RESPONSES_TO_BIDDER_QUESTIONS_FOR_RFP_33330218RT0010031.pdf

RESPONSES TO BIDDER QUESTIONS FOR RFP 33330218RT0010031 to design the East End Exhibits for the National Air and Space Museum (NASM) dated May 25, 2018

RFP PROCESS/ CLARIFICATIONS

1. We would be most interested in visiting the site – is this something you’d be able to facilitate?

SMITHSONIAN RESPONSE: No, the spaces are all currently accessible to the public and the designer will be working with a black box gallery. Please review the floor plans provided with the RFP.

2. page 78 – 3) a) iv.:„if major subcontracting is contemplated“ Can you please specify the exact % or volume that would be considered „major“?

SMITHSONIAN RESPONSE: We would like to see information on firms doing 20% or more of the total value of the jobs.

3. -page 79 – 4) b) „when subcontractors will perform critical aspects of the work“ Can you please specify what the „critical aspects" are considered to be?

SMITHSONIAN RESPONSE: Work that was included on the critical path or affected life safety.

4. As for the second, finished, project, we would like to ask you to send us the evaluation matrix to select the most adequate example and obtain the maximum points. Can you provide this matrix?

SMITHSONIAN RESPONSE: Yes, it was included in the RFP. See attachment J.12 Past

Performance Factor Templates.

5. -[RFP Page 77: L.5.1 Volume I: Technical Proposal]: Submit a narrative and visuals Can 11x17 sized paper be incorporated into our Approach response? Or, should the entire submission be on 8.5 x 11 paper?

SMITHSONIAN RESPONSE: 11x17 is acceptable.

a. To confirm, is the 10-page limit refer to 10 single-sided pages?

SMITHSONIAN RESPONSE: 10 sides.

b. Does the project team need to include a DC based Architect of Record?

SMITHSONIAN RESPONSE: No, but they have to be registered in DC.

c. Does the base price need to include costs for Mechanical and Structural Engineers?

SMITHSONIAN RESPONSE: Yes.

d. Please confirm that the "completion of graphics" does not include fabrication.

SMITHSONIAN RESPONSE: Correct, completion of graphics does not include fabrication.

6. We are a Europe-based exhibition design agency. Is it a prerequisite that the Offeror be based in the US?

SMITHSONIAN RESPONSE: No

7. [RFP] Page 78: 3) Factor 3: Provide letters of commitment for the parties (planned employees, subcontractors and/or consultants) involved . Should these letters be provided in the Factor 3 Section, or, as an appendix to the proposal?

SMITHSONIAN RESPONSE: They should be provided in the Factor 3 Section.

8. With regard to section C.2.g (Page 23), please describe in more detail the “line” separating “multimedia design” from “multimedia production” in this contracting delivery method. Where does “design” stop?

SMITHSONIAN RESPONSE: Media Design runs through 65% when the design is developed far enough to inform production pricing.

9. In order to inform our creative effort to develop visuals as required for Factor 1 (page 77), is it possible to obtain a package of material that illustrates the design of the West End Exhibits, including the “Precedents” described in section C.2.5.q (page 29), so that we might better understand the design approach taken in those galleries and how that might be adapted and incorporated into design considerations for the East End exhibits?

SMITHSONIAN RESPONSE: We will share the west end designs if a bidder requests that by sending an email to Debra Berke berked@si.edu and signing a non-disclosure agreement in advance of receipt of the drawings.

mailto:berked@si.edu

10. What information should be included in the “Past Project Information” line (page 4)

SMITHSONIAN RESPONSE: Please see p.79 of the RFP, L.5.1 4)Factor 4 Past

Performance

11. Re section H.6.2 (page 60), is it possible for NASM to provide an example template of a Requirements Compliance Matrix that meets expectations?

SMITHSONIAN RESPONSE: No, please read the requirements and respond accordingly.

12. [RFP] Page 78: 3) Factor 3: Provide letters of commitment for the parties (planned employees, subcontractors and/or consultants) involved . Should these letters be provided in the Factor 3 Section, or, as an appendix to the proposal?

SMITHSONIAN RESPONSE: They should be provided in the Factor 3 Section.

13. [J12] Page 4-5: Attachment C.

When offerors are providing this Questionnaire to their evaluators, do they first complete the sections about the “Evaluator” Line (e.g., Please email this form to, Past project information”)?

SMITHSONIAN RESPONSE: This Questionnaire was provided for information only. This is the template NASM will use when calling references.

14. When images are integrated into the text, are we still held to the 10 pages in the project approach? Ref: pg. 77

SMITHSONIAN RESPONSE: 10 sides (5 pages) worth of text. Images can be included but the total information can't exceed 10 sides (5 pages)

15. Can you confirm that it is acceptable to modify Attachment B to include images of relevant projects? Ref: Attachment B

SMITHSONIAN RESPONSE: If you are referring to J.12 Past Performance Factor

Templates’ Attachment B, you can add attach images.

16. FACTOR 1 - Approach to NASM Exhibit Design Scope: Could you please confirm if the 10 page narrative covers our response to all 10 galleries, or if this is per gallery?

SMITHSONIAN RESPONSE: 10 pages for all galleries not per gallery.

17. Page 4, OPTION #5 – How many Advancement Renderings are required?

SMITHSONIAN RESPONSE: Advancement has periodic need for renderings. Plan on 2 per month.

18. Page 6, C.1.3 – Who are the West End Exhibit Designer and the Commons Designer?

SMITHSONIAN RESPONSE: West end is Haley Sharpe Design, Commons is PGAV

19. Would you consider projects that aren’t completed, but are in fabrication, as a suitable prerequisite for the completed project?

SMITHSONIAN RESPONSE: One of the examples must have been fabricated and completed; the other can be in the process of fabrication.

20. Would you accept a completed project, if it was developed by an exhibit design firm that is no longer in business and the key personnel are now part of our exhibit design team pursuing this project?

SMITHSONIAN RESPONSE: If it meets the stated criteria and the key personnel can be clearly associated with the completed project.

21. RFP Page 24, C.2 Summary Scope of Design Services and Design Requirements - Item ‘t’:

This advises contractor is responsible for all specifications, drawings and associated materials necessary for the fabrication, conservation and stabilization, construction and installation of the exhibition. Please can NASM clarify the level of ‘construction’ and installation drawings expected, given that the SOW design package for exhibit design is handed over to a third party on completion of the 65% phase for generation of production drawings by the successful contractor.

SMITHSONIAN RESPONSE: The Contractor is responsible for the 65% design documents that will lead to construction and installation documents. The 65% design document shall have enough information so that the requirements of the project are specified and fabricators can price the project without constraining them to specific fabrication means and methods. Fabricators will complete the design of the project via shop drawings submittals after the award of the fabrication contract.

22. What is the anticipated time frame from contract award to commencement of the initial planning meeting and following the 10% charrette in which time all current project documentation will be available for review by the exhibit designer.

SMITHSONIAN RESPONSE: The current project documentation to date will be available immediately upon design award.

23. RFP Page 38, “* Please Note”: In order to appropriate required resources at bid stage is there a budget or number count for all the artifact mounts for which this contract is tasked to generate the integration design and production information?

SMITHSONIAN RESPONSE: A rough estimate of artifact mounts is 1266.

24. Please clarify the NASM Exhibit Teams structure and plan for contractor interaction with them. Will there be 10 NASM exhibit teams – one per gallery - and will there be a point of contact at NASM, who will generally manage the Exhibit Teams and communications between them and the contractor?

SMITHSONIAN RESPONSE: There are three Design Managers (each DM has 2-3 galleries) and one Project Manager. The DM's and PM will be the main POCS for the contractor communication. DM's will be the liaison regarding content/design development. The PM will focus on logistics, invoicing, process, schedule, scope and budget.

RFP PRICING

25. The RFP refers to both “NTE amounts for optional phases” (B.1, Page 2), AND FFP bids (section B.4, Page 4); the attached Bid Sheet (J.9) requires Firm Fixed Prices for each option—Are we to provide Not To Exceed Bids or Firm Fixed Price Bids for each option?

SMITHSONIAN RESPONSE: All amounts in this contract are Firm Fix Prices with the exception of OPTION #4 - Media Production which is Not To Exceed.

26. In section B.4(Page 4) and on the Bid Sheet (J.9) Option 4 Media Production is indicated as an amount that is to be negotiated between the 35% and 65% phases. In reference to this:

a. If this cost is to be negotiated later, should we still provide a price at this time?

SMITHSONIAN RESPONSE: Provide a not-to-exceed price.

i. How should we price the Media Production given that we have not yet designed the exhibits or the role that media will play in them?

SMITHSONIAN RESPONSE: Please see Annex J.19 Media Production.

Phase one of the scope of the Media shall be price and executed during the following contract actions Base Bid, Option#1 and #2 of this scope of work. Phases two, three and four of Annex J.19 shall be price and executed under OPTION #4 - Media Production of this scope of work.

ii. If this pricing should be done as a Not To Exceed (NTE) cost, please provide the basis for determining that number for each gallery.

SMITHSONIAN RESPONSE: All amounts in this contract are Firm Fix Prices with the exception of OPTION #4 - Media Production which is Not To Exceed.

iii. As the cost proposal for this line item will be made on design work not yet completed, please consider providing a uniform NASM determined allowance, so that all offered proposals are based on the same assumptions.

SMITHSONIAN RESPONSE: Bidders shall provide an allowance based on the type of design that they intend to pursue. The museum will renegotiate any adjustments necessary to OPTION #4 - Media Production of this contract between the 35% design stage (Option #1) and the 65% design stage (option #2) of this scope of work.

iv. How does the “Note to subcontractors and consultants” in section C.2.6.j (Page 33) affect our ability to price Media Production?

SMITHSONIAN RESPONSE: Bidders shall provide an allowance based on the type of design that they intend to pursue. The museum will renegotiate any adjustments necessary to OPTION #4 - Media Production of this contract between the 35% design stage (Option #1) and the 65% design stage (option #2) od this scope of work.

27. Should the 15 copies of the presentation book provided in Phases II and III (C.4.9, page 39; C.5.10, page 47) be separated by exhibit (i.e. 150 books for each phase) or should the presentation books for each of the 10 exhibits be combined (for a total of 15 books for each phase)? Should 15 copies of the Charrette Report, 10% Concept Design Report, and other deliverables (C.3.6, page 36) also be provided at the end of Phase I?

SMITHSONIAN RESPONSE: One presentation book that shall have all the exhibitions in it.

28. We are assuming that our fee for lighting design scope would cover all galleries and within each gallery would include: overhead lighting, integral lighting, and lighting control systems. Please confirm. Ref: pg. 80

SMITHSONIAN RESPONSE: Yes, but the overall gallery lighting controls would be existing as part of the base building. The design scope would cover all of the above with the clarification that any lighting added to the base building would need to connected to the lighting control system and programmed. Any non-DMX controlled lighting added, such as specialty case or graphic lighting, would require a DMX interface and would have to be programed in the lighting control system as well.

29. GENERAL QUESTION: We are assuming that the fee for lighting design scope would cover within each gallery: overhead lighting, integral lighting, and lighting control systems. Please confirm.

SMITHSONIAN RESPONSE: Yes, but the overall gallery lighting controls would be existing as part of the base building. The design scope would cover all of the above with the clarification that any lighting added to the base building would need to connected to the lighting control system and programmed. Any non-DMX controlled

30. Normally, we provide an estimate for reimbursable travel and studio expenses, and bill for actual expenses. Is that acceptable? Ref: pg. 80

SMITHSONIAN RESPONSE: NO, this is a firm fixed price contract and all expenses should be covered in the total price.

31. Does the labor category Interactive Experiences Designer refer specifically to mechanical interactive design?

SMITHSONIAN RESPONSE: No, this labor category refers to both mechanical and computer interactive design, as well as pieces that incorporate both computer and mechanical elements.

32. We are assuming that our fee for lighting design scope would cover all galleries and within each gallery would include: overhead lighting, integral lighting, and lighting control systems. Please confirm.

SMITHSONIAN RESPONSE: Yes, please see answer # 29.

KEY PERSONNEL

33. Could you please clarify the role of the Lead Architect? (REF: G.3 Key Personnel pg 55/82)

SMITHSONIAN RESPONSE: The Smithsonian requires the Lead Architect-Engineer (A-E) consultants (including, but not limited to, consultant team members such as the fire protection engineer, electrical engineer, and structural engineer) to stamp the design documents and expects them to fulfill their professional design responsibilities and related liabilities. The Exhibit Design Contractor shall use the Lead A-E as applicable and appropriate for the design workflow and task the Lead A-E with any such role(s) that may be appropriate to the Exhibit Design Contractor’s means and methods.

34. Clarify the role of the Lead Architect listed in section B.3.1 (page 3) include the exhibit design fees being proposed in response to this RFP?

SMITHSONIAN RESPONSE: See answer to question #33.

35. Can you reveal the identity of the Exhibit Developer hired by NASM referenced in C.2.5.a (Page 25)?

SMITHSONIAN RESPONSE: Elory Rozner of Uncommon Classrooms

36. Who was the exhibit developer hired by NASM as noted on page 25, C.2.5? If they are a freelance consultant, are they eligible to be on a Contractor team?

SMITHSONIAN RESPONSE: Yes. Elory Rozner of Uncommon Classrooms

37. If selection of exhibit writer(s) will be done in coordination with NASM, when will this take place and how should we present potential writer(s) in our proposal?

SMITHSONIAN RESPONSE: Include a proposed list of writer editors for NASM to approve.

38. Page 26, Section e. Use of Technology, describes the creative use of technology. Can you expand on the expectations for the Gameplay Designer?

SMITHSONIAN RESPONSE: The Gameplay Designer should have a background in game theory and be well versed in the latest game design best practices. They should have a proven track record of creating high-impact user experiences that take full advantage of a variety of formats, such as touchscreens, multi-user touch tables, and technology-based interactives that incorporate kinetic/tactile elements.

39. [RFP] Page 78: 3) Factor 3b: Production Studio Consultant Is there a more detailed scope of work available that outlines is expected of the

Production Studio Consultant?

SMITHSONIAN RESPONSE: There is not a more detailed written scope of work. NASM’s intent to strengthen the gallery as a public venue and production space, which includes programs attended in person by the public as well as production of media products, such as online videos. The role of the Production Studio Consultant is to provide expertise to guide the exhibition designer on design of the gallery to also serve these programming needs.

GALLERY DESIGNS

40. Could you please provide drawings and plan sections in PDF and/or sketch-up of both the specific galleries and the overall Museum?

SMITHSONIAN RESPONSE: See Sketchup file NASM_Mall_Model_Concept Design

051618.skp. This is a working concept file, and all measurements should be verified in field. Gallery 211 internal configuration is not accurate. Final layout to be confirmed after award of contract. Contact Debra Berke berked@si.edu and Beatrice Mowry mowryb@si.edu to receive link to Dropbox folder.

41. We found that in Section J.15 floor plans are provided for 5 exhibition spaces only. Can you provide the additional floorpans, as well as an overall floorplan with measurements in DWG-file format?

SMITHSONIAN RESPONSE: See Sketchup file NASM_Mall_Model_Concept Design

051618.skp. This is a working concept file, and all measurements should be verified in field. Gallery 211 internal configuration is not accurate. Final layout to be confirmed

42. Can you provide an overall masterplan for the Smithsonian Museum and / or the National Air & Space Museum?

SMITHSONIAN RESPONSE: See Sketchup file NASM_Mall_Model_Concept Design

051618.skp. This is a working concept file, and all measurements should be verified in field. Gallery 211 internal configuration is not accurate. Final layout to be confirmed

43. CI and graphics manuals / documentation Can you provice a Corporate Identity manual for the museum and for the museum’s graphics?

SMITHSONIAN RESPONSE: See Interior Signage and Wayfinding.pdf for most recent wayfinding designs for the common areas of the Museum.

44. Could you please provide drawings and plan sections in PDF and/or sketch-up of both the specific galleries and the overall Museum?

SMITHSONIAN RESPONSE: See Sketchup file NASM_Mall_Model_Concept Design

051618.skp. This is a working concept file, and all measurements should be verified in field. Gallery 211 internal configuration is not accurate. Final layout to be confirmed

45. Page 21 – Have the “multiple voices” for the Cold War in the Air Gallery already been identified? Recorded?

SMITHSONIAN RESPONSE: For Cold War, the “voices” are more figurative, rather than literal - i.e. we want to have multiple viewpoints from individual perspectives, whether that consists of quotes from diaries, reports, or autobiographies, as well as personal photos and artifacts. Examples of particular notables include Gail Halvorsen

(Berlin Airlift “Candy Bomber”), Gary Powers, Curtis LeMay, and Frank Petersen (first

Marine African American squadron commander), as well as less famous participants, such as crew members that operated our Huey in combat (in that instance, we do have video interviews).

46. Gallery 211 – ‘The Art Gallery’: Could you please clarify if the Art Gallery stairs are ‘Striking Glass’ or Maple, as they are described as both within the documentation?

SMITHSONIAN RESPONSE: The stairs will be Maple.

47. Gallery 110 – ‘How things Fly’: Could you confirm if a plan is available for the gallery please?

SMITHSONIAN RESPONSE: See Sketchup file NASM_Mall_Model_Concept Design

051618.skp. This is a working concept file, and all measurements should be verified in field. Contact Debra Berke berked@si.edu and Beatrice Mowry mowryb@si.edu to receive link to Dropbox folder.

48. Gallery 209 – ‘WWI’ and Gallery 210 - ‘WWII’: Is the opening shown in the visuals, provided as part of the J-15 content annexes, included in the base build as shown or has this changed?

SMITHSONIAN RESPONSE: This opening will be part of the base build contract.

49. Gallery 209 – ‘WWI’ and Gallery 210 – ‘WWII’: Both of these galleries describe a unit called Interwar to Early War. Do the curatorial teams for the respective galleries share this as a common unit or are they to be considered independent of each other?

SMITHSONIAN RESPONSE: World War I will incorporate a 1920s/early interwar component at the end of the exhibition to provide a transition to the World War II exhibition. World War II will incorporate a 1930s/late interwar component as part of the introduction to that exhibition. These will be separate units due to the different locations, but the expectation is that they will reflect coordination between the two exhibitions.

50. Gallery 111 – Simulators: The gallery layout is provided showing Pulseworks simulators.

Is this the working arrangement for the gallery on which the designers should base their design response?

SMITHSONIAN RESPONSE: Yes, this is the latest working arrangement for the gallery – any designs for the Simulators Gallery will need to be developed in coordination with Smithsonian Enterprises and Pulseworks.

51. For the purposes of this RFP, can you provide the concept documents / design work produced for the various exhibitions by the exhibit developer hired by NASM (page 25, C.2.5)?

SMITHSONIAN RESPONSE: See NASM_InterpretivePlanning_FinalReport_2.15.18 annotated copy.pdf. We had not shared this document because not all team members agree with the findings. We will review this document in more detail with the selected bidder.

GALLERY BUDGETS/FUNDING

52. Does the project budget of $40-45 Million identified in B.3.1 (Page 3) include the “project contingency” and “escalation” referred to in the *asterisked paragraph at the end of C.1.6 (page 10) as NOT included in the individual exhibition “Design-to numbers”?

SMITHSONIAN RESPONSE: No, the project budget doesn’t include contingency or escalation. Escalation and contingency are centrally control by the museum.

53. For clarity, please confirm that the budgets shown (section C.1.6, Pages 7-10) for each project include all fabrication, production, and media production costs, and the only costs excluded are exhibit design fees, the artifact-related costs mentioned, and the cost of SI staff time.

SMITHSONIAN RESPONSE: Confirmed. Please note that in addition to the design to numbers in section C.1.6, Pages 7-10 the designer shall provide 15% additive options as part of their design services.

58. Pages 7 through 10 include Design-To budgets for the exhibit galleries and square feet for each. The dollar per square foot ranges from approximately $242 a sq. ft. to $907 a square ft. Is there flexibility in the individual gallery budgets? For example, if one gallery requires a higher PSF range, is the Contractor permitted to recommend shifting dollars as long as the total budget is within the allocated funds?

SMITHSONIAN RESPONSE: Yes

59. The asterisk (*) on page 10 of 82 states: “The project “Design–to” numbers include everything required to deliver a functional gallery with the exception of the following cost: the exhibit design cost, the project contingency, escalation, artifact movements, conservation, and mounting. (Exhibit Design Contractor shall design and engineer the artifact mounts).”Can you confirm whether media production fees are included in the “Design-to” numbers?

SMITHSONIAN RESPONSE: Media Production fees shall be included in the Design-to number.

60. RFP Page 3, B3 Budget: Are the budgets of $40-45M inclusive of the 15% additives noted in ‘item j’ on RFP Pages 32/33 and unidentified likely escalation costs over the 4-year period, or will these budgets be additional?

SMITHSONIAN RESPONSE: The 15% additive options are part of the $40-45M target design to numbers. Escalation is not part of this amount.

61. Is the project funded as such to allow continuity from completion of the base contract through the 35% and 65% phases with no more than 1 month’s phased separation/delay?

SMITHSONIAN RESPONSE: Yes. The intent is to continue design without separation/delay.

62. Can you please clarify whether the media production budget is part of the “design-to” budget of $36,595,785.43?

SMITHSONIAN RESPONSE: Yes, the media production budget is part of the “design-to” budget.

63. Can you please confirm that exhibit design fees are excluded from the “design-to” budget of $36,595,785.43?

SMITHSONIAN RESPONSE: Yes, the exhibit design fees are excluded from the “design-to” budget

64. Can we correctly assume that the identified total project budget of between $40,000,000 - $45,000,000 includes exhibit design professional fees?

SMITHSONIAN RESPONSE: No, this number do not include design professional fees.

SCHEDULE

65. [RFP] Page 1: A. General Invitation. Can you confirm that 65% work needs to be completed for all galleries by April 2020?

SMITHSONIAN RESPONSE: July 2020, see schedule below.

Charrette (2 Months) 40 days Mon

10/1/18

Tue

11/27/18

10% Design (5 Months) 112 days Wed

11/28/18

Wed 5/8/19

10% Design Review (3 weeks)

15 days Thu 5/9/19 Thu 5/30/19

35% Design (5 Months) 110 days Fri 5/31/19 Tue 11/5/19

35% Design Review (3 weeks)

20 days Wed

11/6/19

Thu 12/5/19

65% Design (5.5

Months)

130 days Fri 12/6/19 Thu 6/11/20

65% Design Review (4 weeks)

20 days Fri 6/12/20 Thu 7/9/20

66. [RFP] Page 11: Submittal Due Dates Calendar Can you confirm if the government review period is in working, or, calendar days?

SMITHSONIAN RESPONSE: Working days.

67. RFP Page 24, C.2 Summary Scope of Design Services and Design Requirements, Item ‘n’:

Is the exhibit contractor for design up to the 65% phase responsible for all fabrication and installation schedules post 65% or will this be the responsibility of the NASM appointed fabricator?

SMITHSONIAN RESPONSE: The NASM appointed fabricator will be responsible for schedules post 65% design.

68. With regard to section C.3.4 (Page 36), does NASM intend a FULL DAY Charrette for EACH GALLERY? If there are multiple charrettes, must they be consecutive—i.e. two full consecutive work weeks for ten galleries?

SMITHSONIAN RESPONSE: The bidder should propose the charrette structure/timeframe they feel works best.

DESIGN PROCESS

69. GENERAL QUESTION: It is often referenced that the Exhibit Design Professional shall use the Museum's one of a kind collection and content expertise. Can you describe in detail how much of the concept narrative, scripts, final scripts, text panels and labels will be supplied by the Museum's internal team of content experts versus a content development specialist of the Exhibit Design Professional team?

SMITHSONIAN RESPONSE: The NASM curators will provide all content as pre-writes in content documents. The contractor’s script writers will work jointly with the contractor’s exhibit developers and the NASM curators to create scripts (text panels, labels) as they evolve in design.

70. General Question – Will the Smithsonian Institution provide all content expertise?

SMITHSONIAN RESPONSE: Yes.

71. What level of content will be supplied by the NASM teams and what level of script generation/editing will form part of this scope?

SMITHSONIAN RESPONSE: The NASM curators will provide all content as pre-writes in content documents. The contractor’s script writers will work jointly with the contractor’s exhibit developers and the NASM curators to create scripts (text panels, labels) as they evolve in design.

72. Re section H.6.2 (page 60), is it possible for NASM to provide an example template of a Requirements Compliance Matrix that meets expectations?

SMITHSONIAN RESPONSE: Remove H.6.2 and follow other compliance and quality control requirements stated in RFP.

73. When the selected fabricator begins work on Design-Build, will the sub-consultants be under contract to the Primary Design Firm, or the Fabricator?

SMITHSONIAN RESPONSE: The design sub-consultants will continue to be under contract to the Primary Design Firm.

74. GENERAL QUESTION: When the selected Fabricator begins work on Design-Build, will the sub-consultants be contracted under contract to the Primary Design Firm, or the Fabricator?

SMITHSONIAN RESPONSE: The design sub-consultants will continue to be under contract to the Primary Design Firm.

75. Does the following statement: “The style of the renderings shall be determined by each exhibit team…” mean that each style of rendering can be different? If so, does this refer to NASM exhibit teams for each gallery?

SMITHSONIAN RESPONSE: Yes to both questions.

76. Can you describe the LEED Gold requirements that will pertain to the exhibits project?

For example:

SMITHSONIAN RESPONSE: The LEED requirement of this contract is to support the

Revitalization project’s LEED goals and strategy as a USGBC registered project by following the LEED design goals of the Revitalization project and through the provision of design and product documentation as necessary to the Revitalization project’s LEED consultant.

77. What is the Contractor’s responsibility for submitting LEED related material, attending LEED design sessions etc.?

SMITHSONIAN RESPONSE: The LEED requirement of this contract is to support the

Revitalization project’s LEED goals and strategy as a USGBC registered project through the provision of design and product documentation as necessary to the Revitalization project’s LEED consultant.

78. May we see the LEED scorecard, or be provided a list of LEED points that pertain to the exhibits?

SMITHSONIAN RESPONSE: Yes, see the NASM LEED scorecard.pdf attachment.

Contact Debra Berke berked@si.edu and Beatrice Mowry mowryb@si.edu to receive link to Dropbox folder.

79. Is the exhibit contractor required to coordinate and execute all Revitalization base build black box changes continuously on a monthly rolling basis through all phases of the design process, or only on close-out of each phase?

SMITHSONIAN RESPONSE: The Exhibit Design Contractor will identify any black box changes as soon as they are known. The black boxes of the east end will be in construction during the execution of this project, the Exhibit Design Contractor will be responsible to coordinate with the COTR to avoid Revitalization rework to the maximum extent possible.

80. Page 24, C.2.1 – Regarding loaned artifacts, who identifies and negotiates rights of use?

mailto:mowryb@si.edu

SMITHSONIAN RESPONSE: NASM Collections department

81. RFP Page 25, C.2.3, Field Measurements / Survey of Site: At the point of the design phases 35% through 65%, what (if any) of the site will reflect the new revitalisation black box spaces?

SMITHSONIAN RESPONSE: The first Black Boxes on the West End (not in this contract) will be available Fall of 2020 according to the current schedule.

82. We would assume these areas remain open to the public unaltered.

SMITHSONIAN RESPONSE: The East End will not start closing until Fall of 2021.

83. Will the site condition not be superseded by the Revitalisation BIM model?

SMITHSONIAN RESPONSE: This is a renovation project, site conditions and as built will supersede BIM model, the Exhibit Design Contractor will be responsible to acquire BIM updates and conduct clash detection to identify any change.

84. At what level of detail and accuracy will all artifacts, including loan items, be provided at point of project commencement and at what point in the design will these be supplied 100% and fixed, given structural mounts are required at 35%?

SMITHSONIAN RESPONSE: At the completion of 10% Design, 100% large, 85% medium and 50% small artifacts will be identified. By 65% Design, 100% large, 100% medium and 95% of small artifacts will be finalized.

85. The requested numbering systems are complex and result in long references that may impede file names if number and character lengths are restricted, is there a limit on file references for information exchange and storage?

SMITHSONIAN RESPONSE: We are not sure what this is referencing. Do you have an area of the RFP or attachments that you can reference?

86. During the SD410 process can you confirm marked up Bluebeam drawings will be available with tracked comments?

SMITHSONIAN RESPONSE: At the end of the SI SD410 review period, NASM will provide pdf's of the marked up Bluebeam drawings as well as those comments exported to an excel document for tracking purposes. The Design Firm will have visibility of these comments during the review process.

87. RFP Page 39, C4.6, Alterations: It is the responsibility of the contractor to obtain latest Revitalisation materials - what protocols can NASM assist with/enforce to ensure any changes by the base build Revitalisation team can be flagged in a timely manner for review.

SMITHSONIAN RESPONSE: NASM will provide the most current Revitalization materials upon start of the project.

IMAGE/VIDEO RESEARCH & ACQUISITION

88. Please confirm that Image and Video Research and Acquisition work (C.2.j, page 24;

C4.14, pages 40-42; C.5.15, pages 48-49; etc.) performed prior to Phase IV (which includes completion of graphics to 100%) is limited to SI-sourced resources, and comp images obtained when necessary from outside sources, with all outside image purchases and all rights purchases performed in Phase IV and paid for from the “Design-to Budget” as described in the final sentence of section C.6.7(pages 51-52), and that no expenditure of money for these purposes is required from the Designer’s fees.

SMITHSONIAN RESPONSE: Correct.

89. In addition to the sourcing of images/videos for the galleries, is the cost to purchase images/videos included in the consultant fees? If so, is there a recommended allowance that could be identified for image procurement so that you receive a consistent estimation between competing proposals?

SMITHSONIAN RESPONSE: Image/video acquisition is included as part of the gallery

Design-To budget. The contracted design firm should determine a budget allowance for these purchases in course of design development. No preset budget has been determined. For the first 9 West End Exhibits the budget was $273,000.

90. Pages 40 and 41 refer to Image and Video Research and Acquisition. Is there a budget established for image acquisition, rights management, original artwork, footage, and digitization?

SMITHSONIAN RESPONSE: No preset budget has been determined. For the first 9 West

End Exhibits the budget was $273,000.

91. RFP Page 48, C.5.15, Image and Video Research and Acquisition: What, if any, allowances should be included within this contract for image licenses to account for any non-free issue government supply? Alternatively, should any cost arising from private sourced imagery be negotiated on clarification of final content?

SMITHSONIAN RESPONSE: The Contractor shall budget for image licenses in the

Design-To number. Yes, any costs from private sources needs to be identified upon final selection for graphics or video.

PROTOTYPES & EVALUATION

92. [RFP] Page 46: Section C.5.8 Can Additional clarification be provided regarding fully functional and durable working prototypes, AV approach suitable for audience testing and evaluation - What are the expectations for mock-ups related to each exhibit?

SMITHSONIAN RESPONSE: Prototypes should be built in a way that allows NASM to test most major use cases of an interactive with a minimum of 30 guests—ranging from paper to high-fidelity prototypes. Expectations for each prototype shall be mutually agreed upon by NASM and the selected contractor based on priorities and complexity of the interactive. NASM does not expect that prototypes will be built using final materials or assets. Prototypes shall be developed to a level that would provide functional relevance to a final interactive and be durable enough to endure repeated testing and transportation to/from storage. In some instances, an AV approach will be suitable.

93. On page 44, point (p), can we correctly assume all prototypes will be paid out of the fabrication budget based on a set of bid documents that we would prepare?

SMITHSONIAN RESPONSE: Correct all prototypes will be paid for out of Design To number.

94. Given that prototypes of all interactives will be a significant component of the build budget would you consider prototypes of complex atypical interactives and single examples of typical interactives?

SMITHSONIAN RESPONSE: Yes with respect to testing approaches to interaction design. Content may still need to be tested but could be done with paper prototypes.

95. Please clarify what is expected for the prototypes for mechanical and tactile interactives and selected multimedia elements. Can a fabricator be hired to build prototypes without eliminating them from the fabrication bid?

SMITHSONIAN RESPONSE: For Mechanical/Tactile interactives, to goal is for the prototypes to provide proof of concept, functional buildability, including safety concerns and follow the intended learning objectives. The fabricator may be eligible to bid. However, the eligibility to bid depends on whether substantive information was received by the firm that would provide them with an unfair or competitive advantage to the other bidders. If any information received by the firm provides them an unfair or competitive advantage in the bidding process, they may not bid unless this information is also shared with all bidders.

96. RFP Page 44, C.5.1 65% Design-Build, Item ‘p’: This advises ‘Fully functional and durable working prototypes of all mechanical or tactile interactives and selected exhibition elements, to evaluate interactivity, level of content, graphic design, and/or AV approach suitable for audience testing and evaluation’. Please specify:

a. what level of detail in respect of finish, durability and functionality, constitutes the required prototypes?

SMITHSONIAN RESPONSE: Prototypes shall be developed to a level that would provide functional relevance to a final interactive and be durable enough to endure repeated testing and transportation to/from storage.

b. what extent of allowance should be included at the bid stage?

SMITHSONIAN RESPONSE: The contractor needs to determine that and include in pricing.

c. what scale of selected exhibition elements should be considered?

SMITHSONIAN RESPONSE: See answer to #94 above.

d. Is there a guidance on quantifying this section to allow for comparable and competitive offer inclusion?

SMITHSONIAN RESPONSE: No.

97. Would the prototyping of physical interactives during 65% be undertaken early in the phase to allow the outcomes to be incorporated into the final design documents, or would the evaluation be captured for development as part of the later fabrication award?

SMITHSONIAN RESPONSE: Yes, to the degree needed for proof of concept and functional buildability.

98. RFP Page 46, C.5.8, Working Prototypes: what is the extent of multimedia elements required for prototyping, when referenced as selected in the RFP. What additional information can be provided to allow accurate inclusion of allowances at bid?

SMITHSONIAN RESPONSE: Core mechanics of the experience must be operable, while graphics can be minimal and interface can be limited to necessary components. For example, with a game-like interactive, say a quiz, the graphics and content can be placeholders, but the mechanic of answering quiz questions should be functional, so that a guest can test the experience.

99. Can you provide guidance as to how we should structure visitor evaluation per design phase?

SMITHSONIAN RESPONSE: That should be part of your plan.

100. With regard to section C.2.5.o (Page 29), can you please expand upon the expectations for the surveying of audiences who do not currently visit NASM?

SMITHSONIAN RESPONSE: The Smithsonian has an accessibility user group that can be available to test concepts, graphics, and media.

101. It is stated that Visitor Evaluations for NASM visitors are to be conducted onsite at the museum. However, this paragraph indicates that further testing into the community identifying groups or individuals that are not typical NASM visitors should also take place. Should we assume that both types of evaluations are to take place at each phase or only at the design concept phase?

SMITHSONIAN RESPONSE: Both types of evaluations shall be done at each phase.

LIGHTING

102. During the ongoing architectural restoration period, is the QuinnEvans team providing any overhead exhibit lighting infrastructure integral to the architectural design? (i.e. are they installing lighting track and including track lighting fixtures, or provision for any theatrical lighting capability?)

existing as part of the base building. The lighting control system, base gallery track and security, circulation, and maintenance fixtures will be installed by the

Revitalization project. The design scope would cover all of the above with the clarification that any lighting added to the base building would need to connected to the lighting control system and programmed. Any non-DMX controlled lighting added, such as specialty case or graphic lighting, would require a DMX interface and would have to be programed in the lighting control system as well.

103. During the ongoing architectural Revitalization period, as described on page 6 of 82, is the architectural team providing overhead exhibit lighting infrastructure integral to the architectural design? (i.e. are they installing lighting track and including track lighting fixtures, or provision for any theatrical lighting capability?)

existing as part of the base building. The design scope would cover all of the above with the clarification that any lighting added to the base building would need to connected to the lighting control system and programmed. Any non-DMX controlled

104. RFP Page 52, C6.1.10, Final Focusing of exhibition lights: Will this be in conjunction with the installation contractor with the provision of relevant access equipment etc. as an oversight role providing direction, or a separate stand-alone service including the physical movement of the lights. In addition, and besides the gallery lighting focus, will these lighting services include in-case lighting of likely sensitive objects where conservation standards apply?

SMITHSONIAN RESPONSE: Final Focus will include all gallery lighting, including case lighting and may be in conjunction with the installation contractor. The current strategy is for the lighting to be hung and “rough focused” before the gallery is fully populated with artifacts and exhibit components, and then a final focus would happen with the gallery fully populated with exhibits, including A/V installations. Installed lighting may need to be relocated during final focus to account for items installed in the gallery after the initial lighting and rough focus, due to shadows, glare, etc.

Coordination will need to occur with artifact installations in the cases.

MEDIA

105. Given the high standards of the Museum and the ever-evolving technology, what is the target resolution of the multimedia exhibits to be included when initially budgeting this element of the project (i.e. 4K, 8K)?

SMITHSONIAN RESPONSE: 4K on displays above 32” and 8K on immersive displays and projections relying on very high-resolution imagery and data sets, such as planetary, earth and space based observational data.

106. Should Option 4 Multimedia exhibits not be awarded, what level of design services going forward should be assumed?

SMITHSONIAN RESPONSE: See answer to Question #26.

107. The work described in J.19 Media Production, section C.2.3.3.a (page 3)— "Digitization of all relevant film and video”—is undefined in breadth and potentially massive in nature; please provide clear definition of reasonable limits for this work, and/or provide a uniform allowance for this work that can be used by all bidders.

SMITHSONIAN RESPONSE: Use 4000 seconds as a guide. This is an approximation based on our West End exhibits.

SOFTWARE and FILE STORAGE

108. Will the black box contractor, associated subcontractors and/or consultants be tasked with the regular submission of coordinated and accurate Vector works files, free from errors and omissions?

SMITHSONIAN RESPONSE: The "Black Box Contractor and their associated subcontractors/consultants are tasked with providing federated models in Revit 2018 and .ifc2x3 formats. The chosen East End Designer with the assistance from NASM will be adding those models into the Vectorworks BIM workflow. On a typical project of this scope and schedule where minor adjustments are being based on field conditions on a constant basis, it is impossible to provide federated models that is guaranteed to be "free from errors and omissions".

109. How do you foresee File Maker Pro being used on the project?

SMITHSONIAN RESPONSE: NASM will be providing our NASM Exhibit Database for the use of tracking and coordinating all aspects of artifacts, cases, mounts, etc. The database is similar to the MEP (Museum Exhibit Planner) that was produced by the

National Park Service.

110. Could you confirm if other BIM software packages would be acceptable other than Nemetschek North Americas Vectorworks?

SMITHSONIAN RESPONSE: No. NASM will not accept any other BIM software in lieu of Nemetschek North Americas Vectorworks. Vectorworks is NASM's adopted BIM software and no exceptions will be made.

111. Taking REVIT 2018 ifc files into Vectorworks can cause problems in dimensionality. Will the appropriate Vector works files be provided free from errors and omissions as it would be unlikely that the site condition could be site verified at the critical points within the design phase since these galleries will still be operational and open to the public?

SMITHSONIAN RESPONSE: The "Black Box Contractor and their associated subcontractors/consultants are tasked with providing federated models in Revit 2018 and .ifc2x3 formats. .ifc 2x3 format is the industry standard for BIM interoperability and any issues that typically can occur are generally based on Revit operators not bounding linked files. The chosen East End Designer with the assistance from NASM will be adding those models into the Vectorworks BIM workflow. On a typical project of this scope and schedule it is impossible to provide federated models that are guaranteed to be "free from errors and omissions". Field conditions of the existing galleries will be able to be surveyed and we will be able to accommodate scheduled site verification for field conditions on the West End during construction for the purposes of verifying similar repeated conditions.

112. Since the base building was produced in Revit, will you allow exhibits to be produced in Revit instead of Vectorworks?

SMITHSONIAN RESPONSE: No. NASM will not accept any other BIM software in lieu of Nemetschek North Americas Vectorworks. Vectorworks is NASM's adopted BIM software and no exceptions will be made.

113. RFP Page 46, C.5.7: From a 20-year editing capability, going forward, some of the software specified (eg: Adobe Suite) is subscription-only based. In what form are you expecting long term licenses? The programs and file formats will most likely be very different in 20 years’ time (based on a yearly upgrade cycle). Latest subscription-based software will be running on the systems that are then current of the time and unlikely to work on a legacy system of many years previous. If we have purchased current fonts as per the requirement, what considerations are to be made for current software and font compatibility for systems and software 20 years down the line?

SMITHSONIAN RESPONSE: We are requiring that all contractors use Adobe Creative

Cloud and therefore regular updates will occur as part of a typical workflow. In regard to fonts, we are only asking for the purchasing of fonts to be used.

114. RFP Page 31, C.2.6 General Requirements – item d, File Storage and Sharing: Will a cloud based secure server, holding the full folder structure, fit the requirement?

Storage would be setup to the stated size requirements. Our files would be synced at agreed intervals and you would get secure access to the storage.

SMITHSONIAN RESPONSE: A cloud based secure server would be acceptable provided that the contractor can prove that all described programs will work as intended. That proof should be documented by correspondence with the makers of the software and provided to NASM prior to the server (cloud or otherwise) being setup. The synching of files as well as the frequency of project transfers to NASM will be discussed and agreed upon at the start of the project.

115. What is your current understanding of the storage size requirement for this project, based on scope compared to date with the Black Box Revitalisation Project?

SMITHSONIAN RESPONSE: Based on our experience with the West End design we believe that 20 Terabytes will be required at the peak of storage.

116. With regards to the applications, will Vectorworks, File Maker Pro and Bluebeam, be software we are just deploying to our end users or is there expectation of hosting some of the applications (not just the files) on the cloud server? Therefore, with a view to remote into the server and run programs like Bluebeam remotely from the cloud server?

SMITHSONIAN RESPONSE: Typically, these programs (with the expectation of

FileMaker Pro) will be deployed to your end users and the files will be hosted on server. FileMaker Pro has a direct server application and that server software is used to securely share data with groups of FileMaker Pro Advanced, FileMaker Go, and

FileMaker WebDirect users.

Office of Contracting

117. Could you please confirm if there is a preferred format for both the Technical and Business Proposal - US Letter or Tabloid?

SMITHSONIAN RESPONSE: US standard letter size is preferable.

118. As the incoming SI mail server will reject any file over 18MB, due to the anticipated file size of the Technical Proposal, could you confirm if you will accept our response document via a link (contained within a covering email) via WeTransfer or similar. If you have a preferred file transfer programme, please advise.

SMITHSONIAN RESPONSE: Sending the documents in a link is the best format to use.

119. Page 3, B.2.2. – What are “non-personal Exhibitions design services?”

SMITHSONIAN RESPONSE: We have changed the sentence to read, "The selected firm

(the “Contractor”) shall provide all professional and technical Exhibitions design services for the Exhibition to 65% Design Development..."

120. Page 33 of 82, section j, “Note to subcontractors and consultants” states:

“Subcontractor…