ExhibitDesignOriginalVW.docx

SMITHSONIAN INSTITUTION

National Museum of African American History and Culture

Request for Qualifications - Exhibit Design Services

Solicitation No. F10SOL10021

Issuing Office:

Smithsonian Institution Office of Contracting P.O. Box 37012 MRC 1200 Washington, DC 20013

I. GENERAL INFORMATION

A. Introduction

The Smithsonian Institution (“Smithsonian”), on behalf of its newest museum, the National Museum of African American History and Culture (“NMAAHC” or “Museum”), seeks qualifications from creative, innovative, and highly-talented exhibit design firms specializing in the design of state-of-the-art interpretive and interactive public exhibitions (“Potential Offeror”).

In addition, firms electing to create teams, joint ventures, or other types of business arrangements or strategic alliances to: (i) maximize the depth of talent and creativity essential to the design and development of world class public exhibitions; and (ii) meet the specialized experience qualifications contained below, are also encouraged to respond to this Request for Qualifications (“RFQ”).

This announcement is open to all businesses regardless of size. The contract awarded will be firm-fixed-price. Minority businesses, Small businesses, Small disadvantaged businesses, Women-owned small businesses, Hub-zone small businesses, Veteran-owned small businesses, and Service Disabled Veteran owned businesses are strongly encouraged to apply. The North American Industry Classification Code (NAICS) for this procurement is 712110.

B. Procurement Overview

The exhibit design firm will be selected as part of a two-phase procurement process. In the first phase, interested exhibit design firms may submit qualifications to the Smithsonian for review. Next, the Smithsonian will invite the “most qualified” firms to submit a detailed proposal (“Proposal”), in response to a Smithsonian Request for Proposals (“RFP”).

Please note that the Smithsonian anticipates awarding the exhibit design contract to a single vendor, but reserves the right to award the contract to multiple vendors.

C. Subcontracting Plan

The firm awarded a contract to provide the exhibition design services must demonstrate a good-faith effort to comply with the following subcontracting goals: a minimum of: (i) 23% of the total planned subcontracting dollars shall be placed with small business concerns; (ii) 5% of the total planned subcontracting dollars shall be placed with Small disadvantaged businesses (“SDB”); (iii) 5% of the total planned subcontracting dollars shall be placed with Women-owned small businesses (“WOSB”); (iv) 3% of the total planned subcontracting dollars shall be placed with Hub-zone Small Businesses (“HubSB”); and (v) 3% of the total planned subcontracting dollars shall be placed with Service Disabled Veteran-owned small businesses (“SDVOSB”). Please note that the subcontracting plan is NOT required with Potential Offeror’s response to this RFQ. However, firms selected to proceed to the RFP phase of the procurement process will be required to submit a subcontracting plan as part of their Proposal.

II. NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE

A. Background

The National Museum of African American History and Culture Act - Public Law 108-184, signed by President Bush on December 16, 2003, established NMAAHC as the newest museum within the Smithsonian. NMAAHC is the national museum for the study and exposition of African American history and culture.

NMAAHC will be constructed on the National Mall and the Washington Monument Grounds in Washington, DC. The National Mall, Washington Monument and the Washington Monument Grounds are listed on the National Register of Historic Places. Constitution Avenue and Madison Drive, between 14th and 15th Streets, NW, bound the NMAAHC site, approximately five acres in area. The site will be developed with landscaping and improvements for outdoor museum programs, consistent with its context as contributing to a National Historic Landmark on the National Mall and the Washington Monument Grounds.

NMAAHC will be approximately 313,000 gross square feet, including approximately 82,000 square feet of public exhibition space. NMAAHC will accommodate exhibition galleries, performance and public program spaces, a theater, food service, and retail spaces. Non-public spaces will include an integrated loading dock, collections handling and work rooms, administrative offices, and support spaces. NMAAHC design will incorporate state-of-the-art technologies for exhibits, research, and communications. NMAAHC design, construction, and operations are planned to achieve LEED Gold certification with exhibit design as a contributor to obtaining certification.

In November of 2009, Smithsonian awarded a contract to The Freelon Group, Inc. (“A/E”), to design an iconic, inspiring, and functional museum. The A/E design team also includes the architectural firms of Davis Brody Bond, David Adjaye and Associates, and The Smith Group. The A/E is scheduled to complete schematic design of the NMAAHC building in early 2011.

B. Purpose

The primary purposes of the Museum are to acquire, maintain, and preserve objects which document social, cultural, political, military, technological, and scientific developments in the United States; to conduct scholarly research designed to make significant contributions to the body of knowledge in the field of African American history; to publish findings for both scholarly and general audiences; and to interpret historical developments through public exhibitions and programs.

C. Mission Statement

Through its educational programs, collections, publications and exhibitions, the Museum documents the sweep of African American history and culture, from slavery and Reconstruction, through the civil rights movement, to the present -- using African American history and culture as a lens into what it means to be an American. The Museum will also be a place of collaboration with museums and other organizations to promote the study and appreciation of African American life and its impact on the nation and the world. It will offer a unique setting to begin a dialogue about race to help foster a spirit of reconciliation and healing. The Museum’s fundamental mission is to document and celebrate African American history and culture by giving voice to a story that is quintessentially American – a story of hope and resiliency, of struggle and pain, of successes and triumphs. It is a story and a museum for all Americans, calling on each of us to examine how our nation has been – and continues to be – transformed by the African American experience.

III. MUSEUM GALLERIES

A. General Information

In October 2008, the Smithsonian completed a pre-design Exhibition Master Plan that identified guiding principles and their implications for the visitor experience; exhibition goals; overall thematic framework and organization of NMAAHC; interpretive strategies; and design considerations.

In addition to the concept of a Central Hall containing interpretive elements, pre-design master planning identified ten permanent galleries, nine of which are clustered into three groups, as follows:

HISTORY: (1) Slavery and Freedom (approx 13,000 sq ft)

(2) Segregation (approx 8,000 sq ft)

(3) 1968 and Beyond (approx 5,000 sq ft)

CULTURE: (4) Musical Crossroads (approx 13,000 sq ft)

(5) Sports (approx 4,000 sq ft)

(6) Living Culture (approx 6,000 sq ft)

(7) Visual Arts (approx 6,000 sq ft)

COMMUNITY: (8) Power of Place (approx 11,000 sq ft)

(9) Making a Way (Out of No Way) (approx 7,000 sq ft)

The tenth permanent gallery is the Youth Gallery:

(10) Youth Gallery (approx 4,000 sq ft)

NOTE: An additional 5,000 square feet will be devoted to a Changing Gallery, which is NOT a part of this RFQ.

NMAAHC exhibits may include such large objects as a segregated train car, bi- plane, slave cabin, log house, portions of a slave ship, church, classroom, sugar mill, juke joint, and a recording studio. In addition, the exhibitions will also include highly sensitive objects, such as the casket of Emmett Till and artifacts of bondage and slavery.

State-of-the-art multi-media components, immersive/theatrical experiences, and interactive elements may also be integrated into the exhibits to strengthen and contextualize the display of objects.

B. Gallery Descriptions

To date, the Museum has developed the following descriptions for the ten planned galleries and the Central Hall:

1. History

Slavery and Freedom (13,000 sq ft) will provide a wide-ranging and sharply nuanced look at American slavery, from the first Africans brought to British colonies in the early 17th century, to the end of Reconstruction following the Civil War. It will be presented in five chronological sections, their working titles being: “Slavery and Its Beginnings”, “The Middle Passage”, “The Life of a Slave”, “Emancipation and the Fight for Freedom”, and “The Transition from Slavery to Freedom.” This complex, compelling, and dynamic story will encompass many different experiences in different times and places. It will focus on individual lives, often looking at slavery from the vantage point of the enslaved. Objects may include a portion of a slave ship, slave cabin, sugar mill, tenant farmhouse, clothing, bondage hardware, farm tools, weapons, archival material, art, furniture, musical instruments, pottery, and personal items.

Segregation (8,000 sq ft) will explore the years following the end of Reconstruction, from 1876 to 1968, to examine how the nation struggled to define the status of African Americans. It will be presented in four chronological sections, their working titles being “The Nadir” (1876-1900), “Institution Building” (1900-1920), “The New Negro Steps Forward” (1920-1950), and “The Modern Civil Rights Movement” (1950-1968). Objects may include a segregated train car, the casket of Emmett Till, an urban dwelling, and material from the Niagara Movement, NAACP, and the Urban League.

1968 and Beyond (5,000 sq ft) is the final gallery in the chronological sequence of NMAAHC’s history exhibitions. It will present an historical exploration of the most contemporary events, milestones, and achievements in African American history, as well as, a critical analysis of the continuing impact and continuing effects relating to the legacy of slavery, segregation, racism, and the enduring power of black resilience. The gallery ends with a visitor-driven, interactive center in which visitors will be able to explore the continuing importance and resonance of race, constructions of identity, and other contemporary issues facing our multi-ethnic society in the 21st century. Objects may include memorabilia relating to African American politicians, candidates, and political appointees; symbols and memorabilia from various protest movements; and objects related to black-owned businesses, inventions, and innovations.

2. Culture Musical Crossroads (13,000 sq ft) will examine African American music as an integral American phenomenon through the lens of social and historical change, and will allow visitors an opportunity to listen to, and appreciate, that music. The gallery will explore music’s pivotal and exciting role in freedom struggles, from the plantation and civil rights marches, to the dance floors and recording studios, to the airwaves. The gallery will be highly interactive in nature, with group and/or individual listening stations. Objects may include a church, jukebox, juke joint, recording studio, DJ booth, instruments, clothing, music memorabilia, and original recordings.

Sports (4,000 sq ft) will present the subject as a dramatic and important cultural arena in African American and American life. It will demonstrate how the massive sports culture that developed in the U.S. during the past century and a half, became an arena for freedom struggles, racial oppression, community organizing, individual and collective successes, and interracial cooperation. The Sports gallery will also provide visitors with an opportunity to revel in the purely transcendent qualities that sport and competition can embody. Objects may include materials related to baseball, basketball, boxing, football, tennis, and track and field from athletic greats such as Jackie Robinson, Joe Louis, Muhammad Ali, Eddie Robinson, Jessie Owens, Arthur Ashe, Venus Williams, Serena Williams, and more.

Living Culture (6,000 sq ft) covers a broad range of subject matter and time periods. The gallery will be a dynamic focal point for looking at important cultural contributions of African Americans in the arts, including adornment, foodways, styles of communication, and religion. The exhibition will also examine the processes by which African American culture has been shaped by television, film, radio, and the Internet. The exhibition will be both chronological and thematic. In the case of adornment, foodways, and religion, the exhibition will look at their evolution over time. The focus of styles of communication and media will be centered around specific time periods. Since the gallery will cover a lot of information and ideas, the exhibition will provide visitors with a variety of interactive and immersive experiences. Objects related to foodways may include photographs, advertisements, and implements of food cultivation, such as baskets and farming implements. Objects related to religion may include brush arbor churches, camp tents, musical instruments, hymnals, and church fans.

Visual Arts (6,000 sq ft) will have an important presence at NMAAHC in its own gallery space as well as in major exhibition spaces such as Slavery and Freedom, Segregation, 1968 and Beyond, and Musical Crossroads. Approximately 4,000 sq. ft. of the gallery will be devoted to a semi-permanent installation offering a comprehensive sweep, rather than an encyclopedic presentation, of art by African Americans. The other 2,000 sq. ft. will provide a showcase for contemporary African American art, a place where individual artists or groups of artists who share a theme or approach can be presented in cutting-edge installations to be switched out two or three times a year. In the principal permanent exhibition galleries, Visual Arts will serve to advance the overall narrative in a vivid and succinct manner. Artworks may include Martin Puryear’s For Beckwourth, Lines for Beckwourth, and Ad Astra; Faith Ringgold’s Story Quilt; Melvin Edwards’ Lynch Fragment; Aaron Douglas’ Negro in an African Setting; large-scale sculptures by Elizabeth Catlett; and murals and large-scale paintings by Hale Woodruff and Charles Alston.

3. Community Power of Place (11,000 sq ft) is a thematic exhibition that uses the lens of place to immerse visitors in the broad geographic diversity of the African American experience. Vignettes presented in the exhibition will include all regions of America, and may be as small as a room, studio, home, porch, or place of business, and perhaps as large as a plantation, street, or neighborhood. Each vignette opens up a single moment in time, providing a powerful environment that demonstrates both the uniqueness of place in African American life, as well as its connections to a broader human story. Objects may include a Tuskegee trainer airplane, household items such as furniture, clothing, books, photographs, studio photography equipment, farming implements and equipment, an original Broadway stage set, a boxing ring, a prison cell door, and architectural elements related to the various vignettes.

Making a Way (Out of No Way) (7,000 sq ft) will explore the themes of agency, creativity, and resilience through multiple facets of the African American experience. Themed stories will show how African Americans crafted possibilities in a world that denied them opportunities—how everyday institutions or individual activities were used as strategies by which African Americans could “make a way out of no way.” Objects may include a 1930s Rosenwald school classroom, a church interior, or a barbershop; Madame C.J. Walker hair care products and implements; a diploma from the Poro College School of Beauty; a Pullman porter uniform; and tools used by oyster pullers and seamstresses.

4. Youth Gallery The Youth Gallery (4,000 sq ft) will be a highly interactive exhibition experience that engages our youngest visitors in age-appropriate, higher-order thinking skills, and kinesthetic activity. It will serve as an introduction to the history and culture stories located elsewhere in the Museum. It will encourage and support learning and understanding-by-doing for all visitors. This physically engaging space will serve as a place of exploration, voice, confidence building, and civic engagement for the “next generation” visitor.

More detailed gallery descriptions are contained in Attachment A.

Security of Collections in Exhibitions. The security of collections displayed in exhibitions is of paramount importance. The exhibit design firm must follow the guidelines contained in the Smithsonian’s Office of Protection Services report: Exhibit Case Construction and Alarming Design, dated March 29, 2006 (Attachment E).

Working in close collaboration with NMAAHC, the exhibit design firm selected to perform the services referenced in this Section IV (“Contractor”), will propose and develop the most effective and creative presentation methodologies, approaches, and techniques; and also develop designs that are attractive, engaging, educational, functional, and durable. The services will include exhibition planning and design services, multi-media concept development, cost estimating, fabrication and installation support services, project management, frequent on-site meetings in Washington, DC (often with little notice), site visits, and all other services described herein and in the subsequent RFP (collectively “Services”). Contractor will also provide the Services in close collaboration with the A/E design services, as appropriate, so that each informs the other to achieve an overall integrated and coordinated design. Of particular concern will be the establishment of visitor flow patterns throughout the Museum, the intellectual, visual, and physical relationships between and among the galleries and the building architecture, and the placement of large and/or anchor objects in key locations supported by appropriately scaled architectural settings. Contractor will be responsible for working with the A/E to coordinate all exhibition components and systems that interface with the building structure and systems, including, but not limited to, exhibition security, microclimate systems, HVAC and fire protection systems, exhibition lighting and controls, and any specialized wall, floor, and ceiling treatments.

NMAAHC will provide curatorial and collection management services for the Services (research, writing, editing, image use rights, and object acquisition), as well as internal project management and design oversight and review.

The Services will generally include the following:

A. Concept Design (15% completion)

Contractor will develop concept designs that begin to delineate the broad strokes of story development within each gallery and the Museum facility as a whole. Of particular concern in this early phase will be underpinnings of coordinating exhibition design with architectural planning; establishment of visitor flow patterns throughout the building; the intellectual, visual, and physical relationships between and among the galleries and the Museum; and the placement of large and/or anchor objects.

The Museum will provide initial content documents from which Contractor will begin to develop concept designs. The documents will include a “Conceptual Framework Overview” and a “Concept Script Outline” for each exhibition. The Conceptual Framework Overview will provide a general description of the gallery, arguments, and key stories. The Concept Script Outline will provide the content in outline format that shows the story structure and hierarchy.

B. Schematic Design (35% completion)

Contractor will develop schematic designs that expand upon and further develop the approved concept designs. In this phase, Contractor will begin to address and identify more specific presentation and interpretive methodologies, including the location, use, intent, and design approach of multi-media and technology in each exhibition, as well as propose a graphic design identity for each exhibition.

C. Design Development (65% completion)

Contractor will expand upon and further develop the approved schematic designs. During this phase, 3-dimensional and 2-dimensional designs will be fully developed, presentation methodologies and multi-media components will be well established, and the design details will begin to take shape.

D. Final Design/Construction Documents (95%/100% completion)

Contractor will finalize all designs and design details for all 3-dimensional components, graphic designs, and multi-media exhibit components. Contractor will provide complete and accurate construction documents, high-resolution graphic production files, detailed specifications, and cut sheets.

E. Fabrication/Installation Support

During this phase, Contractor will review proposals received from fabrication and installation firms and advise Smithsonian as to their accuracy and completeness. In addition, working in close collaboration with NMAAHC and the A/E as required, Contractor will monitor exhibition fabrication and installation for accuracy and completeness to ensure that fabrication and installation proceed as designed.

V. EVALUATION CRITERIA

Unless otherwise ineligible for evaluation, as determined by the Smithsonian Contracting Officer, all submissions in response to this RFQ will be evaluated based on the following criteria, listed in descending order of importance:

A. Minimum Requirements

Potential Offeror, or at least one prime firm, if Potential Offeror is part of a joint venture or other teaming arrangement, must meet each of the following minimum requirements:

1. Five years or more of exhibit design experience;

2. Completion or ongoing work on one exhibit design project consisting of 6,000 square feet or more within the last five years; and

3. Successful completion of the responsibility review. This process consists of a review of the information submitted in Volume II (referenced in Section VI (B)(1) below). All such information will be evaluated on a pass/fail basis.

Please note that a Potential Offeror may not be considered for prequalification if the minimum requirements are not met. Please note further that meeting the minimum requirements will not guarantee prequalification. Responses meeting the minimum requirements will also be evaluated based on the additional evaluation criteria listed below, and the “most qualified” firms will be selected for prequalification.

B. Technical Competence/Specialized Experience

Potential Offeror, including project key personnel, must demonstrate technical competence and significant experience in the following:

1. Technical Competence

a. Basic Disciplines

b. Specialty Disciplines

(i) Audio-Visual, Multi-Media, Interactive Exhibition Design

Designing concept treatments and narratives for multi- media components, audio-visual programs, and computer interactives that convey exhibition concepts, themes, and content in engaging, educational, entertaining, and innovative ways. Experience should include the physical and technical integration into the exhibition environment, including sound control and acoustic treatments.

(ii) Lighting Design

Designing specialized lighting designs for museum environments and exhibitions that provide effective and dramatic visual effects while at the same time meeting or exceeding industry standards for energy efficiency, artifact conservation, and ease of operation and maintenance. Experience should include working with architects to coordinate and integrate exhibition lighting systems with natural and artificial architectural lighting.

2. Specialized Experience

Successfully planning and designing:

a. Museums/Cultural Facilities.

Exhibits for either: (i) facilities of national significance, scope, and prominence equivalent to a museum on the National Mall; or (ii) museums, galleries, and educational or cultural facilities.

b. Large/Multiple Exhibits

Designing youth environments that include interactive, multi-sensory, exploratory, and content-rich, hands-on experiences for ages 2-10. Experience should include working with museum educators to develop and design components and strategies that engage young visitors in age-appropriate, higher-order thinking skills, kinesthetic experiences, and tactile activities.

C. Past Performance on Contracts

Potential Offeror must be able to demonstrate successful past performance on contracts with an emphasis on cost control, quality of work, business relations/management, and timeliness of performance. Smithsonian may obtain and use past performance information from sources other than the contacts identified by Potential Offeror, including, but not limited to: Smithsonian Institution, PPIRS, and CCASS ratings whether they are for projects named or not. Past performance reviews may include evaluation of the following subfactors:

· Completeness and timeliness of plans and specifications

· Accuracy of estimates

· Compliance with project schedules

· Ability to design within stipulated budgets

· Fabrication and installation support performance

· Budget overruns and change orders

· Past/pending claims and litigation

· Ability to provide effective management

· Responsiveness to inquiries and problem resolution

· Customer satisfaction

· Cooperative and proactive behavior with technical representatives and other project team members

· Collaborative team building and project execution

· Quality Control/Peer Review

· Quality Assurance

· Planning and Execution of phased exhibit design

· Past performance on Smithsonian contracts, if any

D. Collaboration and Coordination Potential Offeror, including key project personnel, must demonstrate extensive experience coordinating and collaborating with multiple internal and external project team members including: architects, conservators, object mount-makers, lighting designers, multi-media designers, and client in-house content, design, subcontractors, and project management personnel.

E. Capacity to Accomplish the Services

Potential Offeror must demonstrate sufficient depth (i.e., size, composition, personnel, capabilities, scheduling, management, and oversight) to ensure that the Services will be performed in accordance with the Smithsonian scope, schedule and budget.

VI. SUBMISSION INFORMATION

Potential Offeror’s response to this RFQ shall be prepared and submitted in accordance with all applicable provisions of this RFQ including the following:

A. Qualifications Package

Each Potential Offeror must submit the following information in response to this RFQ:

1. Qualification Statement

Please complete Part I and Part II of Form 1 - Qualification Statement in accordance with the instructions contained in that document.

2. Pending Contracts

Potential Offeror and each prime, shall submit a detailed listing of all pending contracts. Please submit the listing using the format shown in Smithsonian Form 2.

3. Suspension/Debarment/Termination

Please use Smithsonian Form 3 to indicate whether your firm, or any firm responsible for providing all or a portion of the Services is currently, or has in the past, been: (i) suspended or debarred by any federal, state or local agency; or (ii) terminated on any past projects (Smithsonian or others). If the answer to any question is “Yes,” submit details on a separate sheet and include under Tab 3.

4. Certification

Potential Offeror and each prime shall submit an executed original of Smithsonian Form 4.

5. Audited Financial Statements

Attach the most recent audited financial statements including the Balance Sheet, Statement of Income, Statement of Cash Flows, and notes to the financial statements of Potential Offeror and each prime or each principal firm included in a partnership, teaming arrangement, or joint venture, if applicable. These statements must have been audited by an independent, licensed CPA or CPA firm for each applicable firm’s previous two (2) fiscal years. Financial statements must be for each applicable firm making the submittal, not the parent company, unless a guarantee of the subsidiary’s obligations is provided. Failure to submit audited financial statements may result in the disqualification of a Potential Offeror because a determination of financial responsibility cannot be made without this information. In addition, if the last fiscal year-end of Potential Offeror, or any prime, precedes the date of this submittal by more than six (6) months, then Potential Offeror and each prime must complete Smithsonian Form 5 for each firm’s most recent completed quarterly fiscal period. If a firm’s most recent fiscal year-end fell within the last six months, completion of Smithsonian Form 5 is not required.

6. Bank Reference

Each prime shall submit a letter from a bank, on bank letterhead, stating the following:

· How long firm has been with bank.

· Firm’s average balance (in general terms).

· Extent of credit available and terms of availability.

· The bank’s rating of the firm as a customer.

· Name, title, address, telephone number, and email address of bank reference.

7. Judgments/Claims/Lawsuits

Submit detailed information regarding any past judgments, claims or lawsuits (within the last 5 years) and all pending judgments, claims or lawsuits (including insurance claims, if any) against, or related to, each parent office or branch that will be responsible for providing all or a portion of the Services. Include the following information: a brief summary of each claim or judgment, relevant dates, parties involved and the status or disposition of each judgment, claim, or lawsuit.

B. Quantity/Format

Potential Offeror must submit: (i) two (2) originals; (ii) six (6) copies; and (iii) one (1) CD-ROM of your entire response to this RFQ.

Please format your response to this RFQ in accordance with the following requirements:

1. Index/Tabs

Please index and tab your response to this RFQ in two (2), separate volumes as follows:

a. Volume I

· Tab No. 1 - Form 1 - Qualification Statement

· Tab No. 2 - Form 2 - Pending Contracts

b. Volume II

· Tab No. 3 - Form 3 -Suspension/Debarment/Termination

· Tab No. 4 - Form 4 – Certification

· Tab No. 5 - Financial Information – Audited Financial Statements And Form 5 - Interim Financial Data (if applicable)

· Tab No. 6 - Bank Reference

· Tab No. 7 - Judgments, Claims, and Lawsuits

2. Page Limits

Volume I shall have a page limit of 250 pages. Volume II shall have a page limit of 100 pages. A page is one side of a sheet. Volume I and Volume II page limits exclude: the front cover page; back cover page; and tab/divider sheets.

3. Fonts/Margins

The font used in both Volume I and Volume II shall be no less than an eleven (11)-point font. Margins shall be no less than one inch.

C. Place of Delivery

Please forward your response to this RFQ via COURIER or IN-PERSON DELIVERY to the following address:

Smithsonian Institution Office of Contracting 2011 Crystal Drive, Suite 350 Arlington, VA 22202-3709 ATTN: Maia Puryear

Smithsonian will not accept telegraphic, facsimile, or other electronic methods for submission, modification, or withdrawal of responses to this RFQ.

D. Due Date

Potential Offeror’s qualifications in response to this RFQ must be received no later than July 9, 2010 at 4:00 P.M., Eastern Daylight Time.

E. Questions

Potential Offeror must submit all questions concerning this RFQ: (i) in writing; and (ii) solely to either Maia Puryear or Valerie Wells, Contracting Office; and (iii) transmitted via any of the following methods:

· fax (202) 633-7305; or

· email to puryearmj@si.edu; or

· Courier or In-Person Delivery to the following addresses:

All questions must be submitted no later than 4:00 p.m., Eastern Daylight Time, June 8, 2010. All questions and correspondence must reference: (i) RFQ No. F10SOL10021; and (ii) specific parts of the RFQ, including page numbers.

It is Potential Offeror’s responsibility to confirm Smithsonian’s receipt of questions, if any, prior to the deadline for submitting questions. Telephone calls, personal visits, and e-mails to discuss this RFQ are strictly prohibited.

F. Request for Qualifications

THIS IS NOT A REQUEST FOR PROPOSALS. This is a Request for Qualifications. There is no additional solicitation package.

G. Non-Compliance

RFQ responses submitted by a Potential Offeror that do not comply with the terms of this RFQ, including the page limits and submission requirements, may be disqualified, rejected, or removed from further consideration, at Smithsonian’s sole discretion.

H. Late Responses

Smithsonian may refuse to consider any response to this RFQ submitted by a Potential Offeror after the exact date and time specified for receipt. The only acceptable evidence for establishing the time of receipt at Smithsonian shall be the time/date stamp of the Smithsonian’s Office of Contracting on the submission wrapper, or other documentary evidence of receipt maintained by such office. The Smithsonian time/date stamp shall be based upon receipt of the physical copy of Potential Offeror’s response to the RFQ only.

I. Certification

All materials and information submitted in response to this RFQ shall be factual, accurate, complete, and true. Failure to comply with this provision may, at Smithsonian’s sole discretion, result in adverse action ranging from removal of Potential Offeror from further consideration to contract termination.

J. Ownership

Excluding previously patented, trademarked, or copyrighted material, Smithsonian shall own and hold all proprietary rights, including copyright, in all drawings, photographs, documents, and materials submitted in response to this RFQ (excluding firm brochures and any designs or materials related to other projects included as examples, or for references, to Potential Offerors’ work with other clients). All information, drawings, photographs, and materials submitted in response to this RFQ shall become Smithsonian property and will not be returned.

K. Expenses

Smithsonian will not reimburse any Potential Offeror for costs associated with preparing a response to this RFQ. Participation in this RFQ constitutes an affirmative waiver by participants of any claim to qualifications preparation costs. This RFQ shall not be construed as an authorization to proceed with any work directly or incidentally related hereto.

L. Meeting

At Smithsonian’s option, any or all of the Potential Offerors may be required to meet with the Smithsonian in Washington, DC to discuss their qualifications and answer questions. Potential Offerors shall include their key personnel in this meeting. Travel and per diem for this meeting shall be the responsibility of each Potential Offeror.

M. Authorized Officials

The only persons authorized on behalf of Smithsonian to discuss, clarify or modify this RFQ and all matters incidental thereto are the Smithsonian Contracting Officer and any of his authorized representatives from the Smithsonian’s Office of Contracting. Offeror shall not rely on statements of commitment made by other Smithsonian employees or officials. All commitments made by Smithsonian must be in writing and signed by an authorized official, or will be invalid.

N. Cancellation

Smithsonian reserves the right to cancel this RFQ or to terminate discussions, if any, at any time without cost to or liability of Smithsonian.

FORM 1 –

QUALIFICATION STATEMENT

(See attached file)

FORM 2 –

PENDING CONTRACTS

PROJECT NAME

(All pending contracts)

LOCATION

(City and State)

CONTRACT VALUE

(Expressed in Dollars)

COMPLETION DATE

to Date Balance to Complete

FORM 3 –

SUSPENSION/DEBARMENT/TERMINATION

I certify that I am the authorized representative of ______________________ (“Company”), and that the following statement is true to the best of my knowledge, information, and belief:

I affirm that neither the Company, nor any director, officer, controlling shareholder, partner, principal, or any other person substantially involved in the contracting activities of the Company, (i) presently is, or has ever been, debarred, suspended, declared ineligible, or voluntarily excluded from any transactions by any Federal, state, or local agency; and (ii) has ever been terminated on any past projects (Smithsonian projects or others) for any reason.

Signature

Title

FORM 4 –

CERTIFICATION

I certify that I am the authorized representative of _________________________, (“Company”), and that the following statements are true to the best of my knowledge, information, and belief:

I affirm that neither Company, nor any director, officer, controlling shareholder, partner, principal or any other person substantially involved in the contracting activities of the Company has in the past five (5) years:

(a) Been convicted under state or federal statutes of a criminal offense incident to obtaining or attempting to obtain or performing a public or private contract;

(b) Been convicted under state or federal statutes of fraud, embezzlement, theft, forgery, falsification or destruction of records, or receiving stolen property;

(c) Been found civilly liable under state or federal antitrust or other statutes for acts or omissions in connection with the submission of bids, proposals or qualifications for, or performance of, a public or private contract;

(d) Been criminally convicted of any violation of a state or federal antitrust statute;

(e) Been convicted under the provisions of Title 18 of the United States Code for violation of the Racketeer Influenced and Corrupt Organizations Act, 18 USC §1961 et seq., or the Mail Fraud Act, 18 USC §1341 et seq., for acts arising out of the submission of bids, qualifications, or proposals for a public or private contract;

(f) Been criminally convicted of conspiracy to commit any act or omission that would constitute grounds for conviction or liability under any statute described in paragraphs (a), (b), (d), or (e) above; or

(g) Admitted in writing or under oath, during the course of an official investigation or other proceeding, acts or omissions that would constitute grounds for conviction under any statute described above.

Signature

INTERIM FINANCIAL DATA

Interim Financial Data For the _____-month period ending _____________, 20___

Cash

Notes Payable

Accounts Receivable

Accounts Payable

Contracts (Completed)

Accrued Expenses

Contracts (In Progress)

Billings in Excess of Cost

Other Receivables

Deferred Taxes

(Less Reserve for Uncollected Amounts)

Other Current Liabilities

Notes Receivable Costs in Excess of Billing

TOTAL CURRENT LIABILITIES

Inventories

LONG-TERM LIABILITIES

Marketable Securities

Notes Payable

Prepaid Expenses

Deferred Taxes

Other Current Assets

Other Long-Term Liabilities

TOTAL CURRENT ASSETS

TOTAL LONG-TERM LIABILITIES

Land

Capital Stock

Buildings

Additional Paid-In

Equipment

Retained Earnings

Furniture & Fixtures

Treasury Stock

(Less Accumulated Depreciation)

Other Adjustments

Other Fixed Assets

TOTAL NET WORTH

TOTAL FIXED ASSETS

Life Insurance (Cash Value)

Long-Term Investments

Earned Revenues + Income

Other Assets

Cost of…