Attchmt_3_Scope_of_Work.pdf

Solicitation no. 140P8318Q0078 – Attachment 3, Scope of Work (8/27/18)

Replace Exhibit Panels (Plan/Design/Fabricate/Install) Pearson Air Museum, FOVA

1. BACKGROUND

Pearson Air Museum, a part of Fort Vancouver National Historic Site, helps visitors connect to the history of aviation at Pearson Field. From its roots as a civilian air field, to its history as the site of a

World War I U.S. Army Spruce Mill and its transformation into an important Army Air Corps field between the World Wars, Pearson Air Museum helps provide a detailed look into the “golden age” of aviation at Pearson Field.

Between 1911-1913, Vancouver Barracks, and its polo field, was a central place for aviation enthusiasts to gather and try out their aircraft. During these early years, aviators wowed crowds with aerial acrobatics and feats.

When the United States entered World War I in 1917, the field became the site of the Spruce

Production Division's Spruce Cut-Up Mill, where spruce logged from the forests of the Pacific

Northwest was milled into aviation-grade lumber. The lumber produced by the Spruce Mill was used to construct Curtiss JN-4 aircraft for pilots in training, and De Havilland DH-4 aircraft for combat overseas.

In the early 1920s, the Spruce Mill was demolished, and the field once again became an air field, first known as the "Vancouver Barracks Aerodrome," and christened "Pearson Air Field," after Lt.

Alexander Pearson, in 1925. Beginning in 1923, the field was home to the 321st Observation

Squadron, 96th Division, commanded by Lt. Oakley Kelly and Lt. Carlton Bond.

Among the more notable aviation achievements tied to Pearson Field is the landing of the Douglas

World Cruisers, on their way to achieving the first aerial circumnavigation of the globe, at the field in 1924. Another highlight occurred in June 1937, when the Soviet Union launched the first trans-polar flight from Moscow with a three man crew, piloted by Valery Chkalov. After over three days of flying the ANT-25 aircraft piloted by Chkalov touched down at Pearson Field. The event put

Pearson Field, and Vancouver, Washington, on the front page of newspapers around the world.

Pearson Field was decommissioned by the Army Air Corps at the end of World War II, but it remains in service as a municipal airfield within the national park, and is one of the oldest continuously operating airfields in the United States.

2. PURPOSE

The purpose of this contract is to provide exhibit planning, design, fabrication, and installation of new exhibits to replace outdated and worn exhibit panels in Pearson Air Museum.

3. SCOPE OF WORK

Independently, and not as an agent of the government, the contractor shall provide all design-build exhibit services for exhibits at the Pearson Air Museum. Work includes labor, materials, equipment, facilities, and travel necessary to provide Fort Vancouver National Historic Site with the development of museum interpretive exhibit planning, design, fabrication, and installation.

Exhibits may include, but are not limited to, graphic panels, display cases, lighting systems, audiovisual presentations, interactive programs, photographs, display transparencies, dimensional maps and displays, replicas, and associated structural elements such as display walls, platforms, barriers, and other display support structures.

The outdated and worn exhibit elements to be removed consist of 29 exhibit panels and various

(but minimal) attached or imbedded A/V or interactive elements. The current exhibit panels are installed around the perimeter of the main hangar that forms the heart of Pearson Air Museum.

The space available for this design-build project is constrained by wall murals; aircraft and other existing exhibits on the floor of the hangar as well as suspended above; doors and other circulation spaces; and fire system elements. Within the scope of this project, no museum collection items shall be approved for permanent display, though rotating object display options or reproductions/replicas are acceptable.

In addition to the exhibit panels being replaced, there are newer, existing exhibit panels that will remain in the museum. The design and materials proposed as a part of this contract should be complementary to the design and materials utilized for these panels and other existing elements within Pearson Air Museum. The existing panels are mostly high-pressure laminate.

The panels being replaced present the chronology and historical highlights of Pearson Field, which focus on the following interpretive themes and events:

Early aviation experimentation on the polo and parade ground adjacent to Vancouver Barracks, including Lincoln Beachey’s 1905 dirigible flight from Portland to Vancouver and activities by early aviators such as Charles Walsh and Silas Christofferson prior to the start of World War I. (1905-1917)

The Spruce Production Division and the Vancouver Cut-Up Plant, reflecting innovations in aircraft design and industry and support of the Allied air war effort. (1917-1919)

Activities and personnel of the U.S. Army Air Service at Pearson Field, particularly the 321st

Observation Squadron. Subthemes include forest fire spotting, aerial photography, crop dusting and

Lieutenant Oakley Kelly and Carlton Bond’s efforts to expand the influence of aviation in the Pacific

Northwest. (1923-1941)

Notable aviation occurrences involving Pearson Field during the interwar period, such as the 1924

Douglas World Cruiser’s stop, 1929 landing of the Soviet ANT-4, and Valery Chkalov’s completion of the first transpolar flight in 1937. (1923-1941)

Air mail and civilian aviation activity, including the development of Pacific Air Transport (the precursor to United Airlines), and the presence of famed early 20th century flight instructor, “Tex”

Rankin at Pearson Field (1925-1941).

All work under this contract shall be performed as specified herein, and in accordance with these attachments:

Attachment A, National Park Service (NPS) Standard Exhibit Planning, Design, and

Fabrication Specifications (hereinafter referred to as “Attachment A”).

Attachment B, NPS Harpers Ferry Center (HFC) Programmatic Accessibility Guidelines for NPS

Interpretive Media (hereinafter referred to as “Attachment B”

Attachment C, NPS HFC Editorial Style Guide (hereinafter referred to as “Attachment C")

Attachment D, NPS Standard Fabrication Specifications (hereinafter referred to as “Attachment

D”. This document will be made available after award.

The contractor is responsible for all work required under this contract, including the work of all subcontractors.

A design-build exhibit services project requires many of the same work elements as a project that is planned and designed under one contract, then produced under a second contract. To maintain consistent standards for all National Park Service exhibit development, the design-build exhibit services scope of work uses many of the same specifications that have been developed for separate museum interpretive exhibit planning and design, museum interpretive exhibit production, and audiovisual contracts. However, the process in which these specifications are applied is different. See Attachment 6, NPS Museum and

Visitor Center design- build Process Flowchart and Summary Description for a description of the process.

The primary differences in a design-build exhibit services project that affect the development process include:

The scope of work, cost, schedule, and personnel for production and installation are contractually agreed upon up front, prior to development of the design.

Since the production scope of work cannot be based on detailed design documents, other criteria shall be used, including: agreement on the nature of the completed exhibits (for example: whether the exhibit consists mostly of two dimensional graphic panels, if it is artifact rich); identification of the general size, type, and configuration of the exhibit space; target cost for exhibit production

(excluding planning and design); and the contractor’s agreed upon level of effort during the Pre-

Production, Production, Installation, and Closeout phases of work.

Although a fixed-price is determined at time of award before work begins, the contractor shall be responsible for preparing increasingly detailed production cost documentation throughout the project to insure that the value of the completed product is in line with the originally awarded price and level of effort.

The contractor is responsible for managing the transition from planning and design to production.

Design-build exhibit services eliminate the tasks required to develop a formal solicitation package for production, and reduce the work needed to transition the project from planning and design to production. A streamlined coordination and transition process is used, allowing individual project elements to move into production as soon as they are ready, while giving additional development time to elements that need it without delaying the entire project.

To ensure continuity, accountability, and coordination, each member of the contractor’s project team shall be available as needed throughout the entire project. For example, production specialists shall be consulted during the planning and design phases, and the project designers shall consult, review, and art direct during production and installation.

A. Project Management

The contractor shall assign a Project Manager to oversee the contract to ensure that scheduling, coordination, oversight, and communication is effectively accomplished for all work produced for Fort Vancouver National Historic Site.

(1) The contractor’s Project Manager shall be the primary point of contact between the contractor and Fort Vancouver’s Contracting Officer’s Representative (COR) for this contract. The Project Manager shall perform the following work:

(a) Notify the Contracting Officer and Contract COR of any changes to the contractor’s business operations that affect work under this contract, including but not limited to:

(i) Changes to contractor’s address, telephone, and other contact information.

(ii) Proposed changes to key personnel.

(iii) Workload or capacity issues affecting the ability of the contractor to accept additional work.

(b) Communicate with the Contracting Officer and Contract COR regarding major or broad issues affecting task orders written under this contract, including but not limited to:

(i) Clarification of work processes that are acceptable or unacceptable to the government under this contract.

(ii) Informing Contracting Officer and Contract COR of misunderstandings, inconsistencies, or conflicting instructions encountered when working with different parks and different task order CORs.

(2) The contractor’s Project Manager shall be the primary point of contact between the contractor and the park’s COR and shall perform the following work:

(a) The 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.

(b) Provide quality control to ensure that all elements of project work meet the requirements identified in the NPS specs and as agreed upon between the contractor and 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, meetings, shipments, deliveries, and installation with the COR.

(d) Travel as required and attend meetings with the Contracting Officer, COR, park staff, and other project stakeholders.

(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 immediately if government-furnished materials are unsatisfactory for their intended purpose, not received in time to meet critical milestones, or damaged while in the contractor’s possession.

(f) Coordinate and ensure that all work is in accordance with the specifications referenced by this contract.

(g) Coordinate with the Curator, Assistant Curator, Chief of Interpretation /

Museum Manager, Facility Manager, and other project team members responsible for the installation at the Pearson Air Museum.

(h) Inspect completed exhibits, including the work of subcontractors, prior to final inspection by the COR and shipment to the site. Ensure that all elements of the project are complete and ready for the final inspection. The

Project Manager shall notify the COR prior to the inspection if any elements will not be ready for final inspection as scheduled.

(i) Ensure that all exhibits are delivered and installed as scheduled. In the event that the COR reports problems during or after shipment, delivery, and/or installation, the Project Manager shall:

(i) Determine the nature of the reported problem, damage, or production error and provide a proposal for resolution to the COR for review and approval; and

(ii) Ensure that approved corrections or repairs are made in a satisfactory manner within the time scheduled by the COR.

B. 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 its goals are understood and realistically attainable within the budget, schedule, and other specified parameters.

(1) Review all government-furnished materials and direct any concerns and questions to the COR.

(2) Key to Pre-Design phase is Contractor’s visit to Fort Vancouver National

Historic Site in Vancouver WA. to complete the following tasks:

(a) General project review, including discussion of the following:

(i) Contracting Officer and COR responsibilities.

(ii) Specifications and other work requirements.

(iii) Special contract requirements.

(iv) Correspondence procedures.

(v) Subcontractors.

(vi) Delays and extensions.

(vii) Contract modifications.

(viii) Changes.

(ix) Submittals.

(x) Project schedule.

(xi) Billing and payment procedures.

(b) Participate in park-led orientation to park experience.

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

(d) Inspect and document architectural space.

(e) Conduct Exhibit Planning Workshop.

(i) Analyze space and propose recommendations.

(ii) Review existing planning documents.

(iii) Review and/or develop design criteria.

(iv) Review interpretive themes, goals and objectives.

(v) Define target audience.

(vi) Define the desired visitor experience.

(vii) Document results of workshop.

(3) Identify sources for existing media resources, and develop Resource Package

Abstract as specified in Attachment A, Section 10, Resource Packages.

(4) Develop Project Brief including:

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

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

(c) 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.

(d) Life-cycle cost goals for ongoing operational expenses and cyclical maintenance costs for the exhibition.

C. Schematic Design

Work in this phase is focused on organizing both the interpretive content and physical layout of the exhibits. Major stories, exhibit elements, and presentation techniques are illustrated and described.

(1) Schematic Design tasks include:

(a) Content Research – Using park provided materials, develop Resource

Package Level I as specified in Attachment A, Section 10, Resource

Packages.

(b) Develop Schematic Design Document –

(i) Bubble diagrams as specified in Attachment A, Section 13.3, Exhibit

Design Drawings.

(ii) Written descriptions, including how designs accomplishes the established project goals.

(iii) Preliminary sketches.

(iv) Class B Production Estimate and life-cycle cost estimates for each alternative as specified in Attachment A, Section 6, Production Cost

Estimates.

(c) Present Schematic Design Plan as specified in Attachment A, Section 4, Travel, Meetings, and Presentations.

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

(i) Resource Package Level II, with its content integrated into exhibit walkthrough description as specified in Attachment A, Section 10, Resource Packages.

(ii) Class B Production Estimate and life-cycle cost estimates for preferred alternative as specified in Attachment A, Section 6, Production Cost Estimates.

(e) Present Schematic II Plan as specified in Attachment A, Section 4, Travel, Meetings, and Presentations.

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

D. Design Development

Work in this phase 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. It focuses heavily on developing all interpretive content in detail, with continued design refinement to insure effective presentation of the content within the exhibit.

(1) Design Development I tasks include:

(a) Develop all individual exhibits including:

(i) Exhibit Design Drawings as specified in Attachment A, Section

13.4, Exhibit Design Drawings.

(ii) Sample graphic layouts / graphic approach / typography as specified in Attachment A, Section 15.3, Graphic Layouts and Digital Graphic

Files.

(iii) Propose material, finish, and color selections as specified in

Attachment A, Section 14.4, Material, Color, and Finish

Specifications.

(b) Establish Content Management Database as specified in Attachment A, Section 11, Content Management, including entries for the following:

(i) Interpretive purpose or objective for each exhibit.

(ii) Text Level I as specified in Attachment A, Section 12, Text.

(iii) Major images.

(iv) Major artifacts and display objects.

(v) Major audiovisual and interactive elements.

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

(i) Overview including an exhibit walkthrough narrative.

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

(iii) Updated Class B Production Cost Estimate and life- cycle cost estimate as specified in Attachment A Section 6, Production Cost

Estimates.

(d) Present Design Development I Report as specified Attachment A, Section 4, Travel, Meetings, and Presentations.

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

(2) Design Development II tasks include:

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

(i) Database reports as specified in Attachment A, Section 11, Content

Management including:

(a) Comprehensive Exhibit Plan.

(b) Image Schedule.

(c) Image Facsimile Sheets.

(d) Artifact and Display Object Schedules.

(e) Artifact and Display Object Facsimile Sheets.

(b) Prepare and submit Design Development Graphic Layout Package including all draft text (Text Level II) as specified in Attachment A, Section 15.3, Graphic Layouts and Digital Graphic Files.

(c) Prepare and submit updated Exhibit Design Drawings as specified in

Attachment A, Section 13, Exhibit Design Drawings.

(d) Prepare and submit updated Class B Production Cost Estimate and life-cycle cost estimate as specified in Attachment A, Section 6, Production Cost

Estimates. In addition, update the list or description of materials and functional characteristics that are assumed in your Production Cost

Estimate.

(e) Present Design Development II Submittals as specified in Attachment A, Section 4, Travel, Meetings, and Presentations.

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

E. Content Specialties

By completion of Design Development, requirements shall have been identified for all exhibit content. Creation, acquisition, and preparation of this content for use in the exhibition shall commence as soon as the design direction has been finalized, enough information is available to guide the specialists who will be completing the work, and the

COR reviews and furnished written approval. Content Specialty tasks include image acquisition, and creation of audiovisual and interactive programs, Completion of each task must be scheduled to support the workflow established for Pre-Production, Production, and

Installation.

(1) Acquire all pre-existing images (such as historic photos and art, and stock photography) required for the exhibition as specified in Attachment 4, National

Park Service Standard Planning & Design Specifications, Section 17, Image

Acquisition including:

(a) Verify all image sources, availability and restrictions on use. Consult with

COR to select replacement images where necessary.

(b) Negotiate and purchase use rights. Provide signed agreements or other appropriate documentation approved in advance by the COR.

(c) Obtain reproducibles (photographs, negatives, transparencies or image scans) of suitable quality for the intended use. Copies of these reproducibles shall become government property.

(d) Return all original images to the owners as required by the use agreement.

(2) IF APPLICABLE, acquire and prepare artifacts for the exhibition as specified in

Attachment A, Section 18, Object Preservation and Protection, and NPS Exhibit

Conservation Guidelines including:

(a) Finalize Artifact Schedule.

(b) Provide resumes of proposed conservators to the COR for review if not previously submitted as part of the contractor’s proposal.

F. Pre-Production

Work in the Pre-Production phase includes all tasks necessary to prepare the approved design for production, including production planning, design and content revisions necessary for production, final graphic production files, shop drawings and technical specifications, production samples, prototypes, and mock-ups.

(1) Finalize the planning for Production including:

(a) Prepare detailed Production and Installation schedule.

(b) Travel to project site and inspect the exhibit space; document all issues affecting exhibit installation.

(c) Submit Class A production budget and updated life-cycle cost estimate to

COR for review and approval as specified in Attachment 4, National Park

Service Standard Planning & Design Specifications, Section 6, Production

Cost Estimates.

(2) Revise all content and design details required for production including but not limited to:

(a) Substitution of materials due to availability and design changes.

(b) Corrections of design and content errors.

(c) Revisions required to accommodate the as-built exhibit space.

(3) Organize all graphic source material for production and archiving as specified in

Attachment D, Division 6.4, Graphics.

(4) Prepare all graphic production files and submit printed proofs for review as specified in Attachment A, Section 15.4B, 15.5, 15.6, Graphic Layouts and Digital

Graphic Files.

(5) Submit corrected, full-size paper proofs for all graphics as specified in Attachment

D, Division 3.2.C.1a, Samples/Mock- ups/Prototypes.

(6) Prepare all drawings and technical specifications for production as specified in

Attachment D, Division 2, Fabrication Drawings.

(7) Submit samples, prototypes, and mock-ups as specified in Attachment D, Division

3, Samples/Mock-ups/Prototypes.

G. Production

Work in the Production phase includes fabrication of structures, production of all graphics, acquisition of all equipment and other purchased items, completion of all content specialties, and integration of all elements of the exhibition in preparation for installation.

(1) Provide fabrication of all exhibit elements including, panels, platforms, artifact cases, cabinets or kiosks containing computer equipment, vitrines, or other elements that constitute the basic structural elements of the exhibits as specified in

Attachment D, Division 4, Exhibit Structures.

(2) Purchase, fabricate, assemble, install into buildings and exhibit structures, and thoroughly test all electrical, electronic, and mechanical devices; this includes lighting. Install audiovisual equipment into exhibit structures, including electrical components to provide and ensure fully operational audiovisual systems for each exhibit unit as specified in Attachment D, Division 5, Electrical/Electronic.

(3) Produce all exhibit graphics as specified in Attachment D, Division 6.8, 6.9, 6.10, and 6.11, Graphics.

(4) Provide fabrication of artifact mounts, installation of artifacts into exhibit cases, and silica gel humidity ballast for conditioning of exhibit cases as specified in

Attachment D, Division 7, Conservation Guidelines.

H. Installation

Work in the Installation phase includes demolition of existing fixtures, shipping, set-up and installation of all exhibit elements so that they are complete, fully operational, and ready for use as specified in Attachment D, Division 8, Setup and Installation. Basic preparation of the exhibit space, such as wall painting behind and adjacent to exhibits, is required.

(1) Provide site preparation, including demolition and removal of old exhibits, and repair of interior finishes, as designed.

(2) Provide installation of all elements designed, fabricated, and acquired under this contract.

(3) Provide an operational training session, maintenance kit, manual, and instructional video to the park maintenance staff upon completion of the exhibit installation.

I. Closeout

Work in the Closeout phase includes preparation and organization all exhibit production material for submittal to the COR and closeout of the project as specified in Attachment D, Division 9, Project Closeout.

(1) Provide warranty service for defects in materials and workmanship for one year following final acceptance of project.

(2) Provide Summative/Remedial Evaluation in accordance with Attachment A, Section 7, Exhibit Evaluation.

(3) Provide photo documentation of the completed exhibit.