E2.4_-_VC_Exhibit_Design_Part4.pdf

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

54Pylon Details Explodd View

Exploded View Scale: 3/8" = 1'-0"

GRAPHIC SKIN

DIRECT TO SUBSTRATE PRINT ON FAUX

LEATHER

LAMINATED TO BELT BODY ASSEMBLY

BUY OUT UPPER DRIVE PULLEYS

FRAME ASSEMBLY

2X3 ALUMINUM TUBING

W/ VARIOUS 1/4" MOUNTING FLANGES

W/ VARIOUS CROSS BAR ANGLES & TUBES

BOLTED TO PLATFORM

PAINTED

HPL GRAPHIC TOP

LAMINATED TO 3/4"

PAINTED MDF

BACKER

MDF BACKER

PAINTED

BASE ASSEMBLY

3/4" PLY SUBSTRUCTURE

CLAD IN RECLAIMED

WOOD

BOLTED TO FLOOR

STAINED & CLEAR COATED

W/ BLACK KYDEX KICK

1/2" MDF SKIN

PERMANENTLY AFIXED TO INNER RIBS

PAINTED TO LOOK LIKE LEATHER

UPPER HALF ROUND

1/2" MDF FORMED

PAINTED TO LOOK LIKE LEATHER

BELT BODY INNER RIBS

3/4" PLY

W/ 3/4" MDF END PLATES

& FAUX ROLLER END PLATES

PAINTED

LOWER HALF ROUND

1/2" MDF FORMED

PAINTED TO LOOK LIKE LEATHER

GRAPHIC SKIN

DIRECT TO SUBSTRATE PRINT ON FAUX

LEATHER

LAMINATED TO BELT BODY ASSEMBLY

1/2" MDF SKIN

PERMANENTLY AFIXED TO INNER RIBS

PAINTED TO LOOK LIKE LEATHER

Detail - Faux Belt Assembly Scale: 1/2" = 1'-0"

FAUX BELT PLATE

1" MDF CNC ROUTED BOTH SIDES

PAINTED & INFILL PAINTED

SANDWICHED BETWEEN FAUX PULLEY'S

BOLTED TO RAIL SIDE PLATES

FAUX PULLEY PLATES

1/4" ALUMINUM WATERJET CUT

THRU BOLTED THRU FAUX BELTS

& OTHER PULLEY DISKS

& INTO RAIL SIDE PLATE

PAINTED

PP-1

PP-1

PP-1

LP-4

LP-4

LP-4

PP-1

PP-1

LP-4

LP-4PP-1

PYLON DETAILS

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

Pylon Details

Plan - Pylon Assembly Scale: 1/2" = 1'-0"

/1

63 1/8"

Elevation - Pylon Assembly Scale: 1/2" = 1'-0"

/1

/1 f ra m e a s s e m b lk y

52 1/2" graphic rail

48" belt graphic

43 3/8"

Section Scale: 3/4" = 1'-0"

31 9/16"

16 3/8" 3 1/4"

16"

.0

Ø14 11/16"

/1

/4

Ø5" - faux belt

Ø6" - pulley

Ø23"

2 1/2"

18 7/16"

GRAPHIC RAIL

GRAPHIC ON LEATHER SKIN

FRAME ASSEMBLY

RAIL SUPPORT END PLATES

1/4" ALUMINUM CNC ROUTED

WELDED TO FRAME & CROSS TUBES &

ANGLES

GRAPHIC SUPPORT ANGLE

1 1/2" ALUMINUM ANGLE

WELDED TO END PLATES

BOLTED TO GRAPHIC BACKER

BASE ASSEMBLY

KYDEX KICK

3/4" PLY RIBS

SIDE FRAME BEYOND

Isometric Scale: 1/2" = 1'-0"

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

56Pylon Details

Plan - Upper Belt Drive Assembly Scale: 3/8" = 1'-0"

53 5/8"

/1

/1

65" 96 1/8" 63 3/4"

Elevation - Upper Belt Drive Assembly Scale: 3/8" = 1'-0"

/4

/1

2 1/2"

HANGING BRACKETS

1/8" X 2 1/2" ALUMINUM FLAT BAR

BENT TO PROFILE

W/ WOOD PIPE CLAMP BLOCK

BOLTED @ BOTTOM APEX

BOLTED TO UNISTRUT ABOVE

W/ THREADED ROD

PAINTED

TYP OF 5

FAUX DRIVE SHAFT

1 1/2" ALUMINUM PIPE

HUNG FROM CEILING ON BRACKETS

PAINTED

End View - Upper Belt Drive Assembly Scale: 3/8" = 1'-0"

/8

33.1°1

/1

25 7/16"

3 1/8"

HANGING BRACKETS

BUY OUT PULLEY

MMC#6407A45

W/ PVC 2" WIDE LIP APPLIED

TO CREATE BELT PULLEY LOOK

PAINTED

2" LEATHER BELT

/8

Isometric Scale: 1/4" = 1'-0"

Detail - Hanging Bracket Scale: 1" = 1'-0"

25 7/16"

3 1/8"

49.0°

/2

5 9/16"

HARDWOOD BLOCKING

THRU BOLTED TO STRAP

MILLED TO FIT PIPE

1/4" X 2 1/2" ALUMINUM STRAP

BREAK BENT

THRU DRILLED FOR VARIOUS BOLTS

PAINTED

3/8" THREADED ROD

AIRCRAFT NUTS

TO UNISTRUT ABOVE

PP-1

PP-1

PP-1

PP-1

PP-1

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

57Pylon Details

Plan - Main Frame Assembly Scale: 1/2" = 1'-0"

/1

60 9/16"

54 1/8"

Elevation - Main Frame Assembly Scale: 1/2" = 1'-0"

/8

/8

49 3/16"

53 3/16"

2"

4 7/8"

Side - Main Frame Assembly Scale: 1/2" = 1'-0"

/8

/8

Ø4"

Ø6"

Ø5"

Ø22 13/16"

60.0°

28"

Isometric - Main Frame Assembly Scale: 1/2" = 1'-0"

4"DIA TUBE

CAPPED

THRU DRILLED FOR BOLT

WELDED TO POSTS

PAINTED

1 1/2" SCHEDULE 40 PIPE

W/ INTERNAL STAR NUTS

THRU BOLTED TO FAUX BELT ASSEMBLY

PAINTED

FAUX BELT ASSEMBLY

POST ASSEMBLY

2X3 ALUMINUM VERTICAL POST

4" DIA TOP TUBE

2X3 ROLLED STRUTS @ FLOOR PLATE

1/4" FLOOR PLATE

WELDED / SANDED / PAINTED

GRAPHIC SUPPORT ANGLE

1 1/2" STRUCTURAL ALUMINUM ANGLES

WELDED TO RAIL END PLATES

THRU DRILLED TO MOUNT GRAPHIC

PAINTED

RAIL END PLATES

1/4" ALUMINUM CNC ROUTED

BOLTED TO POSTS

W/ WELDED GRAPHIC SUPPORT ANGLES

BOLTED TO FAUX BELT PULLEY ASSEMBLY

PAINTED

FLOOR PLATE

1/4" ALUMINUM WELDED TO POSTS

THRU BOLTED TO BASE ASSEMBLY

PAINTED

Exploded - Faux Belt Assembly Scale: 1/2" = 1'-0"

FAUX BELT PLATE

1" MDF CNC ROUTED BOTH SIDES

PAINTED & INFILL PAINTED

SANDWICHED BETWEEN FAUX PULLEY'S

BOLTED TO RAIL SIDE PLATES

FAUX PULLEY PLATES

1/4" ALUMINUM WATERJET CUT

THRU BOLTED THRU FAUX BELTS

& OTHER PULLEY DISKS

& INTO RAIL SIDE PLATE

PAINTED

PP-1

PP-1

LP-4PP-1

PP-1

PP-1

PP-1

PP-1

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

58Pylon Details

Plan - Belt Wall Assembly Scale: 1/2" = 1'-0"

48"

/8

Elevation - Belt Wall Assembly Scale: 1/2" = 1'-0"

/1

48"

Side - Belt Wall Assembly Scale: 1/2" = 1'-0"

Ø14 11/16"

/1

Ø13 11/16"

Ø4"

Ø5"

Exploded View Scale: 3/8" = 1'-0"

1/2" MDF SKIN

PERMANENTLY AFIXED TO INNER RIBS

PAINTED TO LOOK LIKE LEATHER

UPPER HALF ROUND

1/2" MDF FORMED

PAINTED TO LOOK LIKE LEATHER

BELT BODY INNER RIBS

3/4" PLY

W/ 3/4" MDF END PLATES

& FAUX ROLLER END PLATES

PAINTED

LOWER HALF ROUND

1/2" MDF FORMED

PAINTED TO LOOK LIKE LEATHER

1/2" MDF SKIN

PERMANENTLY AFIXED TO INNER RIBS

PAINTED TO LOOK LIKE LEATHER

GRAPHIC SKIN

DIRECT TO SUBSTRATE PRINT ON FAUX

LEATHER

LAMINATED TO BELT BODY ASSEMBLY

GRAPHIC SKIN

DIRECT TO SUBSTRATE PRINT ON FAUX

LEATHER

LAMINATED TO BELT BODY ASSEMBLY

PP-1

LP-4

LP-4

LP-4

LP-4

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

59Pylon Details

Plan - Base Assembly Scale: 1/2" = 1'-0"

Elevation - Base Assembly Scale: 1/2" = 1'-0"

63 1/8"

42 7/8"

10 1/8"10 1/8"

5 7/8"

Isometric Scale: 1/2" = 1'-0"

BASE ASSEMBLY

3/4" PLY SUBSTRUCTURE

CLAD IN RECLAIMED WOOD

BOLTED TO FLOOR

STAINED & CLEAR COATED

W/ BLACK KYDEX KICK

Section Scale: 1 1/2" = 1'-0"

19 11/16"

15 11/16"

37 13/16"

3 1/4"

31 9/16"

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

60Pylon Details - Flip Book Interactive

Flipper Interactives Scale: 1 1/2" = 1'-0"

9 5/16" 11/16"

8 1/4"

2"

29 5/16"

Section Scale: 3" = 1'-0"

16"

8 3/4"

1 1/4"

/4

1 1/2"

/4

MOUNTING CHANNEL

TOMBSTONE

LIFT

TAB

BUMPER

MMC #9540K932

MOUNTING SCREWS

FOR TOMBSTONES

GRAPHIC

Exploded Flipper Scale: 3" = 1'-0"

CUSTOM TOMBSTONE MOUNT

SOLID 1/2" ALUMINUM

MACHINED

PAINTED

HINGE ROD

1/4" STAINLESS STEEL

1/4" HPL GRAPHIC

GLUED & SCREWED

INTO CHANNEL

GRAPHIC MOUNTING CHANNEL

1/2" X 3/4" ALUMINUM CHANNEL

GLUED AND SCREWED TO GRAPHIC

PAINTED

LIFT TAB & BUMPER

1/8" STEEL TAB

W/ WELDED STUD

THRU BOLTED & GLUED TO GRAPHIC

TO BUMPER ON BOTTOM OF GRAPHIC

PP-1

PP-1

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

61Pylon Details - Spinner Interactive

Plan - Spinner Interactive Scale: 1 1/2" = 1'-0"

25 1/4"

7 1/2" 10 1/2"

1/2" 1/4"

2"

Section Scale: 3" = 1'-0"

10 1/8"

Ø4 1/2"

Ø3/4"

Ø5 1/4"

4"

/2

MAGNETIC DETENTING

SPIN PLATE

1/2" SOLID BLACK ACRYLIC

CNC ROUTED W/ NURLS

BOLTED TO INNER GRAPHIC SLUG

W/ INSET MAGNETS FOR DETENTING

MOUNTING BLOCKS

SOLID ALUMINUM

MACHINED TO BOLT TO BOTTOM

SIDE OF RAIL

W/ INSET MAGNET IN FACE

FOR DETENTING

BOTTOM COWLING

1/8" ALUMINUM BREAKBENT

W/ 1/4" END PLATES

BOLTED TO CROSS ANGLES OF RAILING

PAINTED

CENTER SHAFT

3/4" SOLID STEEL ROUND

/4

Ø5"

Exploded View Scale: 1 1/2" = 1'-0"

BOTTOM COWLING

RIGHT SPINNER ASSEMBLY

3/4" CENTER SHAFT

1/4" UHMW SPACERS

INNER GRAPHIC SLUG

DIGITAL PRINT APPLIED TO FACE

GRAPHIC COVER TUBE

5" OD ACRYLIC

SLEAVED OVER INNER SLUG

SPINNER PLATE

SPACER

MAGNET

MOUNTING BLOCK

MOUNTING BLOCK

PP-1

Flattened Graphic Scale: 1 1/2" = 1'-0"

/6

7 1/2" 10 1/2"

/3

M1.1C3.1

SCALE DRAWINGSPROJECT PHASE

T H E D E S I G N M I N D S, I N C.C

National Park Service - Pullman National Monument Concept Design As noted ELEVATIONS - Sections 7,8 & 9 02.01

ELEVATION - Sections - 07.01, 07.02 & 07.06 Scale: 1/4" = 1'-0"1 0 1 2 3 4 FT

15'-6 3/8"

MP MP

MURAL

EMBEDDED

QUOTE

AP

LP-1.2 LP-1.3

WB-1

LP-1.2

PP-1

LP-P

ELEVATION - 07.07

Scale: 1/4" = 1'-0"

7'-7 1/2"

MP

QUOTE

QUOTE

GWB

PRIMED

PAINTED

WB-1

LP-1

LP-1.2

ELEVATION - Sections 08.01 &08.02 Scale: 1/4" = 1'-0"

21'-7 5/8"

AP

MPMP

MURAL

PLATFORM WITH PROP SUITCASES

CASE

THEMED BUILDING COLUMNS AND HEADER NOT SHOWN

EMBEDDED

QUOTE

EMBEDDED

QUOTE

WB-1

LP-3

LP-4

WD-3 WD-3

AV CUSTOM WOOD FRAME

WD-3

LP-P

LP-4

ELEVATION - Section 09.01 Scale: 1/4" = 1'-0"

15'-3 1/2"

/8

POST YOUR THOUGHTS

GWB PRIMED

& PAINTED

MP

RR

LP-3

LP-3.1

LP-3.3

PP-3

ELEVATION - Section 7 Entrance Gate Scale: 1/4" = 1'-0"

/8

11'-8 3/4"

7'-0"

SCENIC STONE WALLS

TO RESEMBLE "NIAGRA

SANDSTONE" BLOCKS

SCENIC WROUGHT IRON

GATE AND GRATE

SCENIC

REPRODUCTION OF

HISTORIC GAS

LANTERN FIXTURE -

WORKING LIGHT WITH

FAUX GAS FLAME

BULB - SEE

REFERENCE PACKAGE

SCENIC SCALED DOWN

REPRODUCTION OF

HISTORIC MAIN GATE TO

FACTORY COMPLEX

(SEE SCENIC REFERENCE

PACKAGE)

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

62Scale: 1/4" = 1'-0" Elevations / Exhibits / Sections 7, 8 & 9

ELEVATIONS

M1.1C3.1

SCALE DRAWINGSPROJECT PHASE

T H E D E S I G N M I N D S, I N C.C

National Park Service - Pullman National Monument Concept Design As noted Exhibit Plan (Clean) 01.20

0 1 2 3 4 FT

FLOOR PLAN - Exhibit Plan Scale: 1/8" = 1'-0"

C O U R T S

P U L L M A N

R A I L R O A D S

B O Y C O T T D E M A N D

T R O O P S

U N I O N

L A B O R

W A G E S

S T R I K E

PROTEST

p q rs abc def gh ijk lmn oa bcd e

ELEVATION - Sections - 07.01 ,, 07.02 07.06 & 07.07 Scale: 1/2" = 1'-0"1 0 1 2 3 4 FT

ELEVATION - Sections - 07.01 ,, 07.02 07.06 & 07.07 Scale: 1/2" = 1'-0"1 0 1 2 3 4 FT

ELEVATION - Sections - 07.01 ,, 07.02 07.06 & 07.07 Scale: 1/2" = 1'-0"1 0 1 2 3 4 FT

...if employers will consider employees as thoroughly essential to industrial success as capital, and thus take labor into consultation at proper times, much of the severity of strikes can be tempered and their number reduced.”

US STRIKE COMMISSION / 1894

The Pullman Strike and consequent boycott have assumed the proportions of the greatest battle between labor and capital that has even been inaugurated in the United States.”

NEW YORK TRIBUNE / JUNE 29, 1894

From the Haymarket Affair in 1886 spurred by the fight for the eight-hour day, to the Pullman railroad strike in 1894 over corporate greed and poverty, to the Memorial Day Massacre during the “Little Steel” strikes in 1937, Chicago’s rich labor history stems back to the formative years of our nation’s economy and the modern labor movement.”

CHICAGO FEDERATION OF LABOR / 2018

60"

If you worked at Pullman, would you have joined the strike?

What rights do you think workers should have?

GL-07.00-600

The United States is in the grips of an economic crisis.

Twelve out of every 100 Americans are unemployed. The president’s popularity is plummeting. Sound familiar?

Throughout its existence, this country has faced a series of recessions and depressions, including the Panic of 1893. In the wake of this downturn, labor organizations, including the newly formed American Railway Union (ARU), sought to protect workers from slashed wages and lost jobs. The ARU prepared for a clash with the powerful General Managers’ Association (GMA), which included executives from the 24 railroads centered in or terminating at Chicago. GMA members implemented system-wide wage cuts and formed a united front against challenges from labor.

S N A P S H O T :

By the spring of 1893, the American economy was in disarray. Railroad shares, which had been the driving forces behind an investment boom in the early 1890s, were now on the verge of collapse.

On May 5, 1893, the bubble burst, and the Panic of 1893 struck. The day’s trading on the stock exchange floor was captured in this illustration from Frank Leslie’s Illustrated Newspaper.

Political cartoons routinely satirized the multiple sides of the economy and leadership. President Grover Cleveland is shown with his Secretary of the Treasury, a senator, and several representatives repairing a statue labeled “Prosperity.”

As often happens during times of crisis, politicians disagreed on the best ways to address the economic panic.

A little more than a year ago the car shops at Pullman were in a most prosperous condition, work was plenty, wages were high … Then came the great panic and depression of last summer … the only hope of getting orders was by bidding for work at [low prices], and this, of course, necessitated a reduction in the wages of the employees at Pullman.”

GEORGE PULLMAN / OFFICIAL STATEMENT TO “EXPLAIN THE POSITION

OF HIS COMPANY” IN 1894

GL-07.01-100

Frank Leslie’s Illustrated published this illustration of a despairing striker’s wife and child on July 26, 1894. The caption states, “...

the father and husband [is] led away to prison, leaving the wife destitute and helpless … to face as best she may the consequences of a misguided course for which she was in no wise responsible.” How do you feel about this caption’s interpretation of the strike’s effects?

This July 21, 1894 Harper’s Weekly illustration shows police clashing with a group of protestors near 43rd Street in Chicago.

S T R I K E A N D

BOYCOTT

TIM

ELI

NESR

IKE

US Attorney General Richard Olney, a lawyer for the railroad industry, convinced President Grover Cleveland that military action to end the strike was a necessary move. When it seemed that federal troops could not gain control, Chicago Mayor John Hopkins asked Governor Altgeld to send in the National Guard. State troops guarded Hotel Florence and other town sites during the strike.

The Pullman Company cuts wages and lays off manufacturing employees. On-board staff remained unchanged. Rents and other living costs remain the same in the town of Pullman.

Eugene Debs, secretary-treasurer of the Brotherhood of Locomotive Firemen, joins other dissident brotherhood officers to establish the American Railway Union (ARU), dedicated to uniting all rail workers—though the ARU did not replace the skilled railroad brotherhoods, which remained intact.

Over 18,000 workers are on strike and other local unions began striking as well.

Within the next few weeks, nearly all railroads out of Chicago shut down.

Nearly 260,000 railroad workers join the strike. National commerce is crippled.

A majority of Pullman employees join the American Railway Union.

Over the objections of Debs, the ARU bars African Americans from joining.

President Grover Cleveland and US Attorney General Richard Olney—a former lawyer for railroad owners—secure an injunction, or court ordered directive, to stop all strike activities, arguing that the strike and boycott violate the Sherman Antitrust Act and illegally disrupt the US Mail.

The Pullman Company fires three worker representatives for voicing their grievances to management. That night, the workers’ committee unanimously votes to strike.

Chicago Tribune declares the strike has “attained the dignity of an insurrection.”

John Egan of the GMA admits the railroads are “fought to a standstill.” President Cleveland dispatches federal troops to end the strike.

A delegation of strikers from Pullman appeals to the ARU at their National Convention held in Chicago. Seeing the far-reaching effects on rail workers across the country and George Pullman’s unwillingness to negotiate, Debs agrees to support the strike, despite feeling that confronting the powerful General Managers’ Association (GMA) is a lost cause.

The ARU calls upon workers across the country to boycott Pullman railroad cars.

Troops arrive in Chicago.

The strike and boycott, which had been peaceful, turn violent. Across the country, railroad equipment is damaged and physical violence results in the death of protestors. The town of Pullman remains quiet.

Authorities arrest Eugene Debs and others for conspiracy to block the federal mail. Federal marshals raid the ARU office. Protests continue in Chicago and across the country.

The ARU boycott officially begins when switchmen on a number of Chicago rail lines refused to switch Pullman cars. They are fired, leading other workers to protest.

The Pullman Company reopens its factory operations. Management rehires most workers who were on strike on the condition that they do not join a unionunion but blacklists many who supported the strike at its other shops. In the end, the strike cost the railroads millions of dollars. The use of military force and court-ordered injunctions strengthened the tools corporations and government officials used to impede unionization.

JUNE 28, 1894

MARCH–APRIL 1894

JULY 2, 1894

MAY 10, 1894

JULY 3, 1894

JUNE 1894

JULY 4, 1894 JULY 10, 1894

JUNE 26, 1894

AUGUS T 2, 1894

Illinois National Guard troops stood guard near Hotel Florence during the strike. Despite his concerns with military action, Governor John Altgeld ordered 4,000 state militiamen to Chicago to aid federal troops. The strike itself, combined with the presence of armed troops in the neighborhood, disrupted George Pullman’s vision for his model town.

As Pullman employees stopped work, the national ramifications on rail lines began drawing international media attention. The ARU’s call to boycott Pullman cars nationwide brought increased awareness to their cause and further increased tensions.

GL-07.02-100

The Pullman strike lasted less than three months, but the conflict shaped labor relations in the United States for decades. Not only did dozens lose their lives, but workers also questioned the value of their sacrifice as they watched the strikers go back to work with no raise in wages. Railroads lost millions in potential earnings, but won in the longer run as the American Railway Union collapsed, and Eugene Debs served six months in prison for conspiracy to halt the US Mail. The legal injunction against the strike affirmed the federal government’s power to protect interstate commerce, essentially empowering and encouraging judges to use court injunctions to stop strikes even when the strikers were doing nothing illegal.

Eugene. Debs went to prison for his role in the strike on July 23, 1894. On January 1, 1897, Debs formally announced he was a Socialist. He later became the most prominent spokesman for the new Socialist Party of America and ran for President of the United States five times.

THE STRIKE’S

OUTCOMES

In July 1894, President Grover Cleveland created the United States Strike Commission. Carroll D. Wright (United States Commissioner of Labor), John D. Kernan (a former Railroad Commissioner for New York), and Nicholas E. Worthington, (circuit judge of the Tenth Judicial District of Illinois) comprised this investigative body. The commission listened to testimony from many participants, including Eugene Debs and George Pullman, and published its findings.

The Pullman strike resulted in the damage and burning of dozens of railroad cars across the United States.This image shows the results of local labor violence outside of Pullman near Burnside Crossing and 104th Street in Chicago.

American workers risked their jobs by participating in the first Labor Day parade, held in New York City on September 5, 1882. Twenty-three states adopted the Labor Day holiday by 1894, signaling growing Labor unrest in response to Capitalism’s quick growth.

Amidst the tensions at the height of the Pullman strike and boycott, President Grover Cleveland signed a bill into law on June 28, 1894, finally declaring Labor Day a national holiday. Ten years later, a photographer captured this image during Chicago’s Labor Day parade.

• Demands taken seriously by companies, government, and media, increasing union power

• Labor Day established as a federal holiday

• Reputation of labor unions permanently damaged

• Strike ended with no raise in wages

• Power to protect interstate commerce affirmed—allowing future judges to use court injunctions to stop strikes and intervene

• President Cleveland increases power of the presidency

• Dozens of lives lost

• Many workers return with no raise in wages and are forced to sign pledges not to join a union

• Striking workers lost more than $1 million in wages

• Eugene Debs imprisoned, unions lose public sympathy

• Lost millions of dollars in potential earnings

• Damage and burning of dozens of railroad cars across the United States

• Discredited the idea of a paternalistic company town

• Loss of tax revenue

• Damage to public works

WINS

WINS

WINS

LOSES

LOSES

LOSES

R AILROAD COMPANIES

GOVERNMENT

UNIONS / LABOR LEADERS

GL-07.07-100

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

FRONT ELEVATION - Strike Perspectives Scale: 3/4" = 1'-0"

EUGENE V. DEBS, PRESIDENT OF

THE AMERICAN RAILWAY UNION

JENNIE CURTIS, PULLMAN

SEAMSTRESS & AMERICAN

RAILWAY UNION MEMBER

“We were cut lower than any of the men’s departments throughout the works ... on the day of the strike we could only earn ... from 70 to 80 cents a day.”

“I do not like the paternalism of Pullman, he is everlastingly saying, ‘What can we do for the poor workingmen?’...

The question, is what can we do for ourselves?”

GL-07.06-420

EUGENE V. DEBS, PRESIDENT OF

THE AMERICAN RAILWAY UNION

JENNIE CURTIS, PULLMAN

SEAMSTRESS & AMERICAN

RAILWAY UNION MEMBER

“We were cut lower than any of the men’s departments throughout the works ... on the day of the strike we could only earn ... from 70 to 80 cents a day.”

“I do not like the paternalism of Pullman, he is everlastingly saying, ‘What can we do for the poor workingmen?’...

The question, is what can we do for ourselves?”

GL-07.06-420

EUGENE V. DEBS, PRESIDENT OF

THE AMERICAN RAILWAY UNION

JENNIE CURTIS, PULLMAN

SEAMSTRESS & AMERICAN

RAILWAY UNION MEMBER

“We were cut lower than any of the men’s departments throughout the works ... on the day of the strike we could only earn ... from 70 to 80 cents a day.”

“I do not like the paternalism of Pullman, he is everlastingly saying, ‘What can we do for the poor workingmen?’...

The question, is what can we do for ourselves?”

GL-07.06-420

BULLETIN

THE PULLMAN

STRIKE

p q r s w x y z ab cde f g h i j k l m no

An economic depression struck the United States in 1893. The Pullman Company responded by both reducing its workforce and cutting wages. Rents in the town of Pullman, however, remained the same even as workers’ take-home pay plummeted. In May 1894, local Pullman workers went on strike.

In solidarity, members of the American Railway Union (ARU) and their leader Eugene Debs voted in favor of a national boycott of Pullman railroad cars the following month. National transportation and commerce were crippled. In July, President Grover Cleveland ordered federal troops to put an end to the strike. How did the Pullman strike shape

American labor history? Are there other ways to resolve conflicts without the use of force?

GL-07.00-000

pqrs abcdef ghijklmno abcde

PUSH THIS BUTTON

to show how different groups felt about the strike as it occurred.

The 1894 Pullman strike had many different players—factory workers, labor leaders, government figures, and the President of the United States all played key roles.

The interaction between these different forces determined the final outcome of the strike.

Pullman strike participants were not the only ones with strong views on these events. Global newspapers also covered the strike with great interest. Many reports depicted strikers as foreigners, contrasting them sharply with the federal soldiers called in to suppress the strike. Some editors warned of mobs, anarchy, and defiance of the law. Famous western painter Frederic Remington referred to strikers to strikers as a “malodorous crowd of anarchistic foreign trash” in Harper’s

Weekly. Many soldiers formed similar opinions. One soldier told Remington of the strikers: “Say, do you know them things ain’t human?—before God I don’t think they are men.”

P E R S P E C T I V E S malodorous crowd of anarchistic foreign trash

Painter FREDERIC REMINGTON / Referring to Strikers

HARPER’S WEEKLY

GL-07.06-400 / 100% size / 39" w x 14.5" h

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

63Scale: 1/2" = 1'-0" Section 7 / Strike Color Elevation

Railroad rails set at disruptive vertical angles create anchor for three AV screens, and the scrolling LED ticker above / Monitors can work independently and/or in sync with each other

Image panel with timelineBase platform for rail sculpture

Reader rail with push button for AV

Area panel suggestive of broadsides near worker’s gate

Faux stone wall segment connects to reproduction of worker’s gate

Larger image panels for greater variety in scale set at chaotic angles / panels stand off wall and angle down toward visitors

Mural with collage of newspapers and key words running behind rail AV sculpture

LED ticker display housed in scenic factory belt design with pulley ends / headlines scroll across and change

Vinyl quote on wall

Typical main panel with image panels breaking out of formal grid

Painted wall

Open ended questions panel

COLOR ELEVATION

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

64Detail / InteractiveScale : 3/4" = 1'-0"

PLAN VIEW - Strike Perspectives Scale: 1/2" = 1'-0"

6'-3"

0 1 2 FT

3'-6"

/2

PARTITION WALL

FRONT ELEVATION

Scale: 1/2" = 1'-0"2

8'-1"

ISOMETRIC VIEW

Scale: 1/2" = 1'-0"

SIDE ELEVATION

Scale: 1/2" = 1'-0"3

W

A L L

1'-2" 1'-9"

5'-0"

/4

FOCUSSED ARRAY SPEAKER

MOUNTED TO DROP CEILING

1'-2 1/2"

RAILROAD RAILS MOUNTED AT ANGLES TO

WALL

SCROLLING ELECTRONIC MESSAGE BOARD

EMBEDDED IN SCENIC LEATHER BELT AND

PULLIES

DIGITAL PRINT MURAL ON WALL WITH TEXT

(SEE GRAPHIC ELEVATIONS)

THREE (3) 40" MONITORS WITH MEDIA

PLAYER(S) AND METAL BEZELS. AUDIO

WIRING TO RUN UP BUILDING COLUMN TO

FOCUSSED ARRAY SPEAKER MOUNTED TO

DROP CEILING

THEMED READER RAIL AND GRAPHIC WITH

PUSHBUTTON TO ACTIVATE MEDIA

PRESENTATION

BASE PAINTED TO MATCH VINYL BASE

PP-1

PP-1

PP-1

INTERACTIVE DETAIL

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

65Main Gate Scenic Detail

PLAN VIEW

Scale: 3/8" = 1'-0"

4'-9"

11'-9"

2'-6 1/2" 3'-11 1/2"

7"3'-4 3/8"

6"

/4 "2

/2

FRONT ELEVATION - Main Gate Scene Scale: 3/8" = 1'-0"

1'-0"

/4

2'-2 3/4"

0 1 2 3 4 FT

SIDE ELEVATION

Scale: 3/8" = 1'-0"

2'-4"

SCENIC STONE WALLS

TO RESEMBLE "NIAGRA

SANDSTONE" BLOCKS

SCENIC WROUGHT IRON

GATE AND GRATE

SCENIC REPRODUCTION

OF HISTORIC GAS

LANTERN FIXTURE -

WORKING LIGHT WITH

FAUX GAS FLAME BULB -

SEE REFERENCE

PACKAGE

SCENIC SCALED DOWN REPRODUCTION

OF HISTORIC MAIN GATE TO FACTORY

COMPLEX - 80% OF FULL SCALE

(SEE SCENIC REFERENCE PACKAGE)

ISOMETRIC VIEW

Scale: 1:20

SCENIC EXHIBIT WALL WITH FAUX STONE

FINISH BY EXHIBIT FABRICATOR IS AN

EXTENSION OF FIXED WALL PROVIDED BY

THE GOVERNMENT - COORDINATE ROUTING

OF POWER FOR THE LIGHT FIXTURE

THROUGH THIS WALL

PP-3

MAIN GATE SCENIC DETAIL

Porter Elevation Scale: 1/2" = 1'-0"1

0 1 2 3 4 FT

0 1 2 3 4 FT

Model Town Elevation Scale: 1/2" = 1'-0"1

Porter Elevation Scale: 1/2" = 1'-0"1

0 1 2 3 4 FT

0 1 2 3 4 FT

Model Town Elevation Scale: 1/2" = 1'-0"1

On to Washington, ten thousand black Americans! Let them swarm from every hamlet, village, and town … Let them come in automobiles, buses, trains, trucks, and on foot. Let them come though the winds blow and rains beat against them, when the date is set.”

A. PHILIP RANDOLPH / CALLING FOR A MARCH ON WASHINGTON / 1941

60"

When have you or someone you have known faced racism in the workplace?

What can you do to prevent racial discrimination?

GL-08.00-600

I M A G E P A N E L S Many of the Pullman Company’s advertisements relied on selling the luxurious services provided by smiling Pullman porters. In reality, life as a porter was quite difficult. Many of these advertisements also stereotyped the porters. Indeed, many passengers simply referred to porters by the same name—George. Former porter Frank Rollins resisted, saying, “May I have your attention please. My name is Frank Rollins. If you can’t remember that, that’s OK. You can call me porter ... Just don’t call me ‘boy’ and don’t call me George.”

GL-08.01-290

After the Civil War, formerly enslaved people found work on Pullman’s sleeper cars as maids and porters. Being a Pullman porter meant long hours and sometimes demeaning work. For decades, porters had little to no say during periods of labor unrest. They had to fight longer and harder to achieve the same representation as other Pullman workers.

However, being a porter was also one of the best jobs available to black men at the time.

They gained access to a much wider world of possibilities outside the South, helping to create and enlarge the black middle class.

N E W P O S S I B I L I T I E S &

CHALLENGES

This schematic drawing shows a view of the town’s Market Square Residences. Beman designed these spaces as an add-on to the original town of Pullman in order to attract visitors in Chicago for the 1893 World’s Fair. Each building contained three apartments, one on the first floor and two on the upper floor.

Black women worked for Pullman as laundresses, maids, and female attendants beginning in the late 1800s. For some of these women, laboring in railroad cars could be a better alternative to cooking or cleaning as a domestic in American households.

GL-08.01-100

T H E

BROTHERHOOD

OF SLEEPING CAR PORTERS

Labor organizations did not welcome Pullman porters and other African American workers. A. Philip Randolph and Chicagoan Milton P. Webster led black organizers to create their own union, the Brotherhood of Sleeping Car Porters (BSCP), in 1925. Wives and female relatives of porters gave financial support to the Brotherhood and helped to convince black workers that unionizing could force social progress. The union leaders and members persisted until changes in labor law helped them force the Pullman Company to recognize the BSCP in 1935.

Two years later, the union signed its first collective bargaining agreement with the company. The BSCP was a source of inspiration and activism in African American communities and a catalyst for national change and Civil Rights through the 1960s.

The officers of the Brotherhood of Sleeping Car Porters in the 1930s. From left to right, the officers are: L. O. Mason, Bennie Smith, Ashley Totten, T. T. Patterson, A. Philip Randolph, Milton P. Webster, C. L. Dellums, and E. J. Bradley.

A. PHILIP RANDOLPH was the co-founder of the Brotherhood of Sleeping Car Porters and an activist in the civil rights movement. Randolph, members of the BSCP were at the forefront of the modern civil rights movement, from the 1955 Montgomery bus boycott through the push for the Civil Rights Act and the Voting Rights Act in the 1960s. In 1963, Randolph served as the head of the March on Washington for Jobs and Freedom, where Reverend Martin Luther King Jr. made his famous “I Have a Dream” speech calling for America to “make real the promises of democracy.”

Women played an integral role in the BSCP’s development.

Most of the fundraising to help fired workers came from the Women’s Economic Council Auxiliary, formed in 1925. More than just fundraisers, these women worked as labor activists demanding citizenship and consumer and workers’ rights.

GL-08.02-100

The Defender invites all to come north. Plenty of room for the good, sober, industrious men. Plenty of work…Anywhere in God’s country is far better than the southland.”

CHICAGO DEFENDER / FEBRUARY 10, 1917

P U L L M A N P O R T E R S

Porters were the public face of the Pullman product. Their reputation for impeccable service was essential to the luxurious experience of riding in a Pullman car.

George Pullman created a paid position that became an opportunity for the formerly enslaved men. His decision, however, to hire black men working mostly for tips and facing discrimination from many white customers lacked the dignity and rights that other workers had. What was it like to be a Pullman porter?

PULLMAN

PORTERS

OPPORTUNIT Y

OR E XPLOITATION?

GL-08.00-000

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

66Scale = As Noted Section 8 / Porters Color Elevation

Case for misc. artifacts

Reference for bench

Platform Bench AV screen Luggage sculpture frames AV element

Multiple image panels lead into text panels

Group image label

Main panels break constraints of the orderly frame

Themed are panel / title is embossed metal / suggestive of Porter’s metal hat badge

Mural print of schematic train drawing, wall color suggestive of steel car / includes embedded quotes

Columns clad to look like metal station posts with working lamp

Die-cut title archway with the look of painted metal

Group object label

CASE LAYOUT FOR

PLACEMENT ONLY

Open ended questions panel

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

67Section 8 / Porters Case DetailScale = 3/4"= 1'-0"

PLAN VIEW - Section 8 Porter's Case Scale: 3/4" = 1'-0"

0 1 2 FT

3'-0" 3'-4"

/4

/4

5"

FRONT ELEVATION

Scale: 3/4" = 1'-0"

ISOMETRIC VIEW

Scale: 3/4" = 1'-0"

SECTION

Scale: 3/4" = 1'-0"

CASE INTERIOR VOLUME = 32 CUBIC FT

1 + 1/2 DESICCANT CASSETTE @ 26 CFT = 39 CFT

ARTSORB OR EQUAL

LIGHT ATTIC VENTS

LIGHT ATTIC ACCESS DOOR HINGES UP

ONE 3/8" THICK GLASS DOORS HINGE OUT -

TOP AND BOTTOM EXTRUSION AND LOCKS

HIDDEN BEHIND LIGHT ATTIC AND BASE

ACCESS PANELS

FOUR LEVELING FEET

PASSIVE CASE CONDITIONING WITH

DESICCANT TRAY

LED TRACK LIGHTING FIXTURES

(CL-1) WITH DIMMER MODULE

TRANSLUCENT ARCYLIC DIFFUSSER PANEL

CLEAT MOUNTED BACK PANEL AND SIDE

PANEL PAINTED

PAINT

LEFT SIDE IS SOLID AND

PAINTED

AV MONITOR

SCENIC SUITCASES - SECURE TO EACH

OTHER AND THE PLATFORM - TREAT WITH

CLEAR RESIN FOR DURABILITY - SEE SCENIC

REFERENCE PACKAGE

SCENIC LUGGAGE PLATFORM - PAINT

BASE ACCESS PANEL - HIDDEN ROTARY LOCK

AND LIFT OFF

TOP OF PLATFORM AND

CASE FLOOR LOOK LIKE

WOOD FLOORING PAINTED

LP-4

LP-4

LP-4

LP-4

LP-4

LP-4

LP-3

LP-3

ARTIFACT MOUNTING, CASE LAYOUT,

AND CASE FURNITURE ARE TO BE

DETERMINED - PENDING ARTIFACT /

PROP INFORMATION FROM THE PARK

ALSO SEE TYPICAL CASE

DETAIL DRAWINGS

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

68Pullman Porters Arch & Column Cover DetailScale = 3/8" = 1'-0"

Plan - Porters Arch Scale: 3/8" = 1'-0"

14'-4 1/8"

13'-4 1/8"

R 6 1/8"

0 1 2 FT

Elevation - Porters Arch Scale: 3/8" = 1'-0"

/4

/8

Ø55'-10 1/2"

3D LETTERS

CNC CUT FROM 1" MDF

PIN MOUNTED TO UPPER / LOWER TUBES

PAINTED

CUSTOM POSTS

12" PVC TUBE

W/ CNC CUT CAP PLATE

CUSTOM CONICAL BASE

BOLTED TO FLOOR INTERNALLY

PAINTED

ARCH TUBE ASSEMBLY

1 1/2" SQ. ALUMINUM TUBE

ROLLED & WELDED TO POST MOUNTING

PLATES

BOLTED TO POSTS

W/ 1/2-13 HEX BOLTS INTO INTERNAL

BLOCKING

PAINTED

BUY OUT SCONCE

W/ FUNCTIONING LIGHT

BOLTED TO POST

PAINTED

/8

0 1 2 FT

Isometric

LP

3.1

LP

3.1

LP

3.1

LP

3.1

PORTERS ARCH & COLUMN DETAIL

ELEVATION - Section 09.01 Scale: 1/2" = 1'-0"4 0 1 2 3 4 FT

15 1

7 8

PROMPT QUESTION CAN BE CHANGED HERE?

SLIDING LETTERS FOR CUSTOMIZABLE PROMPTS?

NORTH EAST SOUTH WEST

TRAIN

TRAIN

TRAIN

TRAIN

P O S T Y O U R

T H O U G H T S

WHAT IS PULLMAN’S

LEGACY?

60"

This neighborhood is home to thousands of Chicagoans who have largely retained the unique look created by Solon Spencer Beman.

Contemporary labor leaders continue to discuss the lessons of the Pullman strike. George Pullman’s last name remains synonymous with luxury and comfort. The Pullman porters established greater opportunities for their children and grandchildren. What does

Pullman mean to you?

TTHE PULLMAN LEGACY

CONTINUES, EVEN THOUGH THE

COMPANY NO LONGER EXISTS.

I M A G E P A N E L S In 2015, Method and Ecover opened the doors to a brand new $30 million plant near Pullman National Monument. The opening of the new facility was significant, considering Pullman’s long legacy of manufacturing. The Method plant was the first new factory to be built on the South Side in nearly 30 years. Like the Pullman Company, Method collocated supplies within its planned manufacturing complex.

In 1981, the United Steelworkers Local 1834 union tried to keep the Pullman Company from shutting down its operations in Pullman, which would put several hundred people out of work. This image is a still from The Last Pullman Car, a documentary that focuses on the workers’ reactions as elected officials, the company, and the national union failed to help them keep their jobs.

On February 19, 2015, President Barack Obama signed a proclamation establishing Pullman National Monument. Former First Lady Michelle Obama is a descendant of a Pullman porter.

Pullman Hotels and Resorts is a brand of international hotels named after the Pullman Company. Though they are unaffiliated with the town of Pullman or the Pullman Company, this resort chain continues to market luxury to its guests. Advertising materials prompt guests to live the “Pullman Life.”

The Latino Union of Chicago collaborates with low-income immigrant and US-born workers to improve social and economic conditions. Their Immigrant & Worker Action Project empowers day laborers and household workers to organize for policy changes that improve their lives.

This city’s labor struggles are not just a thing of the past. In 2010, Chicago Federation of Labor (CFL) President Dennis Gannon worked to get Walmart to agree to a Community Benefits Agreement. Under this arrangement, Walmart would have agreed not just to a minimum wage, but also to hire local workers and to take steps to protect the environment. The CFL ultimately stopped supporting the effort due to pressure from city leadership.

GL-09.01-200

GL-09.01-000

THOUGHTS

P O S T Y O U R

WHAT HAS THIS EXHIBIT

MADE YOU THINK OR FEEL?

Please write your comments, questions, answers, or any other thoughts you may have and place your card on this message board.

GL-09.01-400

ELEVATION - Section 09.01 Scale: 1/2" = 1'-0"4 0 1 2 3 4 FT

15 1

7 8

PROMPT QUESTION CAN BE CHANGED HERE?

SLIDING LETTERS FOR CUSTOMIZABLE PROMPTS?

TRAIN

TRAIN

TRAIN

TRAIN

P O S T Y O U R

T H O U G H T S

PULLMAN EXPERIMENT

REFLECT ON THE

60"

THOUGHTS?

WHAT ARE YOUR

Please share your thoughts and place your card on this message board.

GL-09.01-400 / 100% size / 39" w x 13" h

This neighborhood is home to thousands of Chicagoans who have largely retained the unique look created by Solon Beman. Contemporary labor leaders continue to discuss the lessons of the Pullman strike. George Pullman’s last name remains synonymous with luxury and comfort. The Pullman porters established greater opportunities for their children and grandchildren. What does Pullman mean to you? How does the history here affect your life today? And what legacies of the Pullman story still resonate?

THE PULLMAN LEGACY

CONTINUES, EVEN THOUGH THE

COMPANY NO LONGER EXISTS.

I M A G E P A N E L S In 2015, Method and Ecover opened the doors to a new $30 million plant near Pullman National Monument. The opening of the new facility was significant, considering Pullman’s long legacy of manufacturing. The Method plant was the first new factory to be built on the South Side in nearly 30 years. Like the Pullman Company, Method collocated supplies within its planned manufacturing complex.

Companies, including Facebook and Google, have continued to expand on Pullman’s urban planning idea of a company town.

Both A. Philip Randolph and the Brotherhood of Sleeping Car Porters played major roles in the struggle for racially equality. The BSCP helped shape a black middle class in the United States and fueled the Great Migration of African Americans from the rural South to cities in the North and Midwest. During the Civil Rights Movement, BSCP members were seasoned organizers and established national networks of communication among activist groups. A. Philip Randolph, seen here with Martin Luther King Jr. and President Dwight Eisenhower, remained a leader in the movement and helped organize the 1963 March on Washington.

On February 19, 2015, President Barack Obama signed a proclamation establishing Pullman National Monument. Former First Lady Michelle Obama is a descendant of a Pullman porter. Activists and community members, many of whom were also descendants, have worked for decades to see the architecture and history of the community preserved. These decisions have prevented new developments, including affordable housing complexes, from being built in the community.

Pullman Hotels and Resorts is a brand of international hotels named after the Pullman Company. Though they are unaffiliated with the town of Pullman or the Pullman Company, this resort chain continues to market luxury to its guests. Advertising materials prompt guests to live the “Pullman Life,” pulling from the name Pullman branded to be synonymous with luxury and ease.

Just six days after the Pullman Strike’s end, Congress and President Grover Cleveland passed legislation designating Labor Day a federal holiday in honor of the contributions of the labor movement. This city and nation’s labor struggles, however, continued. In 1937 Chicago Police violently broke up union picnic. A. Philip Randolph continued to advocate for workers’ rights, organizing a March on Washington in 1941 (seen here). Today, unions and employers continue to renegotiate their relationship.

The Latino Union of Chicago collaborates with low-income immigrant and US-born workers to improve social and economic conditions. Their Immigrant & Worker Action Project empowers day laborers and household workers to organize for policy changes that improve their lives.

Many immigrants to Pullman and Chicago today face the same challenges as those of previous decades—securing affordable housing, finding a job with livable wages, and combatting negative perceptions.

GL-09.01-000 / 100% size / 24" w x 45" h

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

69Scale = As Noted Section 9 / Legacy Color Elevation

Train schedule reference for thematic bulletin board

Example of changeable marquee letters / potentially for prompt questions

Simple atypical area panel with embedded group image label

Rows could be included for inserting changeable billboard letters so Park can customize prompt questions? Maybe?

Thematic ‘train schedule’ bulletin board / open access where visitors can slip cards under the edges of the board’s framework

Painted wall

Large title / die-cut vinyl type

Reader rail with rail-like posts / includes angled surface for writing, inset cubby for blank cards, fixed pens, and catch rail along bottom edge

Image panel collage all with the same dimensions to give equal weight to each image

Large title / die-cut vinyl type

IMAGE NEEDED

Plan - Typical Train Railing Scale: 1" = 1'-0"

4'-2"

/2

/4

/8

3'-6"

/8

0 6 12 IN

5" 6 5/8"

3'-3" GRAPHIC

CARD SLOT

Elevation - Typical Train Railing Scale: 1" = 1'-0"

0 6 12 IN

Isometric - Typical Train Railing

Section Scale: 1 1/2" = 1'-0"

10 7/8"

1'-4

60.00°

/4

HPL GRAPHIC

BOTTOM EDGE CHAMFERED

EDGES & BOTTOM PAINTED

FLOOR MOUNTING PLATE

BOLTED TO FLOOR

W/ 1/2-13 HEX BOLTS

INTO HILTI DROPINS

PAINTED

FAUX RAILROD RAIL POSTS

LAYERS OF 1" MDF

SCULPTED, HARD COATED & PAINTED

CROSS TUBE & MOUNTING PLATE

1X3 ALUMINUM RECT TUBE

BOLTED TO POSTS

W/ GRAPHIC MOUNTING WELDED TO TOP OF

TUBE

AND BOLTED TO UNDERSIDE OF GRAPHIC

PAINTED

0 3 6 IN

PENCIL LIP

1 1/2 X 2 X 1/8 ALUMINUM ANGLE

SCREWED ONTO BOTTOM FACE

PAINTED

CARD POCKET

BUILT INTO RAIL

1'-1

GRAPHIC

ALL SURFACES PAINTED TO CLOSE MATCH

MATTHEWS CAST BRONZE MP7458

3/4" CHAMFER @ CORNERS

PP-1

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :

Scale = As Noted

P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

70Typical Train Rail Reader Rail Detail

READER RAIL DETAIL

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

71Scale = N/A

TACTILE MAP / SKETCHES

DETAIL

Tactile Map / Sketches

Flat-mounted or tabletop exhibits to be touched or closely approached, such as relief maps and tactile exhibits, shall allow for a clear knee space that is a minimum of 36 inches wide and 27 inches clear height above the floor surface.

California State Parks Accessibility Guidelines Figure 18-1, Flat mounted Tactile Exhibit

PAINTED ETCHED ZINC

Viable locations:

• Outdoors (not in harsh weather environments: wind blown sand, sea spray)

• Indoors

Cost: about 30-40% less than bronze

Maintenance/Durability:

• outdoor (not harsh weather, under cover is best) can last about 5 years until needing a little paint maintenance

“ Can barely read our outdoor panels after 7 years in full sun, however, under cover zinc looks nearly new.”

—NPS Chief of Cultural and Natural Resources

“ map in South Kensington installed four 4 years (in full sun a few hours a day) paint color is still good…only minor finger wear on some parts” —Owner of a tactile map company

• paint can sometimes scratch

• Paint used is called Chromodex (like automotive, but comes in a wide range of Pantone colors):

small touch up tins of paints could be supplied to client for dealing with small scratches; lacquer coat is applied on top.

• Use solvent-free cleaning materials

Total Depth: 3/32” deep, but can bond layers together to create more depth

Color: Full color

Proposed area covered by tactile map

Total Depth: can create full 3D poured (solid) or hollow

Color: 2-tone (polished, not polished), will patina over time;

areas where visitors touch a lot will becoming shiny/polished

Maintenance/Durability:

• Most durable

• Minimal maintenance

• Greatest longevity

“Bronze, no matter where we have it, rocks.”

—NPS Chief of Cultural and Natural Resources

BRONZE (for buildings applied to tactile map)

COLOR AND FINISH SCHEDULE REVISION DATE: 7/26/19

GOV - US Government EXH FAB - Exhibit Fabricator

CODE MATERIAL COLOR FINISH SIZE SUB PROD# MANUFACTURER SOURCE LOCATION COMMENTS

PAINTS

LP-P Latex Primer Harmony Primer BOTH B11W01500 Sherwin Williams Walls w/ Exhibit Murals LP-1 Latex Paint Believable Buff Flat BOTH SW 6120 Sherwin Williams Wall Paint

LP-1.2 Latex Paint Leisure Blue Satin EXH FAB SW6515 Sherwin Williams Blue Gray Frames LP-1.3 Latex Paint Respite Satin EXH FAB SW6514 Sherwin Williams Light Blue Inset LP-2 Latex Paint Sassy Green Flat BOTH SW6416 Sherwin Williams Green Walls

LP-2.1 Latex Paint Rookwood Red Satin EXH FAB SW2802 Sherwin Williams Red Columns / Accent LP-2.2 Latex Paint Renwick Olive Satin EXH FAB SW2815 Sherwin Williams Green Case / Accent LP-3 Latex Paint Respite Flat BOTH SW6514 Sherwin Williams Wall Paint

LP-3.1 Latex Paint Down Pour Satin EXH FAB SW6516 Sherwin Williams Blue Columns LP-3.3 Latex Paint Grizzle Gray Satin EXH FAB SW7068 Sherwin Williams Gray Station Sign LP-4 Latex Paint Pullman Brown Satin BOTH Custom Mix Sherwin Williams Train Exterior / Accent HEX #644117 / RGB 100/65/23

POWDER

PP-1 Powdercoat Paint Cast Bronze EXH FAB MP7458 Matthews Paint Reader Rail & Stanction Metal Components PP-2 Powdercoat Paint Gold Foil Metallic EXH FAB MP20354 Matthews Paint Picture Frames Faux Gold Leaf PP-3 Powdercoat Paint Grey Metallic EXH FAB MP18170 Matthews Paint Graphic Frames Gears, Trucks, Pulleys

WOOD

WD-1 Red Oak Beechwood Satin EXH FAB SW 3132-K Sherwin Williams Scenic Platforms WD-2 Reclaimed Wood Clear Satin EXH FAB Exh Fab Source Scenic Elements WD-3 Birdseye Maple Warm Chestnut Satin EXH FAB SW3114-K Sherwin Williams Main & Graphic Frames

LAMINATE

PL-1 Plastic Laminate Natural Beige Textured EXH FAB S2063T Nevamar Case Interiors PL-2 Plastic Laminate Concrete Stone Honed EXH FAB 7267-77 Formica Tactile Map Base

GLASS

GL-1 Safety Glass Clear 3/8" EXH FAB Exh Fab Source Large Artifact Cases Laminated Glass GL-2 Safety Glass Clear 1/4" EXH FAB Exh Fab Source Wall Graphics Laminated Glass

ACRYLIC

AC-1 Acrylic Clear - Non Glare 1/8" EXH FAB Exh Fab Source Graphic Panels

WALL BASE

WB-1 1/8" Vinyl Wall Base Fudge Toe 6" EXH FAB 167 Johnsonite Exhibit Kicks & Walls

FLOORS

FC-1 Modular Carpet Sediment Random 12" x 36" GOV 856 Mohawk Digital Terrain Exhibit Galleries FC-2 Modular Carpet Sediment Random 12" x 36" GOV 856 Mohawk Seismic Wave Exhibit Galleries FC-3 Modular Carpet Sediment Random 12" x 36" GOV 856 Mohawk Gravitational Exhibit Galleries FC-4 Broadloam Historic Pattern Custom Plush EXH FAB TBD Palace Train Car Scenic Element

Revised or Added for PD 1

P R O J E C T:

Pullman National Monument

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

72Scale = N/A Color & Finish Schedule

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I

73Color & Finish Sample BoardScale = N/A

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

74Scale = NA Historic Pullman Color Matches

COLOR MATCHES

SHERWIN-WILLIAMS PAINT (closest matches)

PARK-PROVIDED PAINT SAMPLES

PANTONE COLORS (closest matches)

Pantone 7610 C

SW 2802 Rookwood Red SW 2815 Renwick Olive SW 6167 Garden Gate

Pantone 451 C Pantone 5743 U

EXISTING SPACE / SITE PHOTOS

Pullman National Monument

D R AW I N G S :S C A L E :P H A S E :

© T H E D E S I G N M I N D S , I N C .

Production Documents I July 26, 2019

75Scale = N/A Existing Space / Site Photos

• Light streams into the exhibit space through the western and northern windows.

Consider taking steps to minimize outside light, while trying not to completely cover the grand window structures.

• Exhibits will have to work around and/or incorporate the posts that run down the center of the space.

• Consider which entryways can be closed off or opened up for access to the exhibit and retail areas.

• Define an area for the desk near the entryway, and leave room for the museum store and storage areas.

• The interior of the building is not considered “sacred.” We can attach to walls.

• The ceiling of the corridor space will drop down to accommodate additional floor space upstairs.

• Despite the additional floor, ceiling height will still be tall enough for projected imagery.

Our designs will utilize the dramatic height of the building’s interior spaces.

EXHIBIT SPACE CORRIDOR SPACE TEXTURES

ARCHITECTURAL MODIFICATIONS

Pullman National Monument

D R AW I N G…