CTSI Museum Exhibit RFP.pdf

CTSI Museum Exhibit RFP

CONFEDERATED TRIBES OF SILETZ INDIANS

Request for Proposal for Exhibit Design, Fabrication and Installation

Issue date:

January 23, 2026

Closing location:

Proposals may be submitted via email to Sharla Strong sharlas@ctsi.nsn.us or

MAIL ONLY: COURIER ONLY:

Confederated Tribes of Siletz Indians PO Box 549 Siletz, OR 97380 Attention: Sharla Strong

Confederated Tribes of Siletz Indians 201 SE Swan Avenue Siletz, OR 97380 Attention: Sharla Strong

Closing Date and Time:

Response must be received before 4:30 pm Pacific Time on Monday, March 9, 2026.

Contact Person:

Sharla Strong – Museum Project Manager

Direct Line: (541) 444-8374 Email: sharlas@ctsi.nsn.us

PLEASE NOTE

The information contained herein may not be used for any purpose other than that contemplated by the

RFP.

Companies may not communicate with any CTSI staff or related third-parties regarding this RFP other than the CTSI contact. Doing so may result in immediate rejection of that Offeror from the process.

mailto:sharlas@ctsi.nsn.us mailto:sharlas@ctsi.nsn.us

Table of Contents Part I: Purpose

Part II: Project Background

Collections and Archives:

Location:

Project Confidentiality and CTSI Copyright

Part III: Project Overview

About the new Museum

Part IV: Exhibit Specs, Project Phases & Scope of Work

Exhibit Area Specs

Project Phases

Part V: Museum Industry Standards & Guidelines

Part VI: Evaluation Criteria

Part VII: Proposal Instructions and Format

Instructions to Offeror

Proposal Sections and Content

Appendix A

Fee Schedule for Professional Services and Expenses

Appendix B

Exhibit Description Summary

Measures of Exhibit Design Success

Part I: Purpose The purpose of this Request for Proposal (“RFP”) is to solicit proposals for museum exhibits, from qualified firms who by reason of their skill, knowledge, and experience can furnish project specific

Exhibit Design, Fabrication and Installation Services for the Confederated Tribes of Siletz Indians (CTSI).

CTSI requires exhibits designed, fabricated and installed to meet museum industry standards for preserving and protecting our historical artifacts. The selected Awardee will be expected to work closely with CTSI and its contractors to meet the specific needs of this museum project.

Proposals must be sent directly to Sharla Strong (see cover page) and shall include full disclosure and breakout information for all sub-contractors for services for which the Offeror is not self-performing.

Completion of the entire exhibit project is expected to be a 2-phase process:

• Phase One: Exhibit Design

• Phase Two: Fabrication and Installation (will be planned with the completion of the Museum construction)

Part II: Project Background Since the 1970s, our elders and community have wanted a tribal museum to share our history and educate our young people about our culture. The museum is a long-time goal supported by our Tribal government, staff and Tribal members.

Collections and Archives:

Our collections are exclusively focused on the tribes that are a part of our confederation and any historic pieces that have relevance for our history, including historic items from boarding schools, Indian Agents, etc.

CTSI Collections Our current permanent collections consists of 1,200 catalog entries comprising nearly 3,000 objects, including roughly 70% basketry, 15% tools and other artifacts (stone, etc.), and 15% clothing and regalia

(leather, feathers, beads, etc.).

CTSI Archives Our current archives consist of photographs, rare books, historic documents and maps, and photocopies of historic records. Historic photographs date from the 1830s-1970s and some photos have been scanned.

Acquisitions We plan to acquire more contemporary photography and items to display that belonged to tribal leaders from the 1950s to today. Our collection will expand, as other museums/institutions repatriate historic artifacts.

Possible Loans CTSI will request loans from local historical societies, libraries, universities, and museums.

Location:

The museum will be in Siletz, OR, located inland from the Oregon coast, about a 25 minute drive from

Newport, 45 minutes from Corvallis, and about 45 minutes from Lincoln City. Siletz has a population of about 1,220 people, including Tribal Members and non-tribal residents.

Project Confidentiality and CTSI Copyright All information regarding the planning for or funding of this exhibit, as well as information about the design or status of its implementation will remain confidential throughout the course of the project and should not be shared with other individuals, institutions or vendors without permission from the project owners.

CTSI assumes full ownership of any plans and documents generated at any point of the design process and holds intellectual property rights to all historical and cultural information shared through the design process.

Part III: Project Overview

About the new Museum The Confederated Tribes of Siletz Indians (CTSI) is developing plans for our first museum, named Ghii

Dee-Ne Dvn, meaning A Place for Our People in Siletz Dee-ni Language. The selected Exhibit Design firm

(Awardee) shall work collaboratively with CTSI and the selected A/E firm to plan and design integrated systems to support the exhibit design. See Appendix B

Although exhibitions cannot pursue LEED certification, designs shall strive to incorporate sustainable design. The Awardee is encouraged to reference the Sustainable Exhibition Design & Construction

Toolkit published by the Alliance of American Museums.

Incorporating Exhibit Design into the A/E The Awardee and A/E will collaborate to create a seamless design. The Awardee will be responsible for:

• Collaborating with CTSI’s A/E contractor to ensure cohesion between the building design and exhibit design.

• Providing detailed exhibit design plans to CTSI and CTSI’s A/E contractor.

• Reviewing A/E plans to ensure the exhibit design needs are met.

• Raising concerns regarding potential preservation/conservation issues.

https://www.aam-us.org/2023/09/20/sustainable-exhibition-design-construction-toolkit/ https://www.aam-us.org/2023/09/20/sustainable-exhibition-design-construction-toolkit/

Part IV: Exhibit Specs, Project Phases &

Scope of Work

Exhibit Area Specs The size of rooms will be determined and subject to change throughout the exhibit design and A/E building design process.

Exhibits 10,000+ SF 100 person minimum capacity

Plankhouse 2,000+ SF 60 person minimum capacity Lobby 900+ SF 75 person minimum capacity Gift Shop/Retail/Front Desk 500+ SF 10 person minimum capacity Cultural Education Area 3,000+ SF TBD

Front courtyard TBD TBD

Outdoor cultural education space TBD 200 person minimum capacity

Total indoor exhibit area 16,400+ Square Feet

Total outdoor exhibit area TBD

Project Phases Our preliminary scope of work is outlined below. Based on the firm’s offerings, we may elect to expand this scope of work.

Phase One: Exhibit Design

• Exhibit Master Plan:

o Interpretive Master Plan o Concept Design o Schematic Design o Design Development o Final Design, including:

▪ Preliminary Maintenance Plan with estimated costs over the first 5 years.

▪ Fabrication Guide

• Exhibit design firm will provide renderings of each exhibit, a detailed description of its overall appearance, a list and samples of the materials and finishes that will be used, a list of components of the basic exhibit structure (including interior and exterior skin, mode of fasteners, and any creative features used in the construction of the exhibits), the estimated weight of exhibit properties, and information regarding the durability.

▪ Confirmation that all exhibit design elements will integrate with the final A/E building design.

• Specifications required for integrating the exhibit design into the A/E plans will be provided to and coordinated with the A/E firm and project owners, including weight, wall/floor/ceiling reinforcements, electrical, lighting, and sound specifications, vent placement, and any other installation/integration needs.

Phase Two: Fabrication and Installation

• Fabrication o Fabrication of exhibits - Commencement of fabrication will be coordinated with the conclusion of the museum building construction.

o Operating Instructions - The exhibit design firm/installer will provide written and diagrammatic instructions on how to operate all cases, lighting, and mounting.

o Exhibit Commissioning Plan – Checklist of museum components that will be tested during Installation.

• Installation o Installation of exhibits - Commencement of installation will be coordinated with the construction company to ensure that all exhibit facility needs are met by the construction company.

o Exhibit Commissioning o The Exhibit Design firm and installer(s) must provide project owners with in-person training on case functions, how to replace parts, how to replace case bulbs, how to place environmental devices/silica gel/pest traps, and any other maintenance directions.

Part V: Museum Industry Standards &

Guidelines

The Awardee will design, fabricate and install exhibits utilizing museum industry standards and industry guidance for artifact preservation and conservation. If standards/guidance conflict, the Awardee will contact the project owners to confirm decisions. Below are a selection of standards, guidelines and references:

• American Alliance of Museums (AAM) o AAM Museum Accreditation o AAM General Facility Report ISBN 978-1-0933253-57-2. (provided on request)

• National Museum of American Indian (2021, July). Materials Approved for Exhibition Cases

Interiors. (provided on request) o Video: Using NMAI’s materials list for exhibit case interiors and other on-line resources.

• The AIC Wiki includes vast information about collection care focusing on preventive care, environmental guidelines, best practices for exhibitions, choosing materials for storage, exhibition, and transport, housing design and mount making, and emergency preparedness and response. Selection of AIC Wiki resources:

o AIC Wiki Exhibition Standards & Guidelines o Exhibit Technical Notes

• Canadian Conservation Institute:

o Products Used in Preventive Conservation – Technical Bulletin 32 o Design Considerations for Preventive Conservation in New Heritage Collection Facilities

• National Archives: NARA 1571, Archival Storage Standards

• Smithsonian Institution:

o Smithsonian Guidelines for Accessible Exhibition Design (SGA/ED) o Smithsonian Design Standards please see:

▪ Volume 1:

• Design Guidelines: Chapter 10 - 10.4 Interior Finishes

• Technical Sections

▪ Volume 3:

• Appendix E - Smithsonian Declaration on the Collections Preservation

Environment

• Appendix F – Exhibit Fabrication Guide

• National Museum of Natural History (2019, August). Conservation and Exhibition Guidelines.

Smithsonian Institution.

• Department of the Interior, National Park Service Museum Handbook https://www.aam-us.org/programs/accreditation-excellence-programs/ https://www.aam-us.org/2023/08/01/general-facility-report/ https://sustainableheritagenetwork.org/digital-heritage/using-nmai’s-materials-list-exhibit-case-interiors-and-other-line-resources https://www.conservation-wiki.com/wiki/Exhibition_Standards_%26_Guidelines https://www.conservation-wiki.com/wiki/Category:Exhibit_Technical_Notes https://www.canada.ca/en/conservation-institute/services/conservation-preservation-publications/technical-bulletins/products-used-preventive-conservation.html https://www.canada.ca/content/dam/cci-icc/documents/services/preventive-conservation/design-considerations/design-considerations.pdf https://www.archives.gov/foia/directives/nara1571 https://www.sifacilities.si.edu/sites/default/files/Files/Accessibility/accessible-exhibition-design1.pdf https://www.sifacilities.si.edu/codes-standards https://naturalhistory.si.edu/sites/default/files/media/file/anthro-loans-conservation-exhibition-guidelines.pdf https://www.nps.gov/subjects/museums/museumhandbook.htm

Part VI: Evaluation Criteria

CTSI shall award the contract to the Offeror whose proposal is most advantageous to CTSI. The selection process will be in 2 Phases:

• Phase 1: Proposal Evaluation - evaluation based on submitted proposal

• Phase 2: Finalist Proposal Presentations - evaluation based on presentations

Proposal Presentations Based on the Phase 1 Proposal Evaluation, CTSI will invite up to 2 finalists to present their proposals to our team. These presentations may be conducted in-person or virtually. The Exhibit Designer and

Project Manager who will be assigned to this project are required to attend the proposal presentation.

Finalist presentations will be conducted during a 1 hour meeting held on Monday, April 6, 2026.

Evaluation Factors

Proposals meeting minimum qualifications shall be evaluated on the criteria listed below. Each proposal shall be scored based on the points allotted to each criterion, 100 combined points maximum. The number of points assigned to a proposal does not necessarily determine the award of a contract; rather it establishes benchmarks to assist in the overall evaluation of the proposal.

CTSI will evaluate all proposals on a scale from 1 to 100 based on the following criteria:

A. Price: Maximum Points – 30 Price is an important consideration for this proposal. The proposal must clearly indicate the cost of providing services. Must include Appendix A.

B. Experience and Capability: Maximum Points – 30 Offeror’s skill, knowledge, qualifications, and experience designing museum/cultural exhibits or other similar facilities will be considered under this evaluation factor.

C. Preservation/Conservation design experience, Seismic design, and/or Sustainable design expertise: Maximum Points – 15 Offeror’s skill, knowledge, qualifications and experience designing exhibits that preserve collections. Please provide examples of your experience designing for preservation environments, seismic resilience, or sustainable design.

D. References and past performance: Maximum Points – 5 References may include museum/cultural or other similar facilities. References preferred from museums or other Tribal governments or organizations.

E. Indian Preference: Maximum Points – 15 Indian-owned and controlled companies will receive preference in accordance with the CTSI

Tribal Plan of Operations, Siletz Tribal Code § 2.019(c)(6)(B)(ii) and 25 U.S.C. §450e(b)(7).

Companies must furnish adequate proof of at least 51% Indian ownership and control with their proposal to qualify for Indian Preference points.

F. Evidence of Completeness and Quality of Proposed Work: Maximum Points – 5 Consideration will be given to proposals that offer quality and informative proposals demonstrating project approach and understanding.

Part VII: Proposal Instructions and

Format

Instructions to Offeror In preparing their response to this RFP, Offerors should pay particular attention to identifying prior experience with comparable projects. Offerors should highlight such projects and their relevance to this

Project. Specific and relevant responses will be reviewed and considered more carefully than those stressing breadth of experience or general qualifications. Please note that the firm’s qualifications will be reviewed in totality. It is understood that smaller firms will not have the breadth of experience as larger firms so selecting projects that contribute to a holistic view of a firm’s experience, design and interests is critical. All Offerors are encouraged to be creative and innovative in responding to this RFP.

Please outline any creative products, services, pricing, and partnerships you can provide. Describe alternate approaches to the requested services where feasible or additional services offered or recommended, which may not be specifically requested but of benefit to CTSI.

Proprietary or Confidential Information Any information of a confidential or proprietary nature contained in a vendor response should be marked ‘PROPRIETARY’ or ‘CONFIDENTIAL’ by item or at the top of each page. Reasonable precautions will be taken to safeguard any part of the response identified by a vendor as confidential or proprietary.

Any portion of a bid or response not marked as stated above shall be a matter of public record according to the CTSI Plan of Operations.

RFP Schedule The following is the detailed schedule of events for this RFP. CTSI reserves the right to modify the below schedule.

• RFP distributed on January 23, 2026

• Offerors submit email with intent to participate by February 20, 2026 (requested, but not required)

• RFP written submission due on March 9, 2026, no later than 4:30 PM PT

• RFP presentation meetings (Finalists only) on April 6, 2026

• Notify intent to award by April 20, 2026

• Contract Awarded, all Offerors notified May 4, 2026

• Project kick-off on June 1, 2026

Questions and Clarifications All questions must be submitted in writing via email to SharlaS@ctsi.nsn.us.

mailto:SharlaS@ctsi.nsn.us

How to submit the Proposal A PDF of the complete proposal must be sent to Sharla Strong, as listed on the cover page.

If submitting via email, the maximum file size for CTSI email is 150 MB. If the proposal is too large, it may be broken into separate emails or transferred electronically through an online file-sharing service.

Proposal Sections and Content Proposals submitted to CTSI must, at a minimum, contain the following information and shall be organized as follows:

Section 1 – Letter of Transmittal Include at least the following information:

A. Name, address and telephone number of Offeror and/or Offering Firm;

B. Name and address of the representative through whom any business correspondence would be conducted;

C. A signature of the Offeror or of any partner, officer or employee who certifies that they have the authority to bind the Offeror;

D. Date of Proposal;

E. A statement that the Offeror proposal is valid for ninety (90) days after this RFP Closing Date to allow time for evaluation, approval, and award of the contract.

Section 2 – Table of Contents The table of contents should follow the RFP format with proposal sections listed in this order.

Section 3 – Firm Profile Please provide a general overview of your firm, brief history, and credentials of the firm:

A. Past Project Experience: Describe your firm’s relevant project experience, specifically related to performing similar scope of work in designing museum exhibits, experiential exhibits, libraries, auditoriums, lobbies/gift shops, cultural education spaces, indoor/outdoor family education spaces, or other comparable projects. If possible, these should include projects carried through to actual exhibit installation. If projects of similar size and scope have not been completed by the exhibit design firm, then include examples that are felt to be the most relevant in demonstrating your firm’s ability to complete this project

a. List each project’s square foot costs, listing design fees separately and time to complete should be included.

b. Explain what is handled by your firm in-house and what is subcontracted to other vendors.

c. Describe your fabrication methods and materials. Describe how you determine the lifespan your fabricated materials

d. Describe your past experience designing exhibits that required careful artifact preservation planning.

e. Describe how you will ensure that your subcontractors will receive notification of preservation requirements?

B. Assigned Personnel: Names and, if applicable, resumes of the key personnel including support staff to be assigned to the project. Resumes describing the qualifications of personnel must show, at minimum, the person’s name, education, position, and total years and types of experience relevant to the performance of the contract.

a. Clearly name the primary Exhibit Designer and Project Manager who will be assigned to this project.

Required Attendance: The Exhibit Designer and Project Manager are required to attend all project meetings.

b. Clearly name the team member who will be responsible for project communications and scheduling.

Section 4 – References Please provide at least three client references, preferably matching those used as examples in Past

Project Experience in Section 3 above.

A. Include contact information and relevant details regarding the scope of prior relationship with the references.

Section 5 – Contracted Scope of Work and Pricing Tasks and deliverables shall consist of, but not be limited to, the Project Phases & Scope of Work as shown in Part IV.

Please provide:

A. Phase One: Exhibit Design

a. Detailed description of your approach and methodology for Exhibit Design.

b. Proposed schedule for completing the Exhibit Master Plan, including design stages, and milestones.

c. Appendix A “Fee Schedule for Professional Services and Expenses” must be included in this proposal. Include full disclosure and breakout information for all sub-contractors for services for which the Offeror is not self-performing.

d. Proposed budget for completing the project with a “stipulated sum” (firm fixed price) amount, itemized by design stage (listed in Part IV).

e. Include any other payment rates, terms and when deposits or progress payments will be due.

B. Phase Two: Fabrication and Installation

a. Please describe your fabrication and installation services. Include full disclosure and breakout information for all sub-contractors for which the Offeror is not self-performing.

b. Proposed budget for completing the project with a “stipulated sum” (firm fixed price) amount. (See Part IV for scope of work, Exhibit Area Specs and Project Phases.)

Section 6 – Disclosure Please provide a statement disclosing:

A. Any current or proposed business transaction between Offeror and any CTSI member, officer, employee or their employer or other potential conflict which may give rise to a claim of conflict of interest. Offeror shall warrant that it has no interest, direct or indirect, which would conflict in any manner or degree with the performance of services required under this contract.

Section 7 – Litigation Please describe any material, current or pending litigation, administrative proceedings or investigations

(within the past 5 years) that could impact the reputation or financial viability of your firm.

Section 8 – Proof of Indian Preference If applicable, preference will be provided in accordance with the methods set forth in Siletz Tribal Code

§2.001. To the greatest extent feasible, preference shall be given to a qualified entity documenting 51% or more ownership of a business entity by an enrolled Native American/Tribe.

CTSI looks forward to reviewing your proposal. Please submit appropriate documentation for review by

March 9, 2026 by 4:30pm PT, for your proposal to be considered.

Respectfully, Sharla Strong

Museum Project Manager

Appendix A

Fee Schedule for Professional Services and Expenses

• Include full disclosure and breakout information for all sub-contractors for services for which the proposing firm is not self-performing. Clearly label/identify sub-contractors.

• Attach this page (or duplication) to your proposal.

• Fill all applicable spaces.

Proposed Stipulated Sum amount for Phase One as outlined in Part IV. $___________

In-House Fees

Exhibit Designer $___________

Project Manager $___________

Curator $___________

Exhibit Developer ` $___________

Title: $___________

Title: $___________

Title: $___________

Sub-contractors

Title: $___________

Appendix B

Exhibit Description Summary We envision the following exhibit areas, subject to change and addition of more detail with the selected contractor:

❖ Plankhouse Auditorium o Faux-plankhouse design exhibit room with tiered bench seating with step lighting, vaulted ceiling, circle shaped door, built-in drop-down screen, built-in projector.

❖ Permanent Exhibits (with the ability to periodically change signage and rotate artifacts for preservation, movable cases and mounts) o Ancestral Story Exhibit o Colonization Story Exhibit o Restoration Story Exhibit

❖ Temporary/Special Exhibits o Changing Focus Exhibit - The exhibit will change annually to focus on a new CTSI topic, offering an opportunity to expand upon the topics in the permanent exhibits and go deeper into complex culture and history.

o Modern Art Gallery – Space to show Tribal Member art, host traveling exhibits, student showcase, etc.

❖ Public Spaces o Lobby and Gift Shop

▪ Benches, art or sculpture (hang art piece like a chandelier)

▪ Family Zone area (with indoor play structure/tables with toys/ backpack lockers)

▪ Café seating o Cultural Education Space

▪ Cultural Education group room with table/chair storage

▪ Kitchen with receiving

▪ Artist-in-residence space or “Hands-on” workshop/classroom

▪ Cultural education classrooms

In the museum exhibit design, the story of the Confederated Tribes of Siletz Indians will be experienced in an immersive environment utilizing realistic recreations, state of the art multimedia/graphics, sound and lighting. Visitors will enter into it – figuratively “stepping back in time” – to experience and feel each era in our tribal history story. Specific stories on individuals and events will help visitors understand the personal experience of belonging to a place, experiencing colonization, disposition, oppression and the long work of Restoration that is ongoing today.

With historical events for the tribe being the main focus for all exhibits, United States historic events may be added for context of the cultural time, especially national/international events that parallel and relate specifically to the tribe’s historic timeline. Examples: Oregon Trail immigration, Civil War, WWI/WWII, Great Depression, and Civil Rights.

The inclusion of broad American Indian history may also be used for reference, but only as context for what is directly relevant to the Confederated Tribes of Siletz Indians. Examples: American Indian US citizenship, Dawes Act, Termination, BIA, Boldt decision.

PERMANENT EXHIBITS

Below is what we are envisioning for the permanent exhibits. The Culture Department and project owners will work with the selected Exhibit design firm throughout the design process to curate and further develop these initial ideas.

The focal point of the Permanent Exhibits is Siletz people’s lives throughout these different eras. What was it like to live as an Indigenous person at this time? What would it be like to witness a massive change to the landscape in your lifetime (logging, farming, mining, water pollution, etc.)? How would you negotiate peace in a foreign language (Treaty negotiation)?

Faux Plankhouse ❖ Main introductory video (viewed within the Faux Plankhouse) ❖ Faux-plankhouse design room with tiered bench seating, vaulted ceiling, circle shaped door ❖ Step lighting, handrails ❖ Built-in drop-down screen, built-in projector, sound system o Museum videos o Technology for speaker presentations

Ancestral Story Exhibit Recreated ancestral life exhibit could be all one big room. We could separate by bioregion or topic.

− Idea 1: The framing of historical displays could be the circle door of a plankhouse as if you are a villager looking outside at the landscape.

− Idea 2: Coastal village display could be like the view from Cascade Head looking south across the salmon river and fishing weir, smelt, canoes, smelt run, whale processing, etc. The floor where visitor stand would be like a bluff to look down on the coastline.

Exhibit topics or sections:

❖ Bioregions - our homelands should have various climate/bio regions represented:

o Coastal/beach/intertidal, coastal rainforest (coastal range and west) o Oak savannah and rivers (valley between coastal range and Cascade range) o Mountains (Cascade range and west to Willamette Valley)

❖ Foods and Materials o Foods/Materials by Bioregion:

▪ Coastal

• Plants: salal/other berries, ocean peas (vetch), ocean tea, wild rose, yew, ocean spray, nettle, redwood, myrtle, cedar, fir, etc.

• Animals: Whale, seals/sea lions, Elk, deer, cougar, bear, birds, fish

▪ Valley

• Plants: berries, camas, wild carrot, yampa, wapato, acorn, madrone, etc.

• Animals: Elk, deer, cougar, bear, birds, fish...

▪ Mountain:

• Plants: berries, yarrow, wild ginger, beargrass, fir, madrone, etc.

• Animals: Elk, deer, cougar, bear, birds... ringtail cat?

o Food Storage like berry cakes, seaweed cakes, dried meats, dried camas o Redesign the Healthy Traditions calendar o Seasonal ceremonies

▪ Nee-dosh, First Salmon, etc. General information about how ceremonies happen at certain times of year and then have season displays that are changed out every season. That way, we have some general information for the correlating time of year.

❖ Technology:

o Canoe, paddles, nets, gaff hook, spear, fishing weir, etc.

o Plankhouse interior/exterior: faux coals/fire, cooking stones, storage baskets, mats/bedding, cooking basket, burden basket, baby basket, spoons, etc.

❖ Animals: taxidermy animal loans from OSU/UO or other institutions ❖ Sounds: birds native to each area, river/stream/rapids/ocean waves, rain, wind ❖ Language:

o Sign display with audio for a single word in each language.

o Interactive display for “water”, showing how water has different words, depending on what the water is doing.

o Map with place names people might be familiar with and continued presence of languages in English: Nestucca, Chemeketa, Wilamette, Yoncalla, Takelma, etc.

❖ Fashion: Mannequins with different types of clothing

Colonization Story Exhibit ❖ Epidemic chart with population decline ❖ 1700: According to Indigenous oral history and scientific evidence, a large earthquake in the

Cascadia Zone triggers a tsunami, destroying Native villages on the coast ❖ Ship wreckage, flags of different empires (maybe animation video) ❖ Fur trade/Otter extirpation ❖ Gold Rush ❖ Oregon Trail/Oregon Territory/Free Land propaganda ❖ Rogue River War map ❖ Treaty making - Treaties with written script and transcription ❖ Removal ❖ Canneries ❖ Siletz School and Boarding Schools ❖ Assimilation, forced farming ❖ Loss of land, Dawes Act, etc. (Interactive Maps - Removal, Ancestral lands, Reservation, Reductions, Allotment)

❖ Termination

Restoration Story Exhibit ❖ Aftermath of Termination ❖ Civil Rights, American Indian Movement ❖ Tribal Council reorganization ❖ Salmon Crisis and Boldt Decision ❖ Restoration Act ❖ Reservation Act and Consent Decree ❖ Tribal government and services ❖ Cultural Education and Language ❖ Economic Development and Casino ❖ Treaty Rights ❖ Salem Casino ❖ Land Back ❖ Other topics o Cultural Appropriation o Land Acknowledgements o Sovereign nation status/Relationship to U.S.

o Citizenship – as U.S. citizens and enrolled tribal members o Meaning of Blood Quantum Requirements o Relationships to other tribes and cultures

TEMPORARY EXHIBITS

Our temporary/special exhibit spaces will include 1 Changing Focus Exhibit and 1 Modern Art Gallery.

The Changing Focus Exhibit will rotate annually highlighting a specific Siletz event/person/cultural practice. And the Modern Art Gallery will be available for contemporary Siletz artists or touring exhibits.

Changing Focus Exhibit:

❖ Display cases

❖ Picture rail for hanging signage or artwork ❖ Outlets that can be hidden and closed for safety

Modern Art Gallery:

❖ Picture rail for hanging signage or artwork ❖ Outlets that can be hidden and closed for safety

PUBLIC SPACES

Front Courtyard

❖ Funders Wall, “Wall of Gratitude” (TBD, outside or inside lobby of building) ❖ Play/climb structure

Lobby ❖ Funders Wall, “Wall of Gratitude” (TBD, outside or inside lobby of building) ❖ Recessed displays in walls ❖ Raised step platform for presentations (maybe sculpture pedestal) ❖ Vendor/Catering/Demonstration space ❖ Benches and Café seating ❖ Family Zone area (with indoor play structure/tables with toys/ backpack lockers) ❖ Directional lighting mounted in ceiling ❖ Art or sculpture (hang art piece like a chandelier)

Front Desk ❖ Space for surveillance monitors, payment equipment, brochure/handout counter.

❖ Sight-lines: front desk staff should be able to see the gift shop, front door, and all through foot-traffic.

Gift Shop ❖ Display cases and lighting, jewelry cases, shelves, racks

❖ Clothing closet bar for shirts/sweatshirts ❖ Locking storage cabinets ❖ Directional lighting mounted in ceiling

Cultural Education Area ❖ Large Cultural Education room o Built-in drop-down screen, built-in projector, sound system o Picture rail

Outdoor Cultural Area

❖ Outdoor cultural use area TBD

Measures of Exhibit Design Success The success and final approval of the selected contractor’s exhibit design will be measured by the following:

• Final reviews and approval received by the Culture Department, project owners and Tribal

Council.

• Adherence to museum industry standards and guidelines, including references shared by CTSI project owners and listed in Part V.

• Exhibit cases protect items from theft, pests/light/air vents, and other preservation risks. (see

Historic Preservation Measures of Success below)

• The design of permanent exhibits will incorporate durable materials that will meet the life expectancy of 25 to 30 years.

• Exhibit accessibility and flexibility o Exhibit cases are secure from public access, but can easily be opened and accessed by

Museum staff to rotate items on display.

o Exhibit plans will indicate how exhibit cases open (swinging doors, etc.), showing how much clearance staff will have for moving objects in/out of display.

o Exhibit instructions describe case functions, how to replace parts, how to replace bulbs, and how to open and lock, set security alarms, etc.

▪ Parts and signage are easily replaceable or can be easily fixed/parts replaced.

o Exhibits should include locations inside cases where data loggers can be secured out of view and plugged into electric outlets.

o Exhibit cases should include locations where pest control traps/monitoring devices can be easily placed/checked by museum staff.

o The design must identify the means and methods for routine cleaning procedures and equipment maintenance, etc. These tasks need to be accomplished without the use of scaffolding.

o Exhibit mounts must be adjustable or have different size or object options to adapt to different object sizes, heights, or number of objects.

o Exhibit technology displays must have content flexibility with the ability for museum staff to add or modify content over time.

• Interpretive Quality Measures - When completed, the Siletz Museum exhibits are expected to result in the following:

o Immersive Permanent Exhibits which convey the essence of the history of Siletz tribal people.

o Respectful and meaningful use of artifacts on display using detailed interpretation and experiential design to invoke audience understanding and connection.

o Effective experiential learning that addresses the needs and desires of our community through the employment of a multiple intelligence approach in the exhibit design.

o Effectiveness in conveying the exhibit’s learning objectives.

o Effective emotional tones for exhibits, to produce a strong emotional response from visitors without provoking trauma.

o Applicability and usability by classroom teachers teaching the Siletz curriculum. See curriculum learning goals: https://ctsi.nsn.us/sb-13-curriculum/ o Accurate portrayal of CTSI history, as evaluated by the CTSI Culture Department and

Tribal Council.

o CTSI staff will evaluate exhibits using:

▪ Visitor feedback/evaluation

▪ Evaluations by Siletz tribal members

▪ Increased booking of educational group tours

▪ Attracting new/ongoing donors and new sponsorships for other exhibits.

• Exhibits meet museum industry standards and guidelines, see references in Part V.

Examples of how CTSI will measure success include:

o CTSI will assess exhibits using a CTSI-sourced data logger system to ensure cases are able to maintain a preservation environment. Data loggers will be located throughout the exhibit rooms, in corners and open spaces, and inside display cases.

https://ctsi.nsn.us/sb-13-curriculum/

▪ The goal will be for exhibits to maintain a temperature of 70° F and 50% relative humidity (RH), not exceeding ±2° F or ±5% relative humidity within 24 hours.

(Temperatures above 75° F are not acceptable)

▪ Once installed exhibits must achieve 1 year of sustained environmental goals as measured by data-loggers.

o CTSI will assess light exposure using light meters. Dimmable lighting. Lighting should not generate heat. Lighting should be no-UV LEDs.

o Cases and mounting should include preventive housing practices to minimize damage to collections in the event of a future seismic event (the museum is located within the

Cascadia Subduction Zone). The following publication is an example and case study on earthquake damage:

Charola, A. Elena; Wegener, Corine; Koestler, Robert J. (2014). Unexpected: Earthquake

2011, Lessons to Be Learned. Smithsonian Institution Scholarly Press. Book.

https://doi.org/10.5479/si.19492367.4 https://doi.org/10.5479/si.19492367.4