B08_Exhibit_Manual_3_2012.pdf

US. Fish and Wildlife Service

Exhibit Handbook A How-to Guide for Exhibits in the Northeast Region

Table of Contents

Contacts/Resources

Project Planning

Process

Developing Standard Exhibits

Standard Design Elements

Unifying Elements .....................................................................................................................6-15

Frequently Asked Questions and Answers

Developing portable exhibits Tom Edgerton, Outdoor Recreation Planner, Fairbanks Refuges, and Dave Johnson, Skyline Displays

Price Estimates

Scopes of Work examples ........................................................................................................19-31

Contact Information

If you need help getting started, call or use the following resources for assistance with your exhibit project:

Kate Toniolo - Northeast Regional Office - 413/253 8498

Deborah Long - Northeast Regional Office - 413/253 8568

Other Resources National Park Service Harpers Ferry Center www.nps.gov/hfc

National Association of Interpretation www.interpnet.com

NCTC, Matt Gay Interpretive courses Matt_Gay@fws.gov

Interpretive Books Environmental Interpretation, A Practical Guide for People with Big Ideas and Small Budgets Sam H. Ham

Exhibit Labels, An Interpretive Approach Beverly Serrell

Signs, Trails and Wayside Exhibits: Connecting People and Places Michael Gross, Ron Zimmerman, Jim Buchholz

Director’s Guide to Best Practices: Interpretive Design of Nature Center Exhibits Association of Nature Center Administrators

Interpretive Writing Alan Leftridge

Interpretive Master Planning John A. Veverka

?How to get started What should I do first?

Congratulations! You are about to embark on developing exhibits at your site. These interactive and informative displays will be enjoyed by visitors for years to come.

You have some great ideas, but how do you begin and what do you need to know? This handbook has been created to help you get started and guide you through the different facets of exhibit planning, with a special emphasis on our region’s newly adopted standard exhibit designs.

Project Planning Before you decide to create an exhibit, or any interpretive tool, go through the following exercise:

1. What is the objective you want to achieve with your audience after they experience your product?

Example: After my audience reads this exhibit, if asked, they would be able to state the three types of habitats present on this refuge.

2. When people interact with your product, what do you want them to know?

3. What do you want them to feel?

4. And finally, what do you want them to do?

5. Who are your target audience(s)?

6. What tool is the most effective for meeting the above objectives? e.g. brochure, program, poster...

7. What other tools were considered? Why did you rule them out?

What is a theme?

1. What is your main message or theme?

It is one sentence that encapsulates your main message and will make them go “ah ha!” or “wow!” or “really? I didn’t know that.”

2. Do you have graphics, photos, or other images/materials that will help the designer make your product come to life?

3. What ideas do you have to make the product more effective?

Scope of Work Once you decide to start planning exhibits, it is important to develop a scope of work. This is a clear and complete statement of all the information known about the desired product(s).

n Try to be succinct, but remember more information is better.

n Clarity is very important.

n Companies should be able to calculate a realistic price with all the information you supply, so be specific.

Scope of Work Template

Title: Site Name Project Name Scope of Work Introduction:

n Brief summary paragraph describing the location and scope of the project, and including the most pertinent information

Background:

n Provide the contractor with a clear picture of your site and site needs n Provide information about how the product will accommodate site needs n Provide an audience analysis. Who visits your site and how will they be accessing, viewing, and interacting with the product

Project Description n Provide specifics about what the product is (kiosk, interpretive panel, interactive exhibit, video, etc.) and features you want it to have n Describe the project’s purpose, WHY do you want/need it n Clearly describe and distinguish the work to be performed by the Service and the contractor. What you will provide (photos, text development, text review?) and what will they provide (text development, exhibit installation?)

n Identify the materials you want for the product (i.e.

fiberglass imbedded signs)

Theme and Messages n Provide themes, learning and behavioral objectives, and overall purpose and guidance for your product n Detail whether or not you want the contractor to develop these themes further

Timeline:

n���Provide a clear but flexible timeline for product development, fabrication, and delivery/installation

Point of Contact n Give contact information for the FWS person responsible for the project

Submissions n Identify what you want the contractor to provide and to whom (i.e. copies of 30, 60, 90 % design for review to Project leader, Regional Office, etc.)

** Note: The size and detail of your scope will depend on the detail of your project. While a scope for developing interpretive panels for an outdoor kiosk might require only a few pages, the scope for the development of visitor center exhibits will require far more information and detail.

Examples can be found on pages 17-29 of this manual.

i.e. Parker River NWR Interpretive Wayside Exhibits Scope of Work

Process Exhibit development companies and steps to take For exhibit projects in Region 5, we have three signed Indefinite Delivery/Indefinite Quantity (IDIQ) contracts with:

n Color-Ad of Manassas, Virginia n Taylor Studios of Rantoul, Illinois n Lyons/Zaremba of Boston, Masssachusetts

The use of these contracts is MANDATORY with the following exceptions:

1. If a station has a unique project that warrants having other firms considered, a waiver may be requested.

a. All waivers will be reviewed and approved by the Chief, Contracting and General Services

(CGS).

2. If the request is for less than $3,000, other vendors may be used.

Steps for using Indefinite Delivery/Indefinite Quantity (IDIQ) contracts:

1. Station completes and discusses responses to the project planning questions on page 2.

2. Station prepares Scope of Work.

Examples on pages 17–29.

3. Station submits an acquisition request and scope to

Deb Long and Kate Toniolo for review. Upon approval, administrative personnel enters it into the account and sends it directly to CGS.

4. CGS will ask for a Request for Proposal (RFP) from the IDIQ firm or firms.

5. RFP is negotiated between the Federal government by the contracting officer and the contractor. Parties should agree on price, level of effort, and delivery requirements.

6. A task order is issued by CGS to the Contractor under the IDIQ and work may begin on the project.

Steps two-six should take approximately six weeks to complete. To ensure present fiscal year funds are obligated by the end of the year, you will need to pay attention when the dates are finalized and announced for end of year funding allocations.

Contact Information:

Color-Ad 7200 Gary Road Manassas, VA 20109 Free: 1 800/683 0383 703/369 3330 www.color-ad.com

Taylor Studios 1320 Harmon Drive Rantoul, IL 61866 217/893 4874 www.taylorstudios.com

Lyons/Zaremba 4 Faneuil Hall Marketplace Boston, MA 02109 617/248 0970 www.lyonszaremba.com

Developing Standard Exhibits An Introduction Background The northeast region of the U.S. Fish and Wildlife Service’s refuge program has designed, fabricated, and installed exhibits for several major exhibit galleries during the past 15 years. Different exhibit designers along with staff from individual refuges and regional office personnel created exhibits that focus on three main topics, habitat, wildlife, and people. With declining budgets, there was a desire and need to save dollars especially with standard facilities being accepted nationwide. Region 5 believed it was important to develop standard exhibits to relay major messages of the refuge system and the Service. It is also important to build flexibility as well as highlight unique aspects of individual refuges.

Standard Design Process The Region 5 Senior Leadership Team (SLT) appointed a team of four visitor use specialists and one refuge manager with a regional office lead to draft a conceptual plan for standard exhibits. The team met and took inventory of recently developed exhibits within the region. They analyzed the most recent exhibit packages the most throroughly. From that analysis the team determined the following goals, objectives, and strategies:

Goals The goal of standard exhibit design is to create professional and effective exhibits that:

n��Inform and educate our visitors about refuges, the

National Wildlife Refuge System, and the U.S. Fish and Wildlife Service n��Address wildlife management n��Address cultural and natural resources n��Contain consistent unifying elements to reduce design fees and staff time

Monetary Objective n��Reduce by 25-50 percent design fees and staff time

Interpretive Objectives Through the consistent look and approach visitors will

KNOW:

n���They are on a refuge that is part of a system that is part of the Service n���The management challenges and practices of the particular refuge n���The role they can play in conserving fish and wildlife resources n��The recreational activities in which they can participate

Visitors will FEEL:

n��Refuges are special places n��The Service, National Wildlife Reguge System, and refuge are doing a good job with management n��They are welcome on the refuge

Visitors can DO:

n��Become a volunteer n��Support refuge programs n��Tell others about the facility

Standard Design Elements

This section covers standard design elements to be included in all exhibit projects. This section is broken down into 3 sections; the standard design elements to be included outside the building, standard elements to be included in the building’s reception area and entryway, and finally the standard elements to be included in the exhibit gallery. Examples are given throughout, as well as suggestions for how to tailor these exhibits to your site.

The goal is to assure that each visitor realizes that he or she is in a building owned by the U.S. Fish and Wildlife Service, and that the National Wildlife Refuge System is a program of the Service. Creating this knowledge through common design elements is called “branding.” To create branding, the following design elements should be included:

n Conserving the Nature of America Title Each visitor facility can have its own title tiering off the centennial theme, “Conserving the Nature of America” such as Concerving the Nature of Maine’s Coast or Conserving the Nature of the “Wild Ohio.”

n Blue Goose The blue goose should be included in the main lobby area of every standard building. See Ohio River Islands NWR photo above.

n Common Topic Areas Each facility will have three topic areas outlined in their exhibits: Habitat, Wildlife, People

Unifying Elements Outside

The following design elements should be included outside the building.

FWS Shield Incorporate the FWS shield in trusses above the main entrance door. We now have a durable material for these shields.

Standard Panel Kiosk Install a one, two, or three panel kiosk in front of each headquarters or visitor facility.

Unifying Elements Within the Entryway

The following design elements should be included in the entryway and reception areas of the building.

Airlock and Lobby Incorporate the Service and System mission statements into each building in the entrance way.

The standard system/migration map is located along the wall across from the reception desk.

U .S

. F is h an d W ild lif e S e rv ic e

G ra ph ic

S ta n da rd s

Ju ly

G R

-0

C o lo r

P al et te

Pantone 130 @ 30%

Pantone 5493 @ 60%

Pantone 5493 @ 100%

Pantone 5483

Pantone 7402

Pantone 646

Pantone 647

Pantone 5255

Custom Palette

Pantone 618 @ 40%

Pantone 618 @ 65%

Pantone 619

Pantone 7402

Pantone 576

Pantone 554

Pantone 5535

People Palette

Pantone 7511 @ 65%

Pantone 7511

Pantone 7402

Pantone 483 @ 65%

Pantone 483

Pantone 7533

Wildlife Palette

Pantone 576 @ 40%

Pantone 576 @ 65%

Pantone 576

Pantone 7402

Pantone 5483

Pantone 5473

Pantone 5463

Habitats Palette

Refuge Name Each building will have the name of the refuge located on a photo mural behind the reception desk.

i.e. Welcome to Nulhegan Basin Division

Welcome to your

NULHEGAN BASIN DIVISION

SILVIO O. CONTE NATIONAL FISH AND WILDLIFE REFUGE

A place for habitat, wildlife, and people.

© Paul Erickson

A4 mural_V4

Unifying Elements Within the Exhibit Gallery Habitat, Wildlife and People These three topics will be addressed. There will be a main message for each of these repeated in every exhibit package. They will be discussed in detail on the following pages.

Green Exhibit An exhibit highlighting the green features of the building, what the Service is doing to green our facilities across the region, how greening helps the environment, and ways for visitors to be greener in their own lives will be included.

Grid System A grid format will be used to maintain a consistent look.

However, within this format, the refuge will customize its messages, illustrations and photos, relating to the refuge.

n��See example of grid format, below.

Final Quote As you leave the exhibit hall, there will be a quote on the wall exiting the room that will be provocative and meaningful to visitors as a take-home message. This can be different at each refuge but it will always be on the same wall.

Budget Implications...

Depending on your budget, the following elements could be added if funds are available:

n��Additional panels with the same standardized look could be added for other buildings, including stand-alone visitor centers.

n��Additional interactive exhibit components including:

“Low tech” interactivity (see below) Tactile experiences Audio elements

Habitats, Wildlife and People Exhibits

All refuges conserve, protect and enhance fish, wildlife and their habitat for the continuing benefit of the American people. Therefore each refuge exhibit gallery should include information on refuge habitats, refuge wildlife, and what people can do to conserve wildlife or enjoy the refuge. This section will cover the standard elements for these exhibits, as well as some of the refuge specific and special exhibits that can be developed.

Standard Elements Certain elements are standard and must appear in the exhibits, including:

General message Specific fonts and color palettes (see below) Overall “look” (ie. header and background photo)

Refuge-Specific Elements All other elements are refuge specific, including:

Photos/ graphics Refuge-specific text

Unique Refuge Specific “Wow” Exhibits Depending on the budget, you may have up to 30 percent allocated to unique exhibits that help tell the story of your refuge (see below).

ex. Photomural at Ohio River Islands

Topic:

Habitats After entering the exhibit gallery and turning to the right, the first area will discuss habitats of the refuge.

This wall has a general message that explains why habitats are important for wildlife.

The standard message is...

The National Wildlife Refuge System manages and protects the health of wetlands, forests, grasslands, deserts, coral reefs, and a great diversity of other natural habitats so that the native animals and plants within these habitats can thrive as a vital part of America’s natural heritage.”

Other information included on the panel is refuge specific.

U .S

. F is h an d W ild lif e S e rv ic e

G ra ph ic

S ta n da rd s

Ju ly

G R

-0

C o lo r

P al et te

Pantone 130 @ 30%

Pantone 5493 @ 60%

Pantone 5493 @ 100%

Pantone 5483

Pantone 7402

Pantone 646

Pantone 647

Pantone 5255

Custom Palette

Pantone 618 @ 40%

Pantone 618 @ 65%

Pantone 619

Pantone 7402

Pantone 576

Pantone 554

Pantone 5535

People Palette

Pantone 7511 @ 65%

Pantone 7511

Pantone 7402

Pantone 483 @ 65%

Pantone 483

Pantone 7533

Wildlife Palette

Pantone 576 @ 40%

Pantone 576 @ 65%

Pantone 576

Pantone 7402

Pantone 5483

Pantone 5473

Wildlife This next area will run down the length of the room and will be devoted to wildlife. The main message is the Service protects wildlife for the American public. This area will have a DVD monitor in a curved wall.

If the station has funding to collect footage unique to its refuge or if there is a public Web site (as there is for Ohio River Islands on mussels), that footage can be used to highlight the refuge.

Note: There are many wildlife DVDs produced at the National Conservation Training Center that can be shown on a regular basis.

On that same wall in addition to the basic message of what the system does to protect or conserve wildlife, there will be room for text and photos specific to the refuge on either natural history of the wildlife and/or management measures.

In this area, there are also opportunities for interactive exhibits.

e.x. matching game

The standard message is...

The U.S. Congress has entrusted the Secretary of the Interior, and therefore the National Wildlife Refuge System, with managing and protecting America’s irreplaceable trust resources, including migratory birds, threatened and endangered species, and other plants and animals whose long-term survival is of special concern.”

U .S

. F is h an d W ild lif e S e rv ic e

G ra ph ic

S ta n da rd s

Ju ly

G R

-0

C o lo r

P al et te

Pantone 130 @ 30%

Pantone 5493 @ 60%

Pantone 5493 @ 100%

Pantone 5483

Pantone 7402

Pantone 646

Pantone 647

Pantone 5255

Custom Palette

Pantone 618 @ 40%

Pantone 618 @ 65%

Pantone 619

Pantone 7402

Pantone 576

Pantone 554

Pantone 5535

People Palette

Pantone 7511 @ 65%

Pantone 7511

Pantone 7402

Pantone 483 @ 65%

Pantone 483

Pantone 7533

Wildlife Palette

Pantone 576 @ 40%

Pantone 576 @ 65%

Pantone 576

Pantone 7402

Pantone 5483

Pantone 5473

Pantone 5463

People The last topic is people, which begins with cultural resource information. A panel showing wildlife-dependent recreation will be included. On this panel is a standard message (see below). There is an interactive element on this panel as well.

Also, depending on station funds, three-dimensional artifacts encased in plexiglass can be added.

The standard message is...

The National Wildlife Refuge System Improvement Act of 1997 identified six priority public uses of the system. Most refuges offer opportunities for the public to enjoy these activities.

n hunting n fishing n wildlife observation n photography n environmental education n interpretation

These wildlife-dependent activities are managed to ensure the well-being of animal and plant populations within the system.”

U .S

. F is h an d W ild lif e S e rv ic e

G ra ph ic

S ta n da rd s

Ju ly

G R

-0

C o lo r

P al et te

Pantone 130 @ 30%

Pantone 5493 @ 60%

Pantone 5493 @ 100%

Pantone 5483

Pantone 7402

Pantone 646

Pantone 647

Pantone 5255

Custom Palette

Pantone 618 @ 40%

Pantone 618 @ 65%

Pantone 619

Pantone 7402

Pantone 576

Pantone 554

Pantone 5535

People Palette

Pantone 7511 @ 65%

Pantone 7511

Pantone 7402

Pantone 483 @ 65%

Pantone 483

Pantone 7533

Wildlife Palette

Pantone 576 @ 40%

Pantone 576 @ 65%

Pantone 576

Pantone 7402

Pantone 5483

Pantone 5473

Greening We’ve worked hard in the Northeast Region to construct and retrofit our facilities to make them “greener” and more sustainable. We’ve also often implemented landscaping to incorporate native plants and reduce fertilizer and pesticide use. With this in mind, each refuge exhibit gallery should include a standard green exhibit. This exhibit should include information on the green features of the visitor center and grounds, green tactics and energy being used across the region, what greening does for the environment, and what people can do in their own lives to be greener. This section covers the standard elements and messages for this exhibit.

Standard Message:

You are in a “green” building. That means many of its architectural features are designed to be energy efficient and use fewer resources. Being green is a natural choice for the US Fish and Wildlife Service, and many of our buildings have received Leadership in Energy and Environmental Design \(LEED) certification by the U.S. Green Building Council or have achieved ENERGY STAR designations by the Environmental Protection Agency. Here are some of the green features of this building:

(Add your buildings features here)

Greening the Northeast Region Standard Message:

Across the Northeast, the U.S. Fish and Wildlife Service is committed to energy and resource conservation through energy efficient construction, minimizing energy and water use, and natural landscaping. Here are just some of the ways these facilities are being created with conservation in mind

Geothermal Energy Temperatures at least 10 feet below the earth’s surface hold nearly constant between 50° and 60°F. Geothermal heat pumps are able to use the earth’s constant temperatures to heat and cool buildings. The visitor centers at Ninigret National Wildlife Refuge in Rhode Island, John Heinz National Wildlife Refuge at Tinicum in Pennsylvania, and Chincoteague National Wildlife Refuge in Virginia are just a few of the FWS sites currently using geothermal heating and cooling in their buildings

Solar Energy Photovoltaic cells have been installed on the rooftops of several FWS buidlings in the Northeast including visitor facilities and offices at Parker River National Wildlife Refuge in Massachusetts, Edwin B. Forsythe National Wildlife Refuge in New Jersey, and the White River National Fish Hatchery in Vermont. These cells convert the sun’s energy into electricity, and on particularly sunny days, they can produce so much electricity that the electric meter runs backwards!

Wind Power Wind turbines, like old fashioned windmills, use large blades to collect energy from the wind. Wind flows over the blades, creating lift (like and airplane wing) which causes them to turn. The blades are connected to a drive shaft that turns an electric generator to produce electricity, FWS is harnessing wind power at Missisquoi National Wildlife Refuge in Vermont and Eastern Neck National Wildlife Refuge in Maryland.

Green Materials Several of our buildings have used recycled or renewable materials in their construction and operation. Here are just a few examples:

n Carpets, tile, roofs, bathroom partitions, decking all made from recycled materials n Bamboo flooring (bamboo is faster growing and more renewable than wood) n Recycled lumber used in wood projects n Energy saving compact flourescent bulbs replacing traditional incandescent bulbs n Green cleaning products used instead of harsh chemical ones n Low flow faucets, toilets, and showers to save water n Recycled paper products used whenever possible n Paints and other products with no or low volatile organic compounds (VOC) to help protect indoor air quality

Green Palette

Pantone 355 @ 20%

Pantone 353 Pantone 290

Pantone 355 Pantone 298

Pantone 4665 Pantone 300

Green Exhibit

Natural Landscaping Several of our sites use natural landscaping techniques around buildings. These sites are designed with the layout of the land in mind (which areas will provide the most sun?

where will water flow naturally?) and take advantage of the beauty and other qualities of native plants.

Native plants are plants that have naturally occurred in an area for hundreds or thousands of years, and therefore are well suited to the climatic conditions there (such as a cactus in the desert). These plants are extremely important for wildlife, which rely on them for food or shelter, and they require little to no maintenance (watering, fertilizer, pesticides) as thay are adapted to the rainfall and soil conditions in the area.

So What?

Standard Message:

So what does all the greening mean for the environment?

n These energy efficient buildings have helped us reduce our overall energy consumption, lowered energy costs, and reduced our carbon dioxide emissions. When we emit less carbon dioxide, we help fight climate change.

n By using recycled and renewable materials, we’ve cut down dramatically on the resources we take from the environment.

n By installing low flow water devices we’ve saved over 2 million gallons of water per year in one building alone!

We share the earth with a multitude of creatures, and we all depend on the same natural resources to survive. Here at the U.S. Fish and Wildlife Service, we are committed to conservation in our mission, and our facilities embody our mission in their construction and operation.

It’s So Easy Being Green!

Standard Message:

There are so many things, large and small, you can do to be more “green” and help wildlife. Here are just a few examples:

n Consider using alternative energy sources for your home or car n Create a natural landscape with native plants for your yard, or create wildlife habitat in your yard!

n Recycle and use recycled materials whenever possible n Install compact flourescent bulbs n Turn off or unplug appliances and electronics when not in use n Install a programmable thermostat, and set it a couple of degrees cooler in the winter and a couple of degrees warmer in the summer n Seek out new and innovative ways to be greener in your everyday life!

Possible Quote:

Anything else you’re interested in is not going to happen if you can’t breathe the air and drink the water. Don’t sit this one out. Do something.

-Carl Sagan

1. Who do I contact to see if we have money in our budget to do an exhibit project?

An swer: Discuss it with your project leader, develop a scope of work, fill out an acquisition request, and submit to Deb

Long and Kate Toniolo for review after which it will be forwarded to contracting.

2. Are there limits on the amount we can spend on exhibits in a FY?

Answer: No

3. How long does it take to create an exhibit and have it installed? Are there certain times of the year that are better for contractors to work on these projects?

An swer: The truth is, it always takes longer than expected. If you have a tight, hard-and-fast deadline, be prepared to spend the majority of your time working with your exhibit designer to complete it on time.

4. Do I have to work with specific contractors or can I find someone else? Are there some contractors that are better at certain projects than others?

An swer: Region 5 now has three indefinite deliverables, indefinite quantity (IDIQ) contractors. You must use these unless your job is under $3,000. Then you can go anywhere you want. See list on page 3 for possibilities.

5. Does each contractor have set fees? Do I need to compare prices among different contractors?

An swer: Yes, each contractor has his/her own set fees. The contracting officer will send out your scope of work to one or more companies depending on their workload to get the best fit for your project, both geographically and monetarily. For example, it is going to be extremely helpful to you if you have a project near the Boston area to use the Boston firm, since they will be able to drive easily to your site.

6. What information do I need to give the contractors? How much of the design process will I be involved in?

Answer: See page 2 of this guide.

7. If there are specific contractors to use, do they know the standards?

Answer: Yes all IDIQ contractors have the designs.

8. Is there flexibilty in the exhibit design?

An swer: The designs are standard. Your flexibility is in the content and photos or graphics and the 30 percent unique exhibits you are allowed at your visitor facility.

9. Will the contractor come to my refuge and help me strategize how to design the exhibit given our space?

An swer: Yes, you will have an initial meeting at your site. Communication is key and the first meeting is important.

Ask for weekly updates.

10. What kinds of elements can I get? Banners? TVs? Interactive displays?

Answer: Yes, yes, and yes.

11. What about lighting, music, animal calls, etc.? Are these part of the exhibit plan that the contractor will help with and/or supply?

An swer: The contactors can do all of these, or they will find a way to get them done. It may be more expensive if they have to go look for these elements. The more you can provide the better.

12. Will the contractor give me a list of how much the exhibit will cost and the options I have for the design?

Answer: Yes, but you usually have a budget first and then they design to the dollars you have allocated.

13. How will the exhibits be delivered?

Answer: They will be trucked to your site.

14. Who will install the exhibits?

Answer: The fabrication company will send installers, and the designers will be on site.

15. Are there specific care or maintenance requirements for certain items? How long can I expect them to last?

An swer: The contractor will give you those requirements. Different elements will last longer than others. It is suggested that as soon as the exhibit(s) are installed, you put in a MMS project to replace in 10-15 years.

Frequently Asked Questions and Answers Regarding Exhibits

Tom Edgarton, Outdoor Recreation Planner, Fairbanks Refuges Dave Johnson, Skyline Displays

A. Types of portable exhibits

1. Self-standing

2. Table-top

A. Why portable exhibits?

1. Tell a story that can’t be presented on site or in the office

2. Bring stories to places where people are.

3. Display where permanent ones aren’t allowed or appropriate.

C. Things to consider/remember when planning a portable exhibit

1. How/where will we use it?

2. Who are the target audiences? What do they want? What are they interested in? Why are they there?

3. Purpose of most portable exhibits is basic, simple, brief information and orientation.

4. What are your obiectives for the exhibit? Objectives are defined by 1) the visitor’s needs/interests and 2) our needs.

a. Think in terms of benefit to the audience - “after seeing this exhibit, visitor will (fill in the blank with each of the three types of objectives below):

- Learning - what do you want them thinking?

- Behavioral - what do you want them feeling?

- Emotional - what do you want them doing?

b. Review agency interpretive/outreach goals, management problems, and staff ideas.

5. Remember to ask yourself - “Is this the right medium to do what I want to do?” passive, flat ones with simple graphics and verbal descriptions.

7. Work to provide interpretation rather than information?

8. An exhibit should have only one or two main concepts to interpret. Ask yourself - “if the visitor remembers only one thing about this exhibit, what should that one thing be?”

9. Visitors must be drawn to the exhibit - provocative headlines and graphics help!

10. Exhibit should be linked to staff, programs, publications, or other available resources.

11. Plan to get the most out of the exhibit (remember audiences and how it’ll be used).

12. Remember that the exhibit is for the visitor - it must meet their need/interests and provide something they can relate to!

Developing Portable Exhibits

Outside Kiosks (each panel) (structure) ........................$1,500.00

Outside Panels .......................................$400.00

Service Logo ..........................................$3,000.00

Blue Goose in Floor ...............................$3,000.00

System Exhibit with flyways map displaying path of three species ..........$17,500.00

Gallery Habitat, Wildlife and People Panels ....$1,500.00

Sustainable panel ...................................$ 600.00

Examples of Unique Exhibits Photo Mosaic ..........................................$10,000.00

Aquarium plus mural ............................$52,000.00

Target Wall (satellite photo, cut outs, words) ......................................$13,000.00

DVD Production (video alcove) ...........$30,000.00 to $50,000.00

Note: These prices will change and are only to be used for preliminary planning. Three to four percent increase can be expected each year. These prices again are for fabrication only. They do not reflect dollar needs for interpretive writing, layout, graphics, or photos for project management.

Ballpark Square foot Pricing Average 400 sq. foot visitor center ......$145.00 to $325.00

Natural history diorama (Depends greatly on detail) ..................$300.00 to $750.00

Topographic relief model (Depends greatly on detail) ..................$500.00 to $1,500.00

Simple display case with 5 sided acrylic vitrine (24”x36” - 36”x60”) ....... $1,500.00 to $3,500.00

Digital output inkjet panels on sign blank (Production ready art) Small (16”x20” or smaller) ...................$275.00

Medium (24”x24” - 48”x48”) .................$325.00 to $400.00

Large (48”x48”x57”x96”) ......................$400.00 to $800.00

Murals (8’x10’ and larger) ....................$1,400.00 & up

Price Estimates

Wayside kiosk and interpretive panels (Production ready art) Triangular kiosk with 3’x4’ bulletin board and two 3’x4’ fiberglass embedded panels .............................. $4,750.00

Standard 2’x3’ wayside kiosk with fiberglass embedded panel ................................ $1,450.00

Other 6’x5’ photographic mural with a few words .............................................. $1,050.00 to $1,350.00

3’x5’ graphic panels ...................................... $525.00 to $675.00

6’x5’ graphic panels ................................ $1,050.00 to $1,350.00

3’x7’ one sided banners ................................ $735.00 to $945.00

Vinyl letter quote (appx. 4’x3’) .................................................... $100.00 to $185.00

6’x8’x6” photo mural Plywood frame with pinch cleat and HPL surfaces ...... $1,680.00 to $2,160.00

*Above prices do not include shipping or installation

Craig Brook National Fish Hatchery Atlantic Salmon Exhibit

I. Introduction The U.S. Fish and Wildlife Service (Service) is proposing to develop, design, and fabricate an exhibit addressing messages regarding the life cycle and existing situation of the Atlantic salmon in the Northeast at the Craig Brook National Fish Hatchery in Maine. The exhibit will include specific messages to the Atlantic salmon with an interactive component.

This facility has been in place and many exhibits have been completed. With this additional funding, the final major display can now be completed.

The center has approximately 4,000 sq. ft. with temporary and permanent exhibits in place. In the middle of the center is an enclosed, 40 seat accessible auditorium. Also within this space is the ability to access the lower floor to view fish hatchery operations.

II. Background The Maine Fisheries Program Complex at Craig Brook consists of Craig Brook National Fish Hatchery and the Main Fishery Resources Office. Craig Brook National Fish Hatchery, administered by the U.S. Fish and Wildlife Service, is one of two federal fish hatcheries in Maine raising sea-run Atlantic salmon to restore their populations in Maine rivers.

The oldest public salmon hatchery in the country, Craig Brook was established in 1889 as a federal facility (although efforts to raise salmon at the site began in 1871). From 1998 through 2000, Craig Brook underwent a complete renovation to update their mission of Atlantic Salmon Restoration. The new facility now has a new 50,000 sq. ft. hatchery capable of incubating eggs, raising fry and keep brood stock for six rivers.

The hatchery sits on 135 acres of forested land with nature trails and picnic areas on the shores of Alamoosook Lake and Craig Pond

III. Audience Analysis Present-students from pre-K to college with predominant use by middle school age children. Also, tourists who happen upon the sign on route to Acadia National Park visit the facility as well. Local families frequent the area for picnicking and sunbathing. Local conservation groups, day trippers within Maine and others now visit the hatchery with an annual visitation of approximately 9,000.

Future-the adjoining and nearby public beaches and trails receive use of approximately 19,000 visitors. With new exhibits and the present hatchery tour, it’s realistic to expect a high percentage of the beach and trail users to visit the new facility.

With better signing, marketing, and more programming opportunities, as well as the recent listing of the Atlantic Salmon as an endangered species all indicate annual visitation will increase substantially.

IV. Project Description This contract calls for conceptual design, design development, fabrication and installation of an Atlantic Salmon Exhibit for the Craig Brook National Fish Hatchery.

The exhibit must meet Americans with Disabilities Act guidelines. It is imperative that this exhibit is consistent with the existing exhibits utilizing similar materials, colors and graphic design. It will be the keystone exhibit of this visitor center.

The exhibit shall reflect the themes described in section V. and will be effective in reaching audiences consisting of a wide range of socio-economic and cultural backgrounds, ages and learning styles. The exhibit shall incorporate the use of methods and media that are interactive whenever possible. Low level of technology should be used whenever possible in order to afford economic operation and maintenance of the exhibits.

V. Proposed Exhibits, Themes and Objectives Theme: Atlantic salmon and other fish have very specific habitat requirements and often require different habitats for different growth stages.

Sample Scopes of Work

The Atlantic salmon exhibit would accomplish several things:

Generally speaking this exhibit will be an interactive display showing key aspects of salmon ecology, life history & management, including but not limited to, their life cycle, movements, major threats to survival, and related need for protection (i.e. incorporate explicit/appropriate role of law enforcement); also includes realistic reproductions or actual mounts of fish, text and graphics.

Goals: To make visitors aware of:

1. Atlantic salmon’s life cycle

2. Atlantic salmon’s adaptations to its ocean and river habitats

3. Obstacles to Atlantic salmon survival in Maine rivers

Objectives: Visitors will be able to:

1. Discuss the life cycle of Atlantic salmon

2. Discuss at least two adaptations to river life and ocean life, and what it means to be an anadromous fish.

3. Discuss challenges to salmon survival in New England’s rivers

4. Feel a connection to salmon and a respect for their beauty and uniqueness.

The exhibit itself, like our watersheds and USFWS exhibit, would be constructed by Southern Custom Exhibits of Alabama, a firm under contract with USFWS. This exhibit, more than any other in the center, would be very hands-on. It will be the keystone of the center. It would include a game taking the Atlantic salmon through various obstacles of life, such as dams, predators, pollution and nets. It would include a puzzle allowing visitors to learn the various life stages of the salmon. A “Who Wants to Lay a Million Eggs” quiz game, based on a popular game show, would answer questions about various species of native Maine fish, comparing them to salmon. A matching game would encourage learning about salmon predators and salmon prey. And soft, fabric models of rocks and aquatic insects (velcroed beneath) would give visitors a salmon’s eye look at the all-important benthic community. All would be designed to be accessible to physically-challenged visitors.

All these activities would be self-guided for visitors, but would also serve as teaching aids for the outreach staff, when working with the hundreds of classes, groups and home schooled students who visit annually.

VI. This scope of work is for Conceptual Design, Final Design, Fabrication and Installation.

After consensus and discussion of conceptual design, a final design for the project will be completed.

After final approval of final design, fabrication of project will commence.

Finally fabrication will be completed with an examination at the designer’s studios. Upon approval of fabrication, all exhibits will be shipped and installed at the site.

Great Dismal Swamp National Wildlife Refuge Underground Railroad Interpretive Panels

Scope of Work Description The Great Dismal Swamp National Wildlife Refuge is interested in designing a wayside exhibit on the swamp’s role in the Underground Railroad to be placed in three locations around the refuge.

1. At the refuge’s Jericho Ditch Trail entrance on White Marsh Road in Suffolk, Virginia.

2. At the City of Chesapeake Boat Ramp located along Rt. 17 in Chesapeake, Virginia.

3. At the Dismal Swamp Canal Welcome Center along Rt. 17 in South Mills, North Carolina.

The wayside should be constructed of vandalism resistant materials, not susceptible to condensation or mildew, and easy to maintain and replace- if necessary.

Timeline January 30th: Draft mock up of the interpretive panel provided to refuge staff for review.

February 5th: Refuge staff to provide edit changes to contractor.

February 10th: Full size mock up, with necessary changes, on foam core provided to refuge staff for February 13, 2004 unveiling.

April 30th: All three interpretive panels with wayside mounting provided to refuge staff for installation.

Text The following text should be considered on the interpretive panel of the wayside. Some editing may be permitted with prior approval of refuge staff.

Title: A Refuge for Wildlife and People

Imagine this spot in the early 19th century. The sound of mules and wagons. Distant sawing. Falling trees. Voices trying to carry over the noise. This was the sound of the swamp. Its Atlantic white cedar and cypress was important commodity to the fledgling United States. However, working conditions were not easy. The swamp’s dense undergrowth of thorny vines and other shrubs was near impassable. The spongy peat soils made walking difficult. Mosquitos, horseflies, and several poisonous snakes made the swamp a fearful place. For this reason, slaves were often used in the 18th and early 19th centuries for swamp work.

Slaves found themselves in the swamp for a variety of reasons. Some were sent to cut cedar shingles and barrel staves.

Others were hired out to build the Dismal Swamp Canal, which opened in 1805, and to operate the canal boats which carried lumber to neighboring cities such as Norfolk and Portsmouth, Virginia and Camden and Elizabeth City, North Carolina.

As early as the 1720’s, the Great Dismal Swamp was a known hiding place for freedom-seekers. In 1784, a traveler through the area, John Ferdinand Smyth, wrote “Runaway Negroes have resided in these places for twelve, twenty or thirty years and upwards, subsisting themselves in the swamp upon corn, hogs, and fowls, that they raised on some of the spots not perpetually under water;…”. Some slaves used the swamp as a temporary hide out until passage north could be obtained in Norfolk or Portsmouth, VA or Elizabeth City, NC.

By 1847, this issue reached such proportions, the North Carolina State Assembly passed the Act to provide for the apprehension of runaway slaves in the Great Dismal Swamp and other purposes.

Gone but not forgotten No one knows how many enslaved people were living in the swamp during that time or what happened to them after the Civil War. Today, the swamp is a peaceful place where people hike, bike and enjoy the outdoors. Gone are the sounds of timbering and the voices of the swampers. All that remain are the ditches they used to drain the swamp, the road beds worn deep into the peat by their wagon wheels and the canal to remind us of their work.

(Insert) Moses Grandy was an enslaved waterman, operating one of the canal boats used to transport the shingles and lumber out of the Great Dismal Swamp. According to the arrangements made with his owner, Grandy paid a yearly fee to his owner and kept everything else he earned. While he was working to purchase his freedom, his owner sold him, cheating Grandy out of the $600.00 he had already paid toward his freedom. By 1830, Grandy finally secured his freedom and, settled in Boston, Massachusetts.

Graphics Graphics for the wayside may include the following. See attached images. Other graphics may be available as design proceeds.

• Black and white images of the swamp

• Black and white illustration from the 1856 Harpers New Monthly Magazine

• Refuge map

• Regional map

• NPS Underground RR Network to Freedom logo

• USFWS and NWRS logos

Missisquoi National Wildlife Refuge Visitor Contact Station

I. Introduction The U.S. Fish and Wildlife Service (FWS) is proposing to develop, design, and fabricate exhibits at the Missisquoi National Wildlife Refuge Visitor Contact Station (VCS). The VCS will house an interpretive and educational exhibit area, a cooperating association retail sales area, offices for the Friends of Missisquoi National Wildlife Refuge and refuge volunteers, a multi-purpose room, public restrooms, and an orientation/reception area. There is approximately 1,000 sq. ft. for temporary and permanent exhibits.

II. Background History of the Refuge, Location, and Habitat Missisquoi National Wildlife Refuge, established in 1943 under provisions of the Migratory Bird Conservation Act, “. . . for use as an inviolate sanctuary and for any other management purposes for migratory birds. . .”, is located on the eastern shore of Lake Champlain near the Canadian border in Franklin County, Vermont. The refuge was established to provide migratory feeding and resting habitat for migratory waterfowl. The refuge receives significant use by nesting migratory birds as well.

Since the refuge was established, objectives have been identified to protect and manage threatened and endangered species, conserve native flora and fauna, and provide for wildlife-dependent public use activities (environmental education, fishing, hunting, interpretation, wildlife observation, wildlife photography).

Missisquoi is one of more than 550 national wildlife refuges in the world’s largest collection of lands and waters set aside specifically for the conservation of wildlife and ecosystem protection. The National Wildlife Refuge System encompasses more than 96 million acres of lands and waters in all 50 states and several island territories. Over 34 million visitors hunt, fish, observe and photograph wildlife, or participate in environmental education and interpretive activities on refuges across the nation each year. Despite the vast network of lands, the public is mostly unaware of this largely under-utilized nationwide resource.

The current refuge headquarters is two miles northwest of Swanton, on Route 78. The new refuge headquarter/visitor contact station is being constructed five miles northwest of Swanton, off of Route 78 on Tabor Road.

Habitats The 6,560-acre refuge includes most of the Missisquoi River delta where it flows into Missisquoi Bay. The refuge consists of quiet waters and wetlands which attract large flocks of migratory birds, and uplands of open fields and mixed hardwoods of American elm, white ash, white oak, silver and red maple. Both provide habitat for migratory songbirds, resident mammals and other wildlife.

The Missisquoi River Delta is a rich and varied landscape, and island of wetland, wildlife, and plant habitat amidst a sea of agricultural fields, trailer parks and small industrial towns. The remaining floodplain forest, bog, and wildlife habitat on the delta are increasingly threatened by the development and land use strategies of the surrounding landscape. Thus, the maintenance of the ecological diversity and integrity of the delta are increasingly dependent on the land stewardship and conservation practices of Missisquoi National Wildlife Refuge.

Missisquoi refuge is a link in the chain of refuges for migratory birds that extends along the Atlantic flyway between northern breeding grounds and southern wintering areas. The refuge provides important feeding, resting, and breeding habitat for migratory birds, especially waterfowl, in the northern Lake Champlain section of the flyway. Although refuge waters attract waterfowl most of the year, peak use is in the fall, when thousands of ring-necked ducks settle in to feed with hundreds of blue-winged teal, green-winged teal, black ducks, and mallards.

Cultural History and Features (Also see attached Cultural Resource History file by Shelley Hight) The following language taken from “From Floodplain Forest to Pitch Pine Woodland Bog, A Landscape Inventory and Analysis of the Missisquoi National Wildlife Refuge, Swanton, VT”, by Charlotte Clews:

The current refuge headquarters site is a very significant archaeological site which extends for over a mile along the bank of the Missisquoi River. Native Americans camped, hunted, and fished for the abundant game and fish found within and around the refuge. This Native American site dates to at least 3000 years ago, a time archaeologists call the Early Woodland period (ca.1000 – 100B.C.) Early Woodland period habitation sites are rare in Vermont so this site offers a great opportunity to study how people lived. We expect Native Americans lived in small family groups along the banks of the Missisquoi River for short periods of time. Artifacts that have been found from this time period include stone items such as projectile points and scraping tools, pottery and food remains. We know that the people living here hunted and fished in the local area and collected a wide range of wild plant foods.

The towns of Swanton and Highgate have significant archaeological and cultural history. Various educational, scientific, and contractual survey groups have surveyed archaeological evidence in and around the refuge since the late 1960s. Most recently, the University of Maine at Farmingham, under a contract with the Vermont Agency of Transportation, initiated archaeological work along State Route 78 from just west of Swanton into the refuge approximately one mile in anticipation of safety and environmental improvements to this roadway. This work shows that the delta area was very important to early humans, but use seems to have been transient and seasonal. Evidence of more permanent settlements, encampments and burial gounds has not been found on the refuge. English and French records throughout the 17th and 18th centuries document Western Abenaki community and band names.

Much of the early historical accounts of the Missisquoi Indians revolve around the activities of the Missisquoi chief “Grey Lock.” Grey Lock was engaged in numerous raids on…