Attachment_A_Museum_Exhibit_Planning_and_Design_Specifications_April_2016_consisting_of_93_pages_0001.docx

Museum Exhibit Planning and Design Specifications Gulf Islands National Seashore Exhibits

3Museum Exhibit Planning and Design Specifications

CONTENTS

Section Title Page No.

Section 1. PROJECT MANAGEMENT

1.1 Introduction

The purpose of the following Project Management tasks is to insure that scheduling, coordination, oversight, and communication is effectively accomplished for all work produced under this Contract.

1.2 General Requirements

The Contractor shall assign a Project Manager to oversee the Contract.

1.3 Specific Requirements for Project Management

The Contractor’s Project Manager shall be the primary point of contact between the Contractor and COR for and shall perform the following work:

A. The Contractor's Project Manager shall have full authority to act for the Contractor on all matters. The Project Manager shall maintain contact with the COR as necessary, and shall:

(1) Be available to take or respond to telephone calls or electronic mail messages during normal hours of operation (8:30 am - 5:00 pm local time).

(2) Establish office procedures to ensure that messages are relayed to the Project Manager when out of the office or because of time zone differences.

(3) Respond to emergency messages from the COR on the same day they are received. All non-urgent messages from the COR shall be responded to in no less than two days.

B. Provide quality control to ensure that all elements of project work meet the requirements of the contract specifications as follows:

(1) Provide routine inspections of ongoing work.

(2) Inform the COR of any issues that could affect work quality or schedule.

(3) Ensure that all work not acceptable or compliant with the specifications is corrected prior to review by the COR.

C. Track work progress to ensure that the project is completed according to the schedule. Coordinate and confirm the dates for all submittals and meetings with the COR.

D. Meet with the Contracting Officer and COR in accordance with Section 4, Travel, Meetings, Presentations.

E. Receive, inspect, and inventory all Government-Furnished materials and ensure that this material is forwarded to the appropriate unit or person within the Contractor's organization for use in the project. The Project Manager shall notify the COR within seven days after receipt if Government-Furnished materials are not satisfactory for their intended purpose. The Project Manager shall notify the COR as soon as possible if Government Furnished materials are lost or damaged while in the Contractor’s possession.

F. The Project Manager shall coordinate and ensure that all specifications for submittals are in accordance with Section 5, Submittals and Reviews.

Section 2. DEFINITIONS

ABAAS: Architectural Barriers Act Accessibility Standards are the accessibility standards which pertain to the Federal sector. The ABA, or Architectural Barriers Act of 1968, requires access to facilities designed, built, altered, or leased with federal funds.

Artifacts: cataloged items from NPS resources or loan items from other museums, historical associations, libraries, etc, requiring the highest level of preservation criteria.

AV Treatments: a narrative overview of the proposed production’s creative approach and storyline, a description of the actors and/or participants, their roles and general dialogue or narration, and a general description of the scenes, locations, graphics, artwork, and animation to be used in the production with sufficient detail to provide a sense of the proposed production; the basis of the production plan and script.

Bubble Diagrams: Diagrams that use labeled shapes (bubbles) identifying exhibit themes and concepts to show how they relate to each other and/or to their location on the exhibit floor plan.

Charette: A meeting to brainstorm and fully explore all possible design directions for communicating the content of the exhibition during. Differs from the Exhibit Planning Workshop in that it is more focused on design solutions.

Class A Production Cost Estimate: Detailed cost estimate based on specifications for all exhibit elements found in the Production Documents.

Class B Production Cost Estimate: An intermediate level cost estimate based on the overall cost for each exhibit area identified in the exhibition plan, including allowances for high-cost exhibit elements, contingency, shipping and installation.

Class C Production Cost Estimate: An initial cost estimate based on the cost of the exhibition per square foot.

Comprehensive Exhibit Plan: A database report consisting of a narrative compilation of all elements in an exhibition, arranged in order according to the element ID numbers.

Content Management: A system to organize and track all media elements to be featured in the exhibition, organized by unique exhibit element number.

COR: Contracting Officer’s Representative. For Federal Government contracts, an authorized representative of the Contracting Officer responsible for monitoring the quality and performance of work performed under individual contracts. This is similar to the concept of “Owner’s Representative” used in private sector contracts.

Custom Interpretive Element: Any exhibit element that requires creative design, and/or artistic development and execution by an artist, illustrator, photographer, sculptor, craftsman, or other creative or technical specialist, such as original illustrations, artwork, maps, sculptures, models, dioramas, scrims, and life-sized figures.

Design Alternatives: Distinct approaches to the exhibit content, its organization and presentation in the given exhibit space provided in the Schematic I phase for use in selecting and developing a preferred alternative.

Design Development: The phase of the exhibit development process in which all major details of the project are accounted for.

Display Objects: Purchased and/or non-cataloged items used in the exhibit to enhance the story, such as models, props, natural history specimens, reproductions, and sculptures

Exhibition: The overall interpretive presentation which may consist of several exhibit areas. Each exhibit area may consist of several related exhibits. Each exhibit may consist of several individual related exhibit elements.

Exhibit Design: Development of the physical organization of the exhibit space, integration of all exhibit elements into a cohesive presentation, functional characteristics and visual appearance of exhibit elements, and development of technical details for fabrication.

Exhibit Designer: The person who typically takes the lead with design tasks.

Exhibit Developer: The person who typically takes the lead with planning tasks.

Exhibit Evaluation: The process for better understanding the audience by using social science methods, and using this information to produce effective exhibits.

Exhibit Numbering System: A system that identifies each exhibit element with an individual number (the Exhibit Identification Number) made up of three parts, separated by hyphens, as follows: element category - exhibit number - item number.

Exhibit Objective: A statement specific to the intent of each exhibit that directs the entire exhibit development process, including decisions about content, interpretation, media selection, and presentation techniques.

Exhibit Planning: Story development, content research, organization of content, text writing, and other tasks associated with the interpretive content of an exhibit.

Exhibit Planning Workshop: A meeting to review and analyze the space and propose recommendations, review existing planning documents, review and/or develop design criteria, conduct research, review and/or develop themes, goals, and objectives, define target audience, and discuss the desired visitor experience. Differs from the Charette in that it typically does not explore design solutions.

Front-end evaluation: Evaluation conducted at the beginning of a project that seeks input from potential visitors to find out what kinds of information they already know, what visitors would like to know, and explores how exhibits can best present this interpretive information.

Formative Evaluation: Evaluation conducted before the fabrication of exhibits, when mock-up testing can be carried out to reveal problems and successes with proposed designs.

FPO: For position only.

Graphic Layout: Typically the design of an entire two dimensional exhibit element.

Graphic Production: All of the work required to create Production Ready digital graphic files.

Interpretive writing: A writing approach that draws from technical, informational, scientific, historical, and cultural sources; it incorporates creative techniques and seeks to connect readers emotionally and intellectually to the meanings and significance of the resource(s).

Life-cycle Costs: An estimate that identifies ongoing costs associated with operating and maintaining the exhibit, including staffing, consumables, maintenance contracts, service-life and long-term replacement costs.

Mock-ups: Working models that are constructed simply, quickly, and at minimal cost in order to test a concept.

Original graphic content: Original illustrations, photography, maps, and other two dimensional exhibit content created specifically for an exhibit project.

Pre-Design Phase: The initial phase of a project that logically structures the work that follows; provides a clear understanding of the project’s history, the park’s resources, and the roles of other project team members and stakeholders; and ensures that it’s goals are understood and realistically attainable within the budget, schedule, and other specified parameters.

Preferred Design Alternative: The design alternative that is chosen and/or developed either through group consensus or the NPS Value Analysis Process.

Production Documents: The phase of work where technical drawings and specifications are completed for moving the project into production.

Production Support: Creative and technical support during fabrication of the project to insure adherence to the project’s design intent.

Production-ready Files: Digital graphic files that are complete and ready for output by the exhibit fabricator.

Project Brief: A consolidated overview of project information developed during the Pre-Design phase of work.

Project Goals: The project’s interpretive objectives and the desired visitor experience.

Prototype: A working model that is more refined than a mock-up, and closer to the final product in material, construction, and operation.

Reference Package: A document consisting of written descriptions and graphic depictions that together provide the details that are needed for an artist or fabricator to produce each custom interpretive element.

Resource Package: A compilation of available, potential, and needed graphics, objects and media elements that may be considered for use in the exhibit.

Schematic Design: The phase of work where alternatives for the exhibition are explored and a preferred alternative selected.

Submittal: All samples, documents (i.e., drawings, schedules, facsimiles), electronic files, and other materials that together represent the level of development of work at a given time, and provided by the Contractor to the COR for review and approval.

Summative/Remedial Evaluation: Evaluation conducted after final installation, when the entire exhibition can be evaluated and final adjustments can be made.

Sustainability: Minimizing maintenance, operations, and life-cycle costs.

Universal Design: The design of products and environments to be usable by all people, to the greatest extend possible, without assistance, adaptation or specialized design. See detailed description in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media.

Value Analysis Process: An organized effort directed by a person trained in NPS Value Analysis Techniques to analyze the functions and effectiveness of the schematic design alternatives for the purpose of achieving the essential functions at the lowest initial and life cycle costs consistent with the required performance, reliability, quality and safety.

Visualization Materials: Sketches, renderings, presentation boards, booklets, models, computer simulations, or other media that provide a holistic view of the exhibition, that give a sense of how the exhibition will be experienced by the visitor, and that allow project team members to quickly grasp how individual elements work together.

Section 3. EXHIBIT PLANNING AND DESIGN PROCESS

3.1 Introduction

The planning and design process followed in this contract is organized into several phases of work. These phases are based on commonly used architectural terminology and methods for structuring work, with adaptations to fit the specialized requirements of exhibit development.

At the beginning of a project, goals are stated, parameters specified, and a series of tasks are outlined. Examples of project goals may include the project’s interpretive objectives and the desired visitor experience. Examples of project parameters may include the budget, schedule, and architectural space. The goals and parameters, along with the decisions made at each step in the planning & design process, affect the tasks that follow, so it is critical that a logical sequence be followed. When new information results in changes to previous decisions, the Contractor shall discuss with the COR the impact on the project’s development before proceeding.

Exhibit planning & design is an iterative process with a complexity requiring a team approach. Tasks typically involve specialized skills: creative ability, highly specialized technical skills, organizational skills, research ability, and subject matter expertise. Each task builds on those previously completed, adding detail and refinement. Milestones are established throughout the process as a means of communicating, evaluating, and recording the project’s progress.

Planning as used in this Contract includes, but is not limited to, story development, content research, organization of content into databases, text writing, and other tasks associated with the interpretive content of an exhibit. An Exhibit Developer typically takes the lead with planning tasks. Design, as used in this Contract includes, but is not limited to, development of the physical organization of the exhibit space, integration of all exhibit elements into a cohesive presentation, functional characteristics and visual appearance of exhibit elements, and development of technical details for fabrication. An Exhibit Designer typically takes the lead with design tasks. Together, the Exhibit Developer and Exhibit Designer establish the primary creative direction and media approach for the project.

Phases of work are as outlined in 3.2 through 3.6

3.2 Pre-Design

In Pre-design, the Contractor shall gain a clear understanding of the project’s history, the park’s resources, and the roles of other project team members and stakeholders. Work in this phase focuses on preparing a solid foundation for all work that follows, insuring that the project is logically structured, and it’s goals are understood and realistically attainable within the budget, schedule, and other specified parameters.

A. Review Government furnished materials

B. Travel to Site (see Section 4 Travel, Meetings, and Presentations)

(1) Orientation to park experience.

(2) Identify and document media and object resources at park.

(3) Orientation to architectural space.

(a) Document architectural space.

(4) Conduct Exhibit Planning Workshop.

(a) Analyze space and propose recommendations.

(b) Review existing planning documents.

(c) Review and/or develop design criteria.

(d) Review and/or develop themes, goals, and objectives.

(e) Define target audience.

(f) Define the desired visitor experience.

(g) Document results of workshop.

C. Identify sources for existing media resources.

(1) Develop Resource Package Abstract. (see Section 10 Resource Packages)

D. Develop Project Brief including:

(1) Current overview of project, including updated information and understandings.

(2) Identification and analysis of all project goals in terms of their effect on the development and successful completion of the exhibit.

(3) Analysis of the media budget (including review and/or development of a Class C Production Estimate), project schedule, and all other known parameters on the development and successful completion of the project.

(4) Life-cycle cost requirements.

E. Conduct Front-End Evaluation. (see Section 7 Exhibit Evaluation)

3.3 Schematic Design

Work in this phase is organized into two sub-phases: Schematic I and Schematic II. Schematic I includes development of several alternative schemes for organizing both the interpretive content and physical layout of the exhibits. Schematic II includes development of a preferred alternative. Major stories, exhibit elements and presentation techniques are illustrated and described.

A. Schematic I tasks include:

(1) Content Research

(a) Survey repositories of relevant resources.

(b) Develop Resource Package Level I (see Section 10 Resource Packages)

(2) Conduct Charette (see Section 4 Travel, Meetings, and Presentations)

(3) Develop Schematic I Document – develop three design alternatives including:

(a) Bubble diagrams.

(b) Written descriptions, including how each design alternative accomplishes the established project goals.

(c) Preliminary sketches.

(d) Class B Production Estimate and life-cycle cost estimates for each alternative. (see Section 6 Production Cost Estimates)

(4) Present Schematic I Plan. (see Section 4 Travel, Meetings, and Presentations)

(5) Prepare and submit written response to COR review comments.

B. Schematic II

(1) Participate in NPS Value Analysis process. (see Section 4 Travel, Meetings, and Presentations)

(2) Develop and submit Schematic II Document with Preferred Design Alternative including:

(a) Written exhibit walkthrough.

(b) Overall design approach including:

(i) Media style and appearance.

(ii) Universal design / accessibility approach. (see Section 8 Accessibility)

(c) Floor plan with individual exhibit areas and major elements identified.

(d) Sample elevations.

(e) Conceptual renderings.

(f) Resource Package Level II, with its content integrated into exhibit walkthrough description.

(g) Class B Production Estimate and life-cycle cost estimates for preferred alternative. (see Section 6 Production Cost Estimates)

(3) Present Schematic II Plan. (see Section 4 Travel, Meetings, and Presentations)

(4) Prepare and submit written response to COR review comments with next steps proposed.

3.4 Design Development

Work in this phase is organized into two sub-phases: Design Development I and Design Development II. Design Development I builds on the plan approved in the Schematic Design phase. Its emphasis is on confirming all major details of the design, and also includes continued content planning. Design Development II focuses heavily on developing all interpretive content in detail, with continued design refinement to insure effective presentation of the content within the exhibit.

A. Design Development I.

(1) Develop all individual exhibits including:

(a) Exhibit Design Drawings. (see Section 13 Exhibit Design Drawings)

(b) Sample graphic layouts / graphic approach / typography. (see Section 15 Graphic Layouts and Digital Graphic Files)

(c) Propose material, finish, and color selections. (see Section 14 Material, Color, and Finish Specifications)

(2) Establish Content Management Database (see Section 11 Content Management ) including entries for the following:

(a) Interpretive purpose or objective for each exhibit.

(b) Text Level I (see Section 12 Text)

(c) Major images.

(d) Major artifacts and display objects. (see Section 18 Object Preservation and Protection)

(e) Major audiovisual and interactive elements. (see Section 19 Audiovisual and Computer Elements – Software, and Section 20 Audiovisual and Computer Elements - Equipment)

(f) Major specialty elements. (see Section 21 Tactile Exhibit Elements and Mechanical Interactives)

(3) Develop and submit Design Development I Report including:

(a) Overview including an exhibit walkthrough narrative.

(b) Compilation of all Design Development I work elements listed in paragraphs (1) and (2) above.

(c) Updated Class B Production Cost Estimate and life-cycle cost estimate. (see Section 6 Production Cost Estimates)

(4) Present Design Development I Report. (see Section 4 Travel, Meetings, and Presentations)

(5) Prepare and submit written response to COR review comments with next steps proposed.

B. Design Development II.

(1) Prepare and submit Design Development II Report including:

(a) Comprehensive Exhibit Plan. (see Section 11 Content Management )

(b) Image Schedule. (see Section 11 Content Management )

(c) Image Facsimile Sheets. (see Section 11 Content Management )

(d) Artifact and Display Object Schedules. (see Section 11 Content Management )

(e) Artifact and Display Object Facsimile Sheets. (see Section 11 Content Management )

(f) Audiovisual and Interactive Multimedia Report including:

(iii) Audiovisual and interactive multimedia technical specifications. (see Section 20 Audiovisual and Computer Elements - Equipment )

(g) Reference Packages for all exhibit elements requiring them. (see Section 16 Reference Packages for Custom Interpretive Elements)

(2) Prepare and submit Design Development Graphic Layout Package. (see Section 15 Graphic Layouts and Digital Graphic Files)

(3) Prepare and submit material, finish, and color samples. (see Section 14 Material, Color, and Finish Specifications)

(4) Prepare and submit updated Exhibit Design Drawings. (see Section 13 Exhibit Design Drawings)

(5) Prepare and submit updated Class B Production Cost Estimate and life-cycle cost estimate. (see Section 6 Production Cost Estimates)

(6) Present Design Development II Reports. (see Section 4 Travel, Meetings, and Presentations)

(7) Prepare and submit written response to COR review comments.

(8) Conduct Formative Evaluation. (see Section 7 Exhibit Evaluation)

3.5 Production Documents

Work in this phase is organized into two sub-phases: Document Preparation and Pre-Production. Document Preparation includes preparation of all contract documents needed for potential offerors (exhibit fabricators) to understand and price the project. Pre-Production includes completion of all other outstanding design and content tasks. Work on the two sub-phases can proceed concurrently, but completion of Document Preparation will usually be required first. Some elements of Pre-Production may extend into the Production Phase of the project and involve coordination with an NPS contracted exhibit fabricator.

A. Document Preparation

The Contractor shall prepare and submit the following documents:

(1) Exhibit Design Drawings. (see Section 13 Exhibit Design Drawings)

(b) Artifact Schedule.

(c) Display Object Schedule.

(d) Specialty Element Schedule.

(3) Updated graphic layout package. (see Section 15 Graphic Layouts and Digital Graphic Files)

(4) Updated material and finish samples and specifications. (see Section 14 Material, Color, and Finish Specifications)

(5) AV equipment schedule and technical specifications. (see Section 20 Audiovisual and Computer Elements - Equipment)

(6) Updated Reference Packages for specialized exhibit elements in the fabricator’s scope of work. (see Section 16 Reference Packages for Custom Interpretive Elements)

(7) Class A Production Cost Estimate and life-cycle cost estimate. (see Section 6 Production Cost Estimates)

B. Pre-Production

The Contractor shall perform the following work:

(1) The Contractor shall prepare and submit a completion schedule for all pre-production tasks.

(2) Develop Text Level III. (see Section 12 Text)

(3) Acquire images. (see Section 17 Image Acquisition)

(4) Graphic Production. (see Section 15 Graphic Layouts and Digital Graphic Files)

(5) Update Reference Packages for specialized exhibit elements not in the fabricator’s scope of work. (see Section 16 Reference Packages for Custom Interpretive Elements)

(6) Perform additional audiovisual and computer interactive development tasks. (see Section 19 Audiovisual and Computer Elements – Software, and Section 20 Audiovisual and Computer Elements - Equipment)

Section 4. TRAVEL, MEETINGS, AND PRESENTATIONS

4.1 Introduction

Contractor shall travel to park to conduct site visits, present submittals, and participate in review and development work sessions. Based on a particular project’s requirements, the Contractor shall travel to other sites as well to research, conduct evaluations, and participate in meetings with subject matter experts, partners, and stakeholders.

4.2 General Requirements

A. Travel

(1) The Contractor shall coordinate all travel with the COR.

(2) The Contractor’s labor rate is half on travel days.

(3) All work days while on travel are 8 hour days.

(4) The Contractor shall bring all equipment they require while on travel and at the job site (for example, measuring instruments, computers, projectors).

(5) The Contractor shall provide for all of their own transportation while on travel.

(6) The Contractor shall adhere to Government per diem requirements while on travel.

B. Meetings and Presentations

(1) Develop agenda in coordination with COR.

(2) Discuss with COR expectations for work to be presented.

(3) Identify key participants for meeting.

(4) Unless otherwise specified by the COR, the Contractor shall facilitate meetings.

(5) Document discussions and outcomes.

(6) Determine along with COR whether documents will be submitted in advance or at the presentation meeting.

4.3 Specific Requirements for Design Charette and Exhibit Planning Workshops

Conduct a Design Charette. The purpose of a Design Charette is to brainstorm and fully explore all possible design directions for communicating the content of the exhibition.

A. Plan the Charette or Planning Workshop. Communicate with the COR, park and/or client to set the date, time, and meeting locations. Coordinate travel and meeting locations and times. Submit agenda to the COR for review and approval prior to the Charette or Planning Workshop. At a minimum, provide a description of the goals, an agenda, a list of materials to be provided by the Contractor for use by the participants, and any special facilities or Government-Furnished Equipment or materials needed.

B. Facilitate the Charette or Planning Workshop. Ensure that the facility and materials are ready for the Charette or Planning Workshop, facilitate the Charette or Planning Workshop, record and collect all relevant information, comments, ideas, and products generated.

C. Participate in a Charette or Planning Workshop. Attend Charette or Planning Workshop set up by the COR. Coordinate travel, times, and locations with the COR. Discuss the role, and review the background information provided. Take notes during the Charette or Planning Workshop and provide the COR with a copy of the notes for review and approval.

D. Prepare a Report. Prepare a report, using information and materials collected during the Charette or Planning Workshop, which summarizes the proceedings and submit to the COR for review and approval.

E. Brainstorming ideas for exhibit content, design, and presentation.

4.4 Specific requirements for Value Analysis

A. The Contractor shall travel to the park, or be available by telephone to participate in a Value Analysis workshop.

B. Provide information regarding the interpretive intent and proposed visitor experience desired.

C. Provide a Class B Production Cost Estimate.

D. Explain and verify estimated budget costs of the media elements.

E. Provide an estimate of life-cycle costs and reliability of elements.

F. Participate in the discussion regarding alternatives to the proposed interpretive plans.

G. Document the results of the Value Analysis Workshop using the recommendations and revisions contained in the Government-Furnished report to develop the selected design alternative.

Section 5. SUBMITTALS AND REVIEWS

5.1 Introduction

Submittals and reviews are the key communication points between the Contractor and the COR which document a project’s overall progress and any remedial actions necessary to produce complete and acceptable deliverables. For the purpose of this contract, a submittal is defined as all samples, documents (i.e., drawings, schedules, facsimiles), electronic files, and other materials that together represent the level of development of work at a given time, and shall be provided by the Contractor to the COR for review and approval. At any point in the exhibit planning and design process the COR may require informal submittals of the Contractor’s work in progress to document the current status and level of development of the project.

5.2 General Requirements.

A. Coordinate all of the Contractor’s submittals and review them for legibility, accuracy, completeness, and compliance with contract requirements.

B. Cross-reference all details that occur multiple times in a single or in multiple documents for consistency and accuracy.

C. Ensure that all submittals are delivered to the COR as scheduled for review and approval. Submittals shall be accompanied by a transmittal describing all contents.

D. Unless otherwise specified elsewhere in this Contract provide three hard copies of each document and one copy of all electronic files.

E. The Contractor shall receive all review comments from the COR and take appropriate action as stated below:

(1) Approved Submittals – The Contractor shall ensure that all changes, revisions, or additions required by review comments are addressed and incorporated into future submittals.

(2) Rejected Submittals - When submittals are rejected, the COR will notify the Contractor, in writing, identifying the reasons for rejection. The Contractor shall ensure that the submittal is completed and/or revised as required and resubmitted within the time scheduled by the COR. Reasons for rejection include:

(a) Incomplete Submittals – Approval of the submittal is delayed because required elements are missing. The Contractor shall submit all missing elements. When all elements are received and accepted the COR will approve the submittal.

b) Unacceptable Submittals – The submittal is rejected due to poor quality of work or work that does not otherwise meet the established project goals. The Contractor shall submit new material.

5.3 Specific Requirements for Close-out Package.

At the conclusion of work, the Contractor shall return all Government Furnished Property and all other outstanding materials as specified. All material generated by the Contractor in the process of completing this contract is the property of the Government.

Section 6. PRODUCTION COST ESTIMATES

6.1 Introduction

The contract will specify a target production cost or “design-to” figure for the project. Since budget formulations vary by project, the Contractor shall consult with the COR if there are any questions about what is included in the design-to figure. Generally, it will include all costs for fabricating, transporting, and installing exhibit structures and graphic elements. This includes all work specified in the “National Park Service Standard Fabrication Specifications, December 2006” and its references, including Project Management, Shop Drawings, Samples, Packing, Shipping, and Installation, and the cost of Project Closeout.

Depending on the project, it may also include media development costs such as image acquisition, original artwork, audiovisual, and multimedia programs, and non-interpretive elements such as an information desk and sales area fixtures. Architectural modifications to the building will be included in the design-to figure when such work is to be performed under the exhibit fabrication contract. Some costs may be split, for example, the cost of exhibit lighting fixtures may be part of the exhibit budget, while new electrical wiring required for the lighting is excluded.

The Contractor shall submit increasingly detailed production cost estimates as planning and design work proceeds. The purpose is to insure that the project, as designed, can be built within the available budget. Estimates shall be determined by the Contractor’s professional experience and / or by researching the cost of similar recent projects. The Contractor may consult with exhibit production firms regarding costs, however Government regulations preclude such firms from bidding on the project if they have received project-specific details in advance of other potential bidders.

The National Park Service designates exhibit production cost estimates as class A, B, and C, based on the level of detail included in the estimate. They are described in 6.3 through 6.5 of this Section.

The Contractor shall also provide life-cycle cost estimates. The purpose of these estimates is to identify ongoing costs associated with operating and maintaining the exhibit.

6.2 General Requirements

A. All levels of production cost estimating shall adhere to the following criteria:

(1) The Contractor shall provide the most accurate pricing information available for the current stage of project development.

(2) The Production Cost Estimate shall be equal to or less than the design-to cost and shall be a realistic representation of the cost for producing the exhibit as designed. Estimates shall not be arbitrarily priced to match the target budget.

(a) All design changes that increase the Production Cost Estimate above the target production budget, whether initiated by the Contractor or requested by the Government, shall be documented by the Contractor and appended to the Production Cost Estimate as alternate / additional items.

(3) Production Cost Estimates shall be itemized by category and prepared in a computer file that can be translated or opened by the most current versions of Microsoft Word, Microsoft Excel, or FileMaker Pro.

6.3 Specific Requirements for Class C Production Cost Estimates

A. The Contractor shall provide a Class C Production Cost Estimate in the Pre-Design phase, that shall include the following information:

(1) The total area (including circulation space) in square feet of the exhibition space.

(2) The total exhibition cost and the cost of the exhibition per square foot. Where exhibit zones have been identified and the basic characteristics of the elements within those zones are known, a separate per square foot cost shall be specified for each zone. Examples of zones include, but are not limited to lobby, information / orientation space, sales area, and primary exhibition space.

(3) In instances where one or more high-cost exhibit elements have already been identified, they shall be priced as a separate line item. Examples include, but are not limited to, a complex exhibit case required to house a valuable and sensitive artifact, a large scale diorama, an original artwork mural, a topographic map with light program, and extensive use of AV or interactive programs.

6.4 Specific Requirements for Class B Production Cost Estimates

A. The Contractor shall provide a Class B Production Cost Estimate in the Schematic I phase. An updated Class B Production Cost Estimate shall be provided in the Schematic II, Design Development I, and Design Development II phases. Class B Production Cost Estimates are typically used in the Value Analysis process and shall include the following information:

(1) Class B Production Cost Estimates prepared in the Schematic I phase shall include, at a minimum, the estimated overall cost for each exhibit area identified in the exhibition plan. In instances where individual exhibits or exhibit elements have already been identified, they shall be individually itemized.

(2) Class B Production Cost Estimates prepared in the Schematic II, Design Development I, and Design Development II phases shall be further itemized at a level of detail consistent with the current level of the exhibition’s development as follows:

(a) A short description of proposed exhibits and major exhibit elements within each exhibit area.

(b) The cost associated with each proposed exhibit and / or exhibit element.

(3) Class B Production Cost Estimates shall include allowances for contingency, shipping, and installation as separate line items.

6.5 Specific Requirements for Class A Production Cost Estimates

A. The Contractor shall provide a Class A Production Cost Estimate in the Production Documents phase. Class A Production Cost Estimates shall be prepared based on the detailed specifications for all exhibit elements found in the Production Documents and shall include the following categories:

(1) Exhibition fabrication costs organized according to exhibit area, and itemized by exhibit or exhibit element within each exhibit area. The cost for an individual exhibit or exhibit element shall include the total materials, labor, and mark-up cost that an exhibit fabricator will charge for producing that item, or the cost for acquiring the item from a specialty sub-contractor.

(2) Media costs for all content purchased specifically for the exhibition, and not already accounted for in the exhibit planning and design budget. This includes but is not limited to:

(a) Image acquisition.

(b) Original artwork and photography.

(c) Audiovisual and interactive software.

(3) All other Graphic Production costs not included in the exhibit planning and design budget. These costs may include but are not limited to:

(a) High-resolution scanning.

(b) Image manipulation.

(c) Preparation of production-ready graphic files.

(4) Commercially obtained items including but not limited to:

(a) Audiovisual and other electronic equipment.

(b) Lighting equipment.

(5) Exhibit installation cost including:

(a) Fabricator site visits.

(b) Samples, mock-ups.

(c) Shipping.

(d) Exhibit installation travel and labor costs.

(6) Miscellaneous Production Costs itemizing all costs not otherwise accounted for. For example, shop drawings, as-built drawings and project close-out costs.

6.6 Life-cycle Cost Estimates

A. The Contractor shall provide a life-cycle cost estimate for the proposed design in the Schematic phase. Updated life-cycle cost estimates shall be provided in the Design Development and Production Documents phases. Life-cycle cost estimates shall include the following information:

(1) Operational costs associated with the exhibition including but not limited to:

(a) Staffing required to operate and maintain the exhibit on a daily basis.

(b) Costs for consumable items including but not limited to video projector bulbs, specialty exhibit lighting, printed hand-outs, touchable “discovery” items.

(c) Maintenance contracts.

(2) Long-term replacement costs associated with the exhibition including but not limited to:

(a) Service life and replacement cost for commercially available audiovisual, electrical and electronic equipment.

(b) Service life and replacement cost for custom made exhibit elements such as mechanical interactive devices.

(3) Lifespan of the exhibition including but not limited to:

(a) Effective life of the exhibition’s physical structure and graphics.

(b) Effective life of the exhibition’s content and message.

(c) Effective life of the exhibition’s style of presentation.

Section 7. EXHIBIT EVALUATION

7.1 Introduction

Exhibit Evaluation is the process for better understanding the audience, and using this information to produce effective exhibits. Evaluations help exhibits better address visitors’ needs and expectations while carrying out the parks’ interpretive missions. Three typical stages of evaluation include:

Front-End Evaluation is conducted at the beginning of a project, when themes, goals, and initial design solutions are being considered. Front-End Evaluation seeks input from potential visitors to find out what kinds of information they already know, what visitors would like to know, and explores how exhibits can best present this interpretive information.

Formative Evaluation is conducted before the fabrication of exhibits, when mock-up testing can be carried out. Formative Evaluation can reveal problems with proposed designs and is especially important for interactive exhibits.

Summative/Remedial Evaluation is conducted after final installation, when the entire exhibition can be evaluated and final adjustments can be made.

7.2 General Requirements

A. Base Evaluation on Established Objectives for Exhibits

In addition to developing broad exhibition goals, the team must have clearly defined objectives for each exhibit that shall be identified during the Schematic Phase (and listed in the “Purpose” field of the Content Management database as “P” exhibit numbers). Objectives guide not only the way the exhibit is tested at the formative and summative/remedial stages, but direct the entire exhibit development process, including decisions about content, interpretation, media selection, and presentation techniques.

B. Define the Audience

The exhibit evaluation process requires the planning team to identify the intended target audience in terms of their ages, educational levels, and levels of entering knowledge of the subject matter of the exhibit (e.g., facts, concepts, controversies, comparisons).

C. Develop an Evaluation Methodology Plan

Prepare a written Evaluation Methodology Plan for conducting each evaluation phase. The methodologies employed may include any or all of the following social science research and diagnostic tools: literature review, personal interviews, focus groups, brief questionnaires, observations, and tracking studies as well as other methodologies. Describe any Government-Furnished equipment or personnel and facilities required to accomplish the evaluations. The plan shall be submitted to the COR for review and approval prior to finalization.

D. Prepare Office of Management and Budget (OMB) Expedited Approval Form

If conducting an evaluation that asks ten or more visitors the same type of questions, OMB must approve the evaluation. The Contractor shall prepare all paperwork associated with the OMB requirements for the expedited approval process. Note that the National Park Service (NPS) Office of Social Science and the OMB require a minimum 45-day approval process to review the evaluation questions and protocol or methodology prior to the actual evaluation study being conducted. For the purposes of scheduling, the Contractor shall budget a minimum of 45 days for obtaining NPS and OMB approval of their evaluation application. See the NPS Social Science website at www.nature.nps.gov/socialscience/survey.cfm to learn more about the guidelines and how to complete the required forms.

E. Conduct Evaluation

(1) Travel.

Travel to any sites called for in the Evaluation Methodology Plan.

(2) Logistics.

(a) Communicate with the Park to set the date, time, and meeting locations. Coordinate the travel, date, time, and meeting locations with the COR.

(b) The Contractor shall be responsible for recruiting the evaluation study participants.

(c) The Contractors make logistical arrangements for use of non-NPS sites (e.g. local schools, museums, and other institutions).

F. Prepare Reports.

(1) Write Evaluation Report.

Collect and organize responses to the evaluations and prepare an electronic report that contains information regarding methodology used to gather information, demographics and size of study groups, and a summary and analysis of the information collected. This report shall be submitted to the COR for review and approval.

(2) Write Evaluation Implementation Plan.

The Contractor shall document how they propose to incorporate the results of the evaluation in the planning and design process to enhance the effectiveness of the interpretive media.

7.3 Specific Requirements for Front-End Evaluation

The Contractor shall conduct Front-End Evaluation, concentrating on getting input from potential visitors to find out what kinds of information they need and would like to know, and how this information could be presented in a meaningful, interesting, and cost-effective way. In addition to the General Requirements, the Contractor shall identify any objectives and concepts that will be especially challenging to communicate in the exhibits or that require special sensitivity in presenting to the public.

7.4 Specific Requirements for Formative Evaluation

The Contractor shall conduct Formative Evaluation on specific exhibit elements to determine design and/or content problems before they become a part of the final exhibition. Mock-ups and working prototypes shall be tested. In addition to the General Requirements, the Contractor shall do the following:

A. Propose exhibits to be evaluated for review and approval by the COR.

B. Build the mock-ups for selected exhibits to be tested, and ship them to testing site(s). Mock-ups shall be made from a variety of nondurable material (e.g., large-format, color inkjet prints mounted on foam core). All exhibit layouts shall consist of actual text and proposed graphics; any three-dimensional elements shall be identified in the layout.

C. The Contractor shall be responsible for removing the mock-ups from the test site(s) and disposition.

7.5 Specific Requirements for Summative/Remedial Evaluation

The Contractor shall conduct Summative/Remedial Evaluation studies to reveal problems that were not, or could not be, identified during the earlier stages of development and to determine the extent to which the original objectives have been met. In addition to the General Requirements, the evaluation shall including the following:

A. Evaluation of visitor traffic, identifying any crowd-flow, orientation, and signage problems (e.g. traffic study utilizing an annotated floor plan) and proposing remedial solutions.

B. Evaluation of exhibit effectiveness to determine the degree to which content is communicated with visitors. The Contractor shall propose remedial changes for those exhibits needing improvement.

Section 8. ACCESSIBILITY

8.1 Introduction

Exhibits planned and designed under this contract shall follow the latest published version of the Programmatic Accessibility Guidelines for National Park Service Interpretive Media.

8.2 General Requirements

No later than the Schematic II phase of work, the Contractor shall develop and present an overall accessibility strategy for the exhibition. This strategy shall be based on the Contractor’s Schematic Design for the exhibition, and shall include:

A. A description of how the layout of the physical space and proposed exhibit elements follow the principles of Universal Design (Refer to the Programmatic Accessibility Guidelines for National Park Service Interpretive Media for a detailed description of Universal Design principles.)

B. A description of major accessible features of the exhibition for individuals with mobility, visual, hearing, and learning impairments.

8.3 Specific Requirements for Visitors with Mobility Impairments

See Exhibit Guidelines: Mobility in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media.

8.4 Specific Requirements for Visitors with Visual Impairments

See Exhibit Guidelines: Visual in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media.

8.5 Specific Requirements for Visitors who are Hard of Hearing or Deaf

See Exhibit Guidelines: Hearing in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media.

8.6 Specific Requirements for Visitors with Learning Impairments

See Exhibit Guidelines: Cognitive in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media.

8.7 Specific Requirements for Interior Directional and Information Signs

D. Text accompanying access symbols shall focus on the accommodation or service, not on who uses it. For example, "Accessible Entrance" may accompany the wheelchair symbol. The word “Handicapped” shall not be used on any signage.

Section 9. EXHIBIT VISUALIZATION

9.1 Introduction

The Contractor shall produce sketches, renderings, presentation boards, booklets, models, computer simulations, or other media. This media shall be designed to visually describe the proposed exhibition to a diverse audience, which may include the project team, general public, sponsors, and…