Attachment11_Part_12_Pages_221-241_CAWO_Production_Design_Documents.pdf

A WORKING

EDUCATION

Long workdays kept Woodson from the classroom. Instead, he learned from his schoolteacher uncles and listened to his parents’ account of slavery. He taught himself English and math and shared knowledge back to his family.

At 17, Woodson became a coalminer to fund his education. He met Civil War veterans in the mines whose stories seeded his love of history. By 19, he earned enough to enroll in high school. Studying between shifts, he finished in two years.

He never forgot what he learned from “regular people” and made it his mission to share their achievements with the world.

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

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CREDIT LINE 1

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

“LET TRUTH DESTROY THE DIVIDING PREJUDICES OF NATIONALITY AND

TEACH UNIVERSAL LOVE WITHOUT DISTINCTION OF RACE, MERIT OR RANK.”

CARTER WOODSON

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Quote 1

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

“We do not have to ask for the fictionist, the poet and the builders of dreams to create [Dr. Woodson’s] greatness. He has been a builder of his own monument . . .

FOR HE WAS A DISCOVERER OF

TRUTH, AN ORG ANIZER OF TRUTH,

A CONTRIBUTOR TO TRUTH AND

A FIGHTER FOR TRUTH.”

DR. CHARLES WESLEY, 1950

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

“IF A RACE HAS NO HISTORY, IF IT HAS NO WORTH-WHILE

TRADITION, IT BECOMES A NEGLIGIBLE FACTOR IN THE THOUGHT OF

THE WORLD, AND IT STANDS IN DANGER OF BEING EXTERMINATED….

LET TRUTH DESTROY THE DIVIDING PREJUDICES OF NATIONALITY

AND TEACH UNIVERSAL LOVE WITHOUT DISTINCTION OF RACE,

MERIT OR RANK.”

CARTER WOODSON

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

The Education of the Negro Prior to 1861 Carter G. W oodson

This study of Black education before the Civil War was Woodson’s first book. It was hailed as “a chapter in a history that has yet to be written.” W.E.B. DuBois called it “the most significant book concerning the Negro race” published that year.

Researching material, Woodson found that “the accounts of the successful strivings of Negroes for enlightenment under most adverse circumstances read like beautiful romances of a people in an heroic age.” For the rest of his career, he worked to help the Black community in its striving.

...by those who were inspired to learn

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Approximate viewing distance from standing: 65”

Approximate viewing distance from seated: 48”

Text size should be at least 1.2 times the viewing distance in inches

Minimum text size with a viewing distance of 65”: 78pt

Smallest text on map: 88pt

48/39 = 1.23

100/78 = 1.28

PROGRAMMATIC ACCESSIBILITY GUIDELINES FOR NPS INTERPRETIVE MEDIA FEBRUARY 2012 41 or viewing distance—then other attributes must be increased to com-pensate for legibility, like increasing the point size and/or contrast.

■ Type size: While a 24-point minimum type size is a general rule for exhibit text (including photo captions) viewed at eye level, readability also depends on viewing distance. A person with low vision who can read large-print publications would have to be very close to a 24-point exhibit label.

Exhibits

04.08 LEGACY FLOOR MAP

Not to Scale

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Shaw Shiloh Baptist Church

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MAP TITLE

Eagle, Bold

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PLACE TITLE

Eagle, Bold

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PLACE BODY

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CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Rhode Island M Street NW

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MAJOR STREET NAME

Stickley, Bold

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MINOR STREET NAME

Stickley, Bold

88 point

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Univer sal Design and Accessibilit y Narrative

How access to the exhibition’s goals and themes will be accomplished for people with sensory, mobility and intellectual disabilities

Site-wide strategies: Audio Description

For visitors with low or no vision, or those who would benefit from an auditory description for cognitive reasons, this site will provide a full program of audio description. Specially written, narrated and produced, this independent audio track will describe all features, both static and media, to visitors. This element will rely on auto-triggering based on the visitors’ position in the house and proximity to iBeacon sensors (or similar), ensuring that the visitor receives a hands-free, seamless audio experience.

While this strategy will provide users a fundamentally different experience than visitors who do not use audio descriptions, this strategy will provide a holistic experience and detailed coverage of gallery content that is not part of the ranger-led tour (01 Lobby, 02 Introduction and 04 Legacy). The descriptions can also draw attention to sensorial cues that standing in the house will offer, like ambient sounds, helping to provide low vision users a sense of place and environment.

Site-wide strategies: Assisted Listening System

For hard of hearing visitors, the exhibit offers a layered method of assistance.

All media programs with audio will be subtitled, which displays automatically when an audio program is in progress, with associated visual subtitles meeting NPS size and legibility standards outlined in “Programmatic Accessibility Guidelines for National Park Service Interpretive Media.” These subtitles will be displayed either integrated into the visual display (eg the projection or film itself ), or on modest monitors hung in the historic house’s rooms, near the source of the audio track. The monitors will be designed as “photo frames” that, when in rest mode, carry interpretive photographs. When audio is triggered, the monitor changes from photograph display to subtitle display.

The exhibit will also make available receivers with headsets or neckloops that amplify the available audio (ranger’s voice or audio program) for the visitor.

Please see Book 4 Media for descriptions of the equipment and methodologies now being proposed including the use of ListenEverywhere wireless audio.

Site-wide strategies: Graphic design and testing

Each graphic layout produced will meet accessibility requirements for legibility of type by selecting fonts and size standards that ease and do not impede reading and use stylized type sparingly. Graphics will also meet requirements for color differentiation and contrast, which will be tested and proven in the fabrication phase through comprehensive sampling and print testing. Testing files or color calibration standards (eg Pantone chips) are typically provided during fabrication along with production graphics. This document also lists out a full complement of samples and prototypes the fabricator will be asked to produce to ensure printed legibility and sufficient contrast are achieved.

Sensorial strategies:

Streetscape, Lobby and Introduction galleries

The interpretive program for this historic site seeks to support and bring into high relief the major activities of the Office Home: research, publishing, writing, reading, editing, debating, teaching —and in Dr. Woodson’s case, the daily activities of a quiet life—that all occurred within its walls. The studiousness, and often quiet seriousness, of the site and what occurred here are themes conveyed though a few key design features.

Interpretive exhibits impacting the building’s exterior, like the subtle but glinting graphics on the bay window glass and minimal exterior interpretive signage, will maintain the look and feel of the painstaking historic restoration—one that sought to achieve the atmosphere of a piece of a bygone Shaw streetscape. Interventions here are intentionally light to allow the restored building to wordlessly communicate that this site experience stems from an era different from our own.

Indoors, the first exhibit encountered, Scene 02 Lobby, is a powerful sensorial tool in evoking a feeling of the purpose and personality of this site. The primary finish in the lobby is wood: welcoming and inviting to the touch, timeless but reminiscent of a vintage library and complementary of the literary motif exhibits seek to establish. A sense of Woodson as a human being, fully at home in the library setting, is conveyed by the signature portrait that immediately gives visitors a human-scale welcome and a sense of a relatable individual at the heart of the experience.

Courses of wood bookshelves circle visitors with clusters of tactile books (created as “faux” book shapes clothed in book cover graphics) that fully invite all visitors to trace their forms as they look through titles, while the multitude of volumes softens sound to create a library-like auditory atmosphere.

Illustrative thematic images integrated into the clusters of books offer visitors who do not read a means of “looking into Woodson’s world” nonetheless, and a chance to wordlessly absorb the topics and issues that most animated the man whose home they will explore. A tactile set of raised-relief floor plans located at the lobby (01.07) provides visitors an important, accessible means

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021 of orientation. Through tactile linework and varying textures, the site map gives visitors a high-relief understanding of the three buildings comprising the site and the spaces the interpretative experience will occupy, as well as its relationship to the wider neighborhood of Shaw.

Diffuse, luminous lighting within the shelving invites closer looks into interpretive clusters and imbues the scene with a gentle glow that supports the themes of study and scholarship.

The library design theme is continued into the 02 Introduction and “writ large” where the wooden bookshelves expand to become an exhibit platform at bottom and a header at top, between which content sits. Drawing on photography, quotes, illustrations and bookcover art, artifacts and props, the main content arrays use a variety of exhibit assets to convey the content.

The exhibit’s main content walls are also balanced by the dynamic media presentation, EP-02.05. Integrated into the building’s window wall, the intro film will use moving footage and dynamic imagery (potentially animation or enlivened photography) to convey the key, “not to be missed” points about Woodson and his achievements.

Supersize forms evoking book spines “sit” along the length of the shelf, and are covered in subtle book-like cloth and imprinted with titles important to Woodson’s life and career —both tactile elements that invite touch as well as viewing and wordlessly communicate the importance of the written word, education and study to Woodson. In this case the large books also pull out to reveal graphic panels realted to the book’s contents, the artists who contributed the illustrations, etc. Together, the lobby and intro will help a visitor who might not read the exhibit nevertheless understand this central takeaway message on Woodson’s work and life.

At the exhibit’s introductory custom art element, CE-02.01, linework and voids will be rendered as a bas relief with varying depths (as if the exhibit displayed the woodblock itself as versus the print made from the woodblock), inviting visitors to trace outlines and illustration content without seeing the art with their eyes.

House Tour

The site’s most important sensorial tool is the Office Home itself, the immersive, authentic space to which the interpretive experience builds. Its scale, proportions (modest to many visitors today) and spare but elegant architectural features in many of the rooms subtley communicate the personality of its principal occupant and the spaces in which he worked.

To preserve this authentic structure, the majority of interpretation inside the Office Home will be carried by the ranger-led tour. This inter-personal delivery allows the house to maintain a desired appearance and character without the clutter of interpretive graphics, while providing NPS flexibility in crowd control.

It will also allow rangers to tailor experiences to varying groups of visitors based on their abilities and interests.

To support the ranger, the interpretive program outlines ambient audio environments (all open captioned by adjacent monitors) triggered by the ranger at appropriate points in the tour. Giving texture and atmosphere to the rooms, these audio features enhance the sensorial environment and help sketch mental images in visitors’ minds of the activities the Office Home once held—an act that does not require reading or lengthy explanation. In this way, visitors take the tour “unencumbered” by maneuvering handheld devices, learning digital interactives or scene-disrupting kiosks and are instead free to give full attention to the environment and ranger tour.

The exhibit budget has also set aside a sum for “consumable” tour hand-arounds—reproduction pamphlets, posters, newspapers, portraits and other materials the ranger can deploy to visitors during the tour, collect when done and stow within the exhibit itself. This modest, non-digital means of letting visitors “handle” the literary products and items that were created by and distributed from the Office Home helps found the spoken tour in touchable, familiar items.

The spareness of most rooms is balanced by the “high level” of furnishings planned for key rooms on the second floor, including Scenes 03.06 Woodson’s Personal Office and 03.07 Woodson’s Library. These environments are fitted out with reproduction furniture, finishes and belongings to evoke the rooms as they were once occupied, again without extensive written interpretation or exhibit graphics that could impede visitors’ sensorial understanding of the spaces as real rooms used by a real person. A subtle media program, EP-03.07, projects some of the only known media of Dr. Woodson in the room in which it was once filmed, the library (ID168). This wordless visual presentation of Dr.

Woodson is intended to help visitors visualize, once again, the activities of relatable, living people in the room in which they stand.

The tour proposal also makes use of the kitchen. The hallway to the kitchen is not accessible by wheelchair users. The kitchen is instead intended to be experienced from the head of the stairs in the hallway where the tour group will assemble, as versus from within the room itself, ensuring an equivalent experience for all visitors. The kitchen will be equipped with a ranger-triggered audio environment that helps create a sensorial, mind’s eye impression of Dr.

Woodson cooking his breakfast bacon. The audio program might feature other murmurs of voices of those who would have joined Dr. Woodson in the kitchen for “staff meetings.” By using distant audio, emanating from another room in which visitors do not stand, the interpretive experience creates the intriguing sense of a “sight unseen,” a powerful encouragement for visitors of all abilities

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021 to use one’s imagination to fill in an interpretive picture.

Returning to the spare furnishing approach for the tour’s final rooms, Dr. Woodson’s living room and bedroom, the house tour again focuses interpretation on the ranger tour for the final note —Woodson’s passing. The final audio program (EP-03.10) here is not ambient, but emotive, and will include produced, narrated eulogies, testimonials and memorials of those who marked Woodson’s death. Through spoken word (again, subtitled and available amplified through the ASL), the audio program helps the ranger draw the tour to a close through dynamic media paired with a physical environment for a layered experience.

Legacy

The site’s final scene offers visitors a look at Woodson’s legacy through a range of interpretive and interactive methods. The gallery’s main mural-like installation diagrams those who influenced Woodson and those people, places and issues he in turn influenced (04.01). The graphic arrangement of 6 key issues are each anchored by a touchscreen interactive accompanied by a Navbar AL and AD services are rendered by way of apps the visitor has downloaded on their own phone, or devices like neck loops and phones handed out at the welcome desk.

Tactile experiences include two flipbooks: at the Black Sites Recognized exhibit there is a flipbook repro HABS architectural drawing set as well as tactile brick, samples of moulding, imprinted decorative finishes or other tactile samples recovered from the restoration (or recreated) to invite visitors to touch components of the home that speak to its era and character and compare with the modernized, finished space in which they now stand.

Thoughout this gallery, where media includes audio, open captions will be provided, in addition to the ALS used throughout the entire site.

Mobility strategy:

Streetscape, Lobby and Introduction galleries

As a base requirement, the interpretive experience at CAWO achieves accessible architectural design standards, including providing minimum clearances for wheelchairs, elevator accessibility to all levels, and cane-detectable exhibit structures.

The entire interpretive experience (all areas containing interpretation of any kind or method), galleries and all levels of the house tour, are fully accessible even by visitors using wheelchairs. There is no interpretive content in rooms that wheelchair users cannot access, so the whole interpretive program is mobility accessible, even if certain passages of the historic house are not. The only variation in experience for those who do not climb stairs is that these visitors will use the elevator to move between levels, and will rejoin their tour upon exiting the elevator.

Please refer to the exhibit floorplans, which outline the exact areas that are not accessible to wheelchair users, and therefore, do not contain interpretive content. Placement of media that relates to accessibility is also noted.

Addressing the Seven Principles of Accessible Design

1 Equitable Use

1a. Provide the same means of use for all users: identical whenever possible;

equivalent when not.

As noted in the design’s section on audio description, the audio described experience is the only element of the interpretive program at CAWO that is different from any other user’s experience. Though different, the audio description can be produced to a level that provides all the information (described instead of viewed) available to any other user with no vision impairments.

Visitors with hearing impairments will have options for either amplified sound through the Assisted Listening System, or can request that NPS provide the house tour in American Sign Language house tour. Additionally, all media programs (footage and audio environments) will be open captioned.

No portion of the interpretive experience will be different for visitors with mobility impairments, except that they are offered elevators to move between floors as versus stairs.

1b. Avoid segregating or stigmatizing any users.

Visitors who will use elevators instead of the stairs will need to separate from the tour briefly while the tour is in the process of moving between floors. This is the only point at which visitors are divided into different groups that receive a different experience.

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

1c. Provisions for privacy, security, and safety should be equally available to all users.

Because the visitor paths through the interpretive galleries and house tour are well defined and similar among all users, including those using audio description, all users will be presented with the same privacy, security and safety features.

Visitors who, in addition to visiting the interpretive galleries and house tour, use the lower level, are provided with regulation egress and life safety features as supplied by the architectural program.

1d. Make the design appealing to all users.

The design proposal uses enlivening media, layered interpretive assets (eg, artifacts integrated into scenic backgrounds, enriched by quotes and photographs), extensive tactility and theme evoking environments to encourage visitors of all abilities multiple routes to understanding key takeaway messages.

2 Flexibility in Use

2a. Provide choice in methods of use.

A key goal in achieving accessibility is providing an equivalent experience while also enabling visitors to shape their own visit. The layering of exhibit methods (didactic reading, audio environments, tactile moments, leveraging of moving footage and animation, employment of custom art) helps ensure that content and themes are expressed on multiple levels but all support the common interpretive messages and key takeaways.

2b. Accommodate right- or left-handed access and use.

With the exception of the packaging activity offered in the 03.04 Packaging Room, there are no mechanical interactives or elements that would differentiate between right- and left-handed users.

2c. Facilitate the user’s accuracy and precision.

The user interface for the exhibit’s digital interactives are designed with straightforward flow of content, clear navigation, actionable prompts, and predicatble results in mind. This ensures not only an accessible experience for visitors of varying levels of comfort with technology or varying cognitive

Univer sal Design and Accessibilit y Narrative abilities, but also streamlines the experience so that the interactive focuses on content as versus the structure of the “game.”

2d. Provide adaptability to the user’s pace.

While the house tour will be timed to allow for crowd control, the Lobby, Introduction and Legacy galleries are “peruse at will” spaces that can be enjoed for as long or as little as desired. The design does take into consideration ideal visitor loading, however, and will tailor depth of content to the amount of time a visitor is anticipated to want to spend in any given space.

3 Simple and intuitive use

3a. Eliminate unnecessary complexity.

In part due to the modest size of the Lobby, Introduction and Office Home, the exhibit path through the interpretive experience is clear and logical, aided by periodic time markers that help clarify the order of exhibits. The Legacy gallery is intended to be free-flow, with exhibits encountered in any order. Nearly all exhibitry in all interpretive spaces occurs along the walls, a response to the modestly sized rooms and to achieve spaces as open as possible.

The exhibit, except for the ranger-led packaging activity, contains no mechanical interactives requiring explanation. Digital interactives, as noted, will be designed with user interfaces that privilege clear content over complex interfaces to ensure takeaways are communicated powerfully and quickly.

3b. Be consistent with user expectations and intuition.

Because visitor pathways are uncomplicated, logical and clear, with each new section called out with consistent headers and titling, visitors will intuitively understand in each gallery “what to look at next,” resulting in a cohesive, clear experience.

3c. Accommodate a wide range of literacy and language skills.

The written word was fundamental to Carter G. Woodson. It was his primary means of education (much of it was self-conducted), the conduit of most of his commentary on his world and a significant component of his legacy.

The exhibit must express this. However, the design makes several moves toward enlivening the written word (tactile treatments, media environments), conveying themes and ideas without relying on text (book forms, illustrations speaking to books’ interior content) and will bring forward the products and methods Woodson himself used to popularize and make history accessible

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021 to all people, including picture books, the Negro History Bulletin, and Negro History Week visual materials.

3d. Arrange information consistent with its importance.

Graphic design standards and type hierarchies help illustrate this component.

Consistency in titling, sections, subsections and caption-level information will help a visitor intuitively identify the relative importance of any piece of paper.

Additionally, big ideas are given prominent places, including the signficance statement at the signature portrait (one of the first things visitors see), and the main media presentation of the intro film, which occupies the prominent window wall in the Introduction gallery. Large headers in the Legacy gallery call off the major exhibit components.

3e. Provide effective prompting and feedback during and after task completion.

Because the interpretive program is not task- or project-oriented, the most effective means of achieving this goal is ensuring its expression in the ranger-led house tour in places like the packaging activity. For instances where visitors complete tasks digitally, the user interface will include confirmations that visitors have input necessary information or commands, either through text or haptics and subtle audio cues.

4 Perceptible Information

4a. Use different modes (pictorial, verbal, tactile) for redundant presentation of essential information.

Please refer to foregoing write ups on layering of exhibit assets, including the 2D, 3D, media and tactile to provide multiple gateways into key points.

4b. Provide adequate contrast between essential information and its surroundings.

This element is a prime consideration for graphic layouts, type treatments and artifact displays. Please refer to graphic elevations that show the approach to defining sections, arranging supporting artifacts within a section, and including other elements like tactile pages.

4c. Maximize “legibility” of essential information.

This is a major task that typography and hierarchy standards will address.

Above meeting type standards for legibility and size, as mentioned earlier, an

Univer sal Design and Accessibilit y Narrative approach the design will explore includes the drafting of key takeaways as the major type element on each content group’s introduction, ensuring that visitor’s always know what the most important point of any section is, from which they can elect to dive deeper into details provided in subsections and captions.

4d. Differentiate elements in ways that can be described (i.e., make it easy to give instructions or directions).

In addition to outlining the exhibit’s structure using typography and graphics, the exhibit also varies the scale of elements, which can help rangers direct attention, call out important features and help put the interpretation into “high relief.” In the lobby, these could be the images that help illustrate the ideas contained in books on the shelving. In the Introduction gallery, these “markers” might be the oversized book forms that help define exhibit sections.

In the Legacy gallery, each of the four walls will have a cohesive, but distinct graphic identity, assisting visitors in intuitively understanding differences between sections.

4e. Provide compatibility with a variety of techniques or devices used by people with sensory limitation.

The design will ensure this item is met as hardware specifications are given more detail, especially in coordination with NPS’s exerience on what works best in environments like this one and in coordination with a review of what the commercial market now has available in terms of technology and hardware.

Principle 5: Tolerance for Error

5a. Arrange elements to minimize hazards and errors: most used elements, most accessible; hazardous elements eliminated, isolated, or shielded.

As outlined previously, the exhibit pathway through the entire experience is ADA accessible, clear and unimpeded, including around seating areas included for visitor comfort. In addition, the exhibitry will meet all environmental safety standards required of the architectural program. All exhibit structures will be designed and built to industry specifications for stability and durability. The only hazardous materials that might impact the exhibit are those inherent in certain artifacts (which, if deemed hazardous, will not be displayed) or the building itself, for which mitigation has been completed.

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

5b. Provide warnings of hazards and errors. and 5c. Provide fail safe features.

The interpretive galleries do not contain hazards that would impact a person’s safety. Signage and postings relating to any hazards, like the stairs, in the historic Office Home are part of the architectural program.

5d. Discourage unconscious action in tasks that require vigilance.

There are no areas in the interpretive galleries that require uncommon vigilance to use or circulate around. All exhibit furniture, including seating, will be cane detectable (have a horizon of 2’3” from the floor for any element extending more than 4” from the wall) or will be of a reasonable size (eg visitor seating elements at the intro film) to not be a tripping hazard.

An alert for visitors climbing the historic stairs, which are not modern proportions, can be made by the guiding ranger, and can also be supplemented by a building sign.

Principle 6: Low Physical Effort

6a. Allow user to maintain a neutral body position.

All graphic layouts will obey typical horizons for major, detailed interpretive content, including nothing occurring below 2’3” or above 7’ for easy reading.

All writing surfaces will be a comfortable, standard height and potentially angled for easier use. Interactives are positioned on a vertical wall at a height usable by wheelchair users and children as well as standing adults. The exhibit involves no lifting, bending or unusual physical postures to receive content.

6b. Use reasonable operating forces.

The exhibit involves no lifting, opening, bending or unusual physical postures to receive content. Visitors who prefer to use the elevator to navigate between floors are provided this option.

6c. Minimize repetitive actions.

Because the exhibit does not include mechanical interactives, actions that might become repetitive are limited.

6d. Minimize sustained physical effort.

The exhibit involves no lifting, opening, bending or unusual physical postures to receive content. Visitors who prefer to use the elevator to navigate between floors are provided this option. Visitors are also provided seating in the two interpretive galleries bookending the house tour.

Principle 7: Size and Space for Approach and Use

7a. Provide a clear line of sight to important elements for any seated or standing user.

The exhibit’s biggest aid in this regard is its small scale. Galleries are modest enough that the entire room is visible “at a glance.” Graphics and typographic hierarchies developed in the next phase will help put major points and features into high relief. Exhibit forms like the oversized book forms with titles important to Dr. Woodson can further help draw eyes to important points.

7b. Make reach to all components comfortable for any seated or standing user.

Wherever an element is intended to be touched (eg, book forms in the library, oversize book forms in the Introduction), a good portion of that element will be positioned to be accessible to children, visitors of short stature and wheelchair users. No content will be solely obtainable from a standing position only.

7c. Accommodate variations in hand and grip size.

Because the exhibit contains no mechanical interactives, there is only one place where a visitor will be asked to grip an interpretive component, the audio pucks used to deliver sound at the Legacy interactives. Visitors can also opt to plug in their own headphones if desired, to receive the same content.

7d. Provide adequate space for the use of assistive devices or personal assistance.

The exhibit gallery space has been determined through a process of architectural programming and an extensive VA analysis. The exhibit design maximizes available space by promoting a clear, logical exhibit flow and by keeping the bulk of interpretive content along the gallery walls. Seating is provided for visitor comfort, but kept to a minimum to provide other users comfortable maneuvering space.

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Maintaining a Clean and Sanitary Visitor Experience

The reality of COVID-19 and risk of other transmittable diseases requires a new and diligent approach to an exhibit’s design and maintenance. While our understanding of COVID-19 continues to expand, the production methods specified in this package look ahead to frequent sanitizing and wiping down that exhibit maintenance will increasingly involve.

Further, given COVID’s demands on maintaining cleanliness within all exhibit areas, the design package pursues durability and clean-ability in some key ways:

• Nearly all textrails are specified as reverse laminated non-glare acrylic, with one anomalous condition specified as Floorgard.

• All flipbooks enlist NPS’s standard HPL “pages” laminated back-to-back, with edges eased.

• The tactile super-scale pull-out books in 02 Intro, are clad in textured clear 35 mil Marley Floor, a heavy traffic-rated flooring product that allows for repeated cleaning.

• A satin clear top coat has been called off for all direct printed graphics that will be displayed outside of a case.

Exhibit maintenance staff should be mindful of the following:

• Cases specify non-reflective, low-iron glass for the sides of the case that visitors look through. The coating needed to achieve that effect is more delicate to clean than standard glass. For that reason we share the documentation direct from the glass manufacturer as to what cloths and what specific cleansers and techniques to use, and those to avoid.

• For acrylic wall vitrines, cleaning protocols will be the same as before, just being ever more mindful of constantly replenishing the cleaning cloths to avoid any grit building up during the vastly more regular wipe downs.

• Finally, via cutsheets, we are supplying AV equipment manufacturers’ instructions for care and maintenance of touch screen monitors, interface buttons, handheld audio pucks, and the like. All multimedia equipment has been specified as commercial grade.

Cleaning and Maintenance

Fabricators and Media Producers bidding on this exhibit project should refer to the most recent NPS guidance, which can be reviewed here:

https://www.nps.gov/subjects/hfc/covid-19-exhibitry-cleaning-guidance.htm

As part of their work, the selected Fabricator and Media Producer will be required to outline their approach to cleaning and sanitizing all surfaces and materials within their scope (reachable exhibit graphics, tactile elements, interactive touchscreens, audio handsets, seating, etc).

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

CLEANING INSTRUCTIONS for ANTI-REFLECTIVE GLASS (Low-iron, Laminated Glass):

Please note:

Anti-reflective glass is formed when an anti-reflective coating is applied to the surfaces of the panels. The coating is multi-layered with an interference system of metal oxides.

Anti-reflective glass may have permissible characteristics which does not affect its fundamental functions. Under certain lighting conditions and viewing angles, this could result in slight variations of the residual reflection and some weak scattered light effects may be observed. This is production related and does not constitute a reason for complaint.

Cleaning instructions for Anti-Reflective Glass To maintain the attractive appearance of the anti-reflective glass, it must be cleaned regularly.

The recommended frequency of cleaning depends on the location, and the degree of the dust, dirt and pollution.

Normal dirt can be removed with warm distilled water (35–40°C or 95-100˚F), sponge, soft cotton cloth or wiper e.g. window leather or chamois. Cleaned surfaces must be dried immediately to avoid leaving residues.

In the case of stubborn dirt, we recommend a small amount of isopropanol or (if not available) alcohol (denatured ethyl alcohol) can also be used, but only in small quantities and with minimal use. Keep the glass sealants (gaskets) away from the contact of isopropanol oralcohol when in use. Clean the surfaces thoroughly with distilled water after the use of isopropanol or alcohol.

Dry the surfaces immediately after cleaning. Standing water and other liquids can cause permanent damages, for example, lime stains cannot be removed again.

IMPORTANT TIPS when using Anti-Reflective Glass:

• Avoid sticking any labels or decorative films on anti-reflective glass, as their subsequent removal can damage the coating.

• Never use razor blades! Removal using a steel blade could cause scratches in the lamination (coating) of the anti-reflective glass.

• A window squeegee may be used however, care should be taken to prevent any metal parts of the squeegee to come in contact with the glass surface (rubber only).

Cleaning and Maintenance

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

239CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Ensuring durability, safety, and accessibility

General note on color: colors need to be tested and coordinated with the paints before printing, and that until then the color palette can’t be considered final.

General Note

As is typical for this industry, the fabricator shall deliver a sample of all graphic production methods listed in the Graphic Layouts Schedule (Panel Schedule). All samples, unless otherwise noted, shall be a minimum of 20” square and show the entirety of the graphic at 100% size as it appears in the output file provided by the designer. Two panels exactly alike shall be produced of each sample, one delivered to the designer for review and one to the NPS project manager at Harpers Ferry Center. Samples not approved shall be revised and resubmitted for comment until formally approved for production. Unless noted otherwise, mock-ups and working prototypes (see below) shall be fabricated to a level such that they can be revised as per designer and NPS comments and incorporated into the final installation (where noted below) once the revised versions are reviewed and approved by all parties.

Graphic Samples

1: Gold Leaf Lettering at Front Façade Glass

Gilded lettering and rules sample 20” x 20” on inside face of glass with back protective coating in place to demonstrate durability. Note that gold-gilded lettering of the quality specified requires a certified signmaker with a very specific skillset. Fabricator to use Sure Hand Signs of Richmond VA (804.316.6525) or approved equal as proven by sample submitted.

2: Dimensional Letters

One of each type of the following letter forms, as per outline file of letters provided by designer. Approved letters can be used in the installation:

• Welcome Desk Main Venue Title both large/thick and small/thin letter versions

• Quote at wood fascia – stand-off dimensional letters

• 8” long Segment of large Woodson Signature at Lobby Wall (mount on painted ½”MDF panel)

• Typical metal laminate title letter and 12” long rule at Lobby panels

• Typical solid black acrylic title letter at Intro panels

• Both positive and negative large cap letters at Legacy friezes cut from clear vinyl sheet product with buffed finish at exposed face of sheet material and raised letters (see detail and see outline file – sample not to be used in install)

• Cut-vinyl Letters – profile-cut signature at quote on Lobby wood fascia adhered to face of wood veneer matching existing fascia

Samples and Protot ypes

3. Magnetic “slats” with direct-printed text and numbers with satin clear topcoat for hours-of-operation sign

4. High-pressure Laminate output — NPS standard spec HPL

• • Outdoor Wayside – single-sided, outdoor-rated HPL on black 3/4” thick sintra

• Flip-book pages – NPS standard double-sided, back-to-back laminated with page-turning tabs and “no-slouch” punched holes for U-bolt binders (see detail)

• • Flip-book “cover” - single-sided HPL adhered to textrail top as fixed, non-flippable “cover” of book (note no tabs for these “fixed pages”

5. Direct-Printed Panels

• CYMK plus white on MDF panel painted face and edges with satin clear topcoat. Sample can be .5” thick to represent the various panel thicknesses on the project

• CYMK plus white on signblank with painted face and edges with satin clear topcoat

• CYMK plus white on clear vinyl with removable adhesive for changeable case labels.

• Floor Map - Reverse-printed, full color graphic on smooth back of 35 mil (nom. 3/32” thick) satin clear vinyl, textured “Marley floor” with opaque white vinyl laminated to the back of the printed vinyl.

• Vinyl Wall covering - Graphic printed on Korographics vinyl wall covering, one sample each on Abaco Beach, Cheyenne (leather), and Artist Canvas textures with satin clear topcoat for durability.

6. Reverse-laminated Non-glare Acrylic

Graphic output on opaque white (or clear where needed) vinyl adhered to rear face of 0.125” non-glare acrylic with all outside edges chamfered

7. Silicone Edge Graphic (SEG) Backlit Panels

Commercial-grade backlit fabric on Aluminum Frame with integral, perimeter LED lighting all sides. Provide nominal 36” square fabric panel for print-quality review (also see working mock-up below)

8. Tactile Orientation Map with raised braille lettering

UV-cured, “dimensional ink process” as produced by TouchGraphics of Elkton, Maryland (800.884.2440) or approved equal product with satin clear top-coat for enhanced durability.

Provide section sized per graphic file provided by designer (nom. 18”H x 24”W).

9. Legacy frieze including portion of underlying graphic and overlaying laser cut material

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021

Material Samples

• Minimum 12” x 12” sample of Chemetal “metal only” laminates including standard and “plume finish” version of Satin Gold Bronze #814

• Minimum 8” x 8” sample of both low-iron glass and low-iron with non-reflective coating glass for cases at Intro by Casewerks of Baltimore MD (410. 332.4160) or approved equal museum-quality case fabricator.

• Minimum 8” x 8” sample of TreeFrog Veneer #60816 Teak Groove for “faux book shelves”

Working Mock-Ups and Prototypes

Mock-ups are here understood to be fabricated components taken to a level to review

— during a visit to the fabricator’s shop — workability of the design concept including ergonomics, ADA compliance, durability, and scale. Mock-ups can be a section of the intended final product mounted at the appropriate height for review. They are not meant to be incorporated into the final installation.

Prototypes, on the other hand, are built according to approved fabricator shop drawings derived faithfully from the designers’ detail drawings. They are intended for testing ease of operation, durability of materials and mechanisms, and ADA compliance, and, if approved, can be revised per designer and NPS comments, reviewed for final approval, and used in the installed exhibits.

Note that any approach recommended by the fabricator as to materials or fabrication methods that depart from the designer’s specs require a mock-up to be reviewed and approved by NPS and the designer prior to fabricating the final product for use in the exhibit.

Mock-Ups

• Minimum 60” x 60” Section of SEG backlit panel with perimeter LED illumination on two adjacent sides (i.e. left side and bottom) to test evenness and intensity of illumination.

Include a “faux bookshelf” to test sturdiness, and a minimum of 5 prop “books” to test durability and effectiveness of the “fool the eye” stage effect.

• Heat-shrink wrapped book secured to backer plate (see detail from Intro section) to test durability, sheen, and “completeness” of the shrink at inside tight corners. Book approved for quality and sheen can be used in the final installation.

• 75” monitor on portrait mode mount mounted within mock-up of existing Intro Area window recess to show “fit” of the monitor and the amount of recess achievable. Include mesh roller shade at top to demonstrate effectiveness of ventilation.

Prototypes

• Large Pull-out book (Intro Area) – full-size single book installed within full size armature (intended to hold two books) complete with custom-modified ADA pull, printed “leather cover”, detent(s) to prevent more than one book deploying at a time, retracting pulley mechanism, and internal graphic panels in place.

• Standing Glass Case with mix of non-reflective and low iron glass (see details at Intro Section), complete with top laylight and mini-spot track, simulated section of bottom platform with dessicant chamber behind section of removable baseboard, background mural (wallcovering on signblank backer with curved inside corner and end returns), and vinyl masking films at inside face of glass (see details). Include at least one type of artifact stand-off at back mural and one “shark-line” suspended document.

• Spinning Globe at Intro area with pole-axial mount, detent to prevent spinning “backwards”, regulator mechanism to control maximum speed of spin, ID “flags” adhered to vintage globe map graphic, and satin clear top-coating to prove durability of graphic

• Pylon at Legacy area bracketed to wall structure at workshop to demonstrate sturdiness of cantilever, metal laminate cladding, internal audio cord retracting mechanisms, Navpad, audio jacks, audio handsets, and braille graphic prompt panel.

• Wall-mounted acrylic vitrine at Legacy Area mounted to mocked-up minimum 4’ wide section of wall build-out demonstrating camlock securing of vitrine, floating case back, and dessicant chamber remoted behind removable kick base.

• Flipbook at textrail at Intro Area including textrail, U-bolt “ring binders” with access underneath (see detail), and HPL flip pages (both one-sided “fixed covers” and double-sided pages with tabs for ADA compliance)

Bas Relief Portrait

As part of the selection process for this commissioned artwork, the competing artists must produce a nominal 24” x 24” sample of their “woodblock carving” technique applied to the wood sheet product they intend to use for the final piece. Note that the finished piece is intended to be as seamless as can be achieved with existing sheet products (MDF, A-A plywood, or other TBD), assumed to be limited to 5’ wide by 8’ tall. The artist will be instructed to devise the size and placement of the “bust” to enable the head and shoulders to be formed from a monolithic, seamless 5’ x 8’ sheet. The background shall be “keyed” to the bust and formed so as to minimize any visible seam. Since the fabricator will ultimately hire the selected artist and be involved in the installation of his/her completed work, this sample is included in this list pending further definition by NPS of how the competition will be handled and judged, the winner decided, and the interaction between the artist and fabricator more fully defined.

Samples and Protot ypes

CAWO Carter G. Woodson Home National Historic Site | Phase II | PDII: Book 1 Design | Januar y 29, 2021