices, but also that our theaters have stellar acoustics for the type of performances each theater will host. Our Concert Hall with 2600 seats was renovated to have over 50 wheelchair accessible locations and the acoustics are better than when the Hall first opened. Same with our Opera House, and 6 other venues. If the architects are unable to incorporate wheelchair accessible locations and also maintain and improve the acoustics then they need to bring in someone who can show them how to do that correctly.
【註 4】…the fabric of theater seats may have the effect of dampening some sound but the total number of wheelchair spaces in relation to the overall number of seats should be so small as to have virtually no effect on the room’s acoustics. In addition, if the spaces are properly distributed throughout the venue, any possible effect they could have would be minimized.
左圖: 國家兩廳院在七月一日提供給王榮璋立委召開的協調會議的簡報封面。有精美的彩色印刷，封面是兩廳院建築外觀和過去的活動照片紀錄。文字敘述：兩廳院為舊有建築，依101年規範經地方政府勘查符合認定原則，依法可以不再改善，惟兩廳院為指標性建築，將於結構安全及音效考量可行性多方評估下，依102年薪法規提出研擬改善計畫。我現場筆記部分，在「指標性建築」下方劃線，寫上 That’s why you need to be better. You must be the best. (這就是為什麼你要做得更好。你必須是最讚的)
去年十月，英國身心障礙倡權團體向聯合國身心障礙權利公約委員會提出申訴，認為英國政府近年來的福利改革政策已經嚴重損害身心障礙者的基本人權。聯合國派員到英國進行調查，英國也是聯合國身心障礙權利公約締約國之中，第一個由聯合國身權委員會派員調查的國家，昨天聯合國的調查報告出爐。英國身心障礙倡權團體主要的申訴內容，認為英國政府的福利改革主要違反了公約 Article 19 Living independently and being included in the community (自立生活與社區參與), Article 20 Work and Employment (工作與就業), Article 21 Adequate standard of living and social protection (適當的生活水準與社會保障)。
聯合國身權委員會訪談兩百人，包括議員，學者，以及倡權團體代表。報告書已經明確指出英國政府的福利改革已經嚴重損及身障者人權 （Britain’s welfare reforms gravely or systematically violate the human rights of disabled people)，並建議英國政府應該針對福利改進行全面性的影響評估。而英國政府回應幾乎全盤否認，否決了大部分身權委員會的建議，並認為聯合國的報告書無法如實反應英國身障者處境的全貌。已經可以感受到英國身權團體火氣高昇，應該會展開後續行動。
在想究竟公約對於締約國身障者權益保障的實質影響力有多大？因為這樣的申述機制有一個前提，締約國在簽約時可以選擇是否要額外簽訂Optional Protocol of convention，申述機制是依據Article 6 of the Optional Protocol of Convention。 換句話說，假設締約國沒有簽署該協議，這樣的申述機制似乎沒有執行的依據。而這次英國的例子，UN的角色也頂多只能給建議，要求締約國政府回應，但不具任何的強制力量。或許該申訴機制的影響力在於英國倡權團體可以依據這份報告作為持續炮轟政府政策失靈的有力證據，後續發展，讓我們繼續看下去（茶）
“It’s really important to be careful about the words we choose to use. In my head, I know you aren’t using that word to hurt me, but that doesn’t change the fact that, in my heart, it does. It would mean a lot to me if you could find different words to express what you are trying to say.” — Gabrielle Leah
“Using that word, in that way, can be hurtful to others. You are kind and creative. Can you find a word that more accurately says what you want but isn’t hurtful?” — Maureen Geurin
“You never know how a word like that is going to hit somebody. You never know who has a kid or a sibling or a friend who has that word lobbed at them in the ugliest way. It’s just better not to say it.” — Tiffany Howard
今年七月一日國家戲劇院封館，進行30年來第一次大整修；整修計畫中輪椅席位卻只增加一席 (目前法規最低標準是12席，既使增加一席後，還是少了7席)。兩廳院在王榮璋立委召開的會議中表達增加輪椅席位的困難處；其中包含，逃生動線安全的考量、輪椅席位對音效的影響、建築結構的侷限、視線阻擋以及票價損失的顧慮。
六月初，文化部部長鄭麗君出席民間文化政策行動論壇2.0，才引用了自立生活運動和社會模式 (social model) 的觀點來提醒無障礙藝文環境的重要: 「只有障礙的環境，沒有障礙的人」。
與30歲的兩廳院同為國家級藝文門面的美國華府甘迺迪表演藝術中心 (
300平方公尺(約90坪)大的餐廳才納入無障礙規範的主因，當時主管單位認為不僅沒有人力可以去清查，而且最驚訝的是餐廳根本沒有主管單位，而主管單位採用這坪數的分界，在於利用300平方公尺的餐廳因為有消防安全檢查而容易清查與要求，但這在邀集身障團體討論時是反對的，也是後來2012年障礙者再度到營建署抗議的主因，因為當時江宜樺在新聞的回應是出入口都要無障礙，而不是分坪數去作，而事實上不論是加油站或98年納入無障礙規範的便利超商，都是「不分坪數」一律要作無障礙的。