Amendment_No._2_NMAI_FINAL_responses.pdf

(x)

F15SOL10043

x x copies of the amendment; (b) By acknowledging receipt of this amendment on each copy of the offer submitted ; or (c) By separate letter or telegram which includes a reference to the solicitation and amendment numbers. FAILURE OF YOUR ACKNOWLEDGEMENT TO BE RECEIVED AT

THE PLACE DESIGNATED FOR THE RECEIPT OF OFFERS PRIOR TO THE HOUR AND DATE SPECIFIED MAY RESULT IN REJECTION OF YOUR OFFER. If by virtue of this amendment you desire to change an offer already submitted , such change may be made by telegram or letter, provided each telegram or letter makes reference to the solicitation and this amendment, and is received prior to the opening hour and date specified.

x

OCON

Washington DC 20013-7012

MRC 1200

P.O. BOX 37012

SMITHSONIAN INSTITUTION

06/22/2015000002

13. THIS ITEM ONLY APPLIES TO MODIFICATION OF CONTRACTS/ORDERS. IT MODIFIES THE CONTRACT/ORDER NO. AS DESCRIBED IN ITEM 14.

12. ACCOUNTING AND APPROPRIATION DATA (If required) is not extended.is extended, Items 8 and 15, and returning

Offers must acknowledge receipt of this amendment prior to the hour and date specified in the solicitation or as amended , by one of the following methods: (a) By completing

The above numbered solicitation is amended as set forth in Item 14. The hour and date specified for receipt of Offers

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9A. AMENDMENT OF SOLICITATION NO.

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8. NAME AND ADDRESS OF CONTRACTOR (No., street, county, State and ZIP Code)

7. ADMINISTERED BY (If other than Item 6)CODE 6. ISSUED BY

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4. REQUISITION/PURCHASE REQ. NO.3. EFFECTIVE DATE2. AMENDMENT/MODIFICATION NO. 5. PROJECT NO. (If applicable)

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AMENDMENT OF SOLICITATION/MODIFICATION OF CONTRACT

05/22/2015

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ORDER NO. IN ITEM 10A.

14. DESCRIPTION OF AMENDMENT/MODIFICATION (Organized by UCF section headings, including solicitation/contract subject matter where feasible.)

Solicitation F15SOL10043 amendment #2 dated June 22, 2015 provides answers to bidder questions. See attached responses to questions 1 to 79.

16A. NAME AND TITLE OF CONTRACTING OFFICER (Type or print)15A. NAME AND TITLE OF SIGNER (Type or print)

15C. DATE SIGNED 16B. UNITED STATES OF AMERICA 15B. CONTRACTOR/OFFEROR 16C. DATE SIGNED

(Signature of person authorized to sign) (Signature of Contracting Officer)

Dorothy A. Leffler

STANDARD FORM 30 (REV. 10-83)

Prescribed by GSA

FAR (48 CFR) 53.243

NSN 7540-01-152-8070

Previous edition unusable

Except as provided herein, all terms and conditions of the document referenced in Item 9 A or 10A, as heretofore changed, remains unchanged and in full force and effect .

Solicitation F15SOL10043, amendment #2 design of Americans at The National Museum of the American Indian (NMAI) dated June 22, 2015 provides answers to bidder questions

A. Responses to bidder questions

Page Limits & Formats Question 1: Section L. 5.1, Pg. 46.

Can the following be excluded from the 31-page limit: proposal cover, cover letter, table of contents?

Would you permit the resumes of key personnel to be included as an Appendix? Could they be outside the 31 pages limit?

SI RESPONSE: The cover and the table of contents may be excluded from the 31-page, single-sided limit. The letter of interest, aka cover letter, does count toward the 31-page limit. The resumes of the key personnel may be included as an appendix and won’t count toward the 31-page limit. Do include some information about the key personnel within the 31-page limit of the Technical Proposal.

Question 2: Section L. 5.1, Pg. 47. Can the three-page narrative approach be integrated with the sketches for a total of up to 6 pages?

SI RESPONSE: No. The narrative should be three pages and could certainly include references to the sketches. It is up to you to choose whether you want a separate page for each sketch or to batch them on multiple pages. You may certainly include short descriptions on the sketch pages but these should reinforce, not add to, the existing narrative.

Question 3: Section L. 5.1, Pg. 46. Can the proposal document be in landscape or portrait orientation? Is there a minimum font point size or margins we need to adhere to.

SI RESPONSE: The proposal can be in landscape or portrait. Do not use less than 11pt font for main body text. No limits for margins.

Question 4: Section L. 5.1, Pg. 46. Can we use 11" x 17” pages for the rough sketches described in L.5.1.B.v and for the schedule described in L.5.2.A?

SI RESPONSE: Yes, 11”x17 is an acceptable choice for the sketches and schedule.

Proposal Format & Delivery Question 5: Section G.2., Pg. 25-26.

There is a section where contractors must fill out contact information for an authorized representative. Do these actual pages have to be part of the technical proposal (as a form)? Or can we incorporate this data into our own format inside the proposal? If this has to be submitted as a form, does it count against the page limit?

Key Contact: Should this be filled out for as part of the RFP proposal submission?

SI RESPONSE: Do not fill this out with the proposal. This information gets filled out at time of award.

Question 6: Section L.5.2, Pg. 49. ) Do we need to include the SF-1447 with the Business Proposal?

SI RESPONSE: Yes, sign page two and put at the front of your proposal. These pages are NOT included within the page limits.

Question 6: Section L.4, Pg. 46. Will SI accept submission of the electronic proposal via Dropbox as an alternative to email in case we have issues due to file size?

SI RESPONSE: No

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Question 7: Section B.1, Pg. 3 - Is the work to be performed under or associated with an SI-IDIQ contract?

SI RESPONSE: No

Question 8: Is an extension to the submission date possible to incorporate responses to the questions?

SI RESPONSE: Yes, extended to 10am on July 6th, 2015

Question 8: Section L.5.1.4, Pg. 48. Will international contacts be acceptable for client references, for example, international phone numbers?

SI RESPONSE: Yes.

Question 9, Pg. 47: Do you require three different approaches represented by sketches? Or, should the three sketches represent a single approach?

SI RESPONSE: It is up to you, either is acceptable.

Question 10: Do the responses document needs to address Phases 3 to 5 of the project? Or should bidders restrict themselves to Phases 1 and 2? In particular, does the "detailed task and resource schedule” required in the Management Plan need to address the later phases of the project?

SI RESPONSE: The Technical Proposal should address your ability to perform the tasks required in Phases 3 to 5. The Management Plan should also address the later phases of the project and include a detailed task and resource schedule.

Question 11: Section 5.4, Pg. 4. Does the proposal need to include detail NTE pricing and related hours/loaded hourly rates for optional phases III, IV and V?

SI RESPONSE: Yes.

Question 12: Section C.4.5.C.i.i, Pg. 22. Please confirm typo on Pg. 22. The RFP requests Six (6) hard copies of the 3D design package on 24” x 26” (Arch D) size paper; the dimensions for Arch D size paper are 24” x 36.”

SI RESPONSE: Yes, that is a typo. It should be 24” x 36”.

Overall Project Budget Question 13: Section B.3.1.

What is included in the $3,322,000 budget?

Could you indicate the exhibit fabrication budget?

Out of the approximately $3.2 million budgeted for exhibit design, fabrication and installation, how are the Concept Design and Schematic Design budgets broken out?

SI RESPONSE: The $3,322,000 budget includes design fees, fabrication, installation, demolition, construction (walls vs. exhibitry), and painting. This budget is based on approximately $350/sq ft cost.

The amount apportioned to each is not yet determined as it will depend on, among other factors, the bids to this RFP, the amount, type, and nature of the build and exhibitry as determined by the final design.

Question 14: Section H5.1, Pg. 30. Please explain H.5.1 as it relates to the $3,233,000 budget. Is this about the budget for Design Services? Is the budget really supposed to meet $2,909,700 instead of $3,233,000?

H.5.1 The Contractor shall accomplish all requisite design services hereunder, including without limitation the completion of drawings, specifications, cost estimates and other documents necessary for the award of a competitively bid/offered price contract for the

F15SOL10043 amend #2 Page 3 of 14 construction and fabrication/installation for exhibit space in an amount at least 10% less than the Exhibition budget specified in the Contract.

SI RESPONSE: This is admittedly confusing. Though the RFP reads like a contract it is not the Contract.

Once we selected the winning design firm we will have a number for design services. We can then know what remains of the $3,322,000 budget for the construction/fabrication/installation. We want the drawings to be for a fabrication bid that is at least 10% less than what we determine to be available for construction/fabrication/installation (in other words $3,233,000 minus the design fees). That way when we leave ourselves a cushion for cost overruns as they often arise in fabrication.

Question 15: Section B.3.1, Pg. 3. Please confirm that items (i) media design, production and integration;

(ii) lighting design; (iii) object loans, conservation, mounting or bracketing work; (iv) A/E work related to the design, demolition and renovation of the infrastructure and architecture of the gallery itself; and (v.)

image research and acquisition are not included in the $3,233,000 budget. Can you provide approximate budgets for each of these categories?

SI RESPONSE: All items listed are not part of the $3,233,000 budget. See answer to Question 12 for what is in this budget. The amount apportioned to each element listed above will depend on the schematic design. We have placeholder estimates for (i.), (ii.), (iii.), (iv.) and (iv.) based on past projects the NMAI has completed, but do not want to affix firm budgetary numbers until we reach 35% Concept Design. The budget for (i.) is highly dependent on the design and what additional experiences may need to be contracted by NMAI’s existing media staff. Independent of the design, (iii.) and (v.) are handled internally within existing operating budgets. We anticipate having to contract (ii.) and (iv.) due to limited staff capacity but the costs may be assumed or reduced by larger contracting agreements for multiple projects within NMAI or the Smithsonian.

Question 16: It is mentioned in the proposal that 10% retainage would be held back from our invoices.

Would that 10% retainage be paid after the original contract for Phase I and II is complete or is the retainage held until the completion of Phase V?

SI RESPONSE: Retainage is only applicable in exhibit fabrication contracts, change to G.5. Progress Payments (only if applicable to Fabrication).

Meetings & Schedule Question 17: Section L.5.2 - p. 49) Can you confirm that the travel costs should include all “Anticipated Meetings” included in C.4.1.B.i, C.4.2.B.i, C.4.3.B.i, C.4.4.B.i, C.4.5.B.i-C.4.5.B.iii?

SI RESPONSE: Yes, please include travel to NMAI for all Anticipated Meetings in your estimates. In reality, all of these meetings may not take place at NMAI but also at design firm’s office or through video-conference depending on location of firm, needs of the project, and other logistics. This notwithstanding, we would like all firms to bid based on NMAI meetings so we can compare apples-to-apples.

Question 18: Section C, Anticipated Meetings item i) and ii). Please confirm that “go-to-meeting” or” join me” meetings are acceptable in lieu of the regular meetings in person described as extra meetings to those stipulated as physical in-person meetings in the RFP.

SI RESPONSE: Yes, those types of meetings are acceptable for regular contact meetings listed in item ii). As is Skype, teleconference, videoconference, and other means. The meetings enumerated in item i) are intended as physical in-person meetings.

Question 19: Please could you let us know the start date for the project?

SI RESPONSE: In an ideal world (i.e. timely selection and contract completion), we would like to have the first meetings start shortly after Labor Day.

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Question 20: Section B.3.1, Pg. 3. What is the schedule for the A/E and other contractors such as lighting designers?

SI RESPONSE: There is not an approved schedule yet. The contractor will be required to coordinate schedule of other contractors to comply with approved schedule of design/construction.

Question 21: Section F.2. Pg. 24. Please could you indicate the review periods required by NMAI after each stage of work and deliverables?

SI RESPONSE: The review periods are listed in the RFP under each phase. i.e. Phase I/10 weeks/Review: 2 weeks.

Media & Interactives Question 22: If a media firm is part of the overall collaborative winning team on this current Solicitation # F15SOL10043 for exhibit design services, then will that media firm be precluded from bidding on the later media-only solicitation?

SI RESPONSE: Such a firm would still be eligible.

Question 23: What percentage of the exhibits in value and type are intended to be AV and media driven?

SI RESPONSE: The amount and character of the AV and media in the exhibition will be determined in the concept design phases.

Question 24: Section B.3.1, Pg. 3. The RFP states that will be separate budgets and separate contracts for some work that will be handled by SI staff or awarded to third parties. Can you clarify which of these two options will be used for the media design, production and integration - handled by SI staff or awarded to third parties?

SI RESPONSE: Depending on the character of the media as determined by the concept design, some elements may be handled in-house while others are contracted to third parties. For example, NMAI has in-house capabilities for video production. The integration will be handled by a third party working with NMAI’s IT staff.

Question 25: If the media design, production and integration will be awarded to third parties, can you tell me what is the approximate date that this media solicitation will be released?

SI RESPONSE: We anticipate that this will happen as the exhibit nears completion of the 35% design phase.

Question 26: Are digital interactive elements considered part of the media scope that will be handled by SI Staff or awarded under separate contract?

SI RESPONSE: Yes. However, mechanical interactives are part of the exhibit design contract.

Question 27: Section C4.2, Pg. 17. Media Ideas in Concept Design

Are the fees to include digital media design up to and including 35% Concept Design? Is the contractor required to provide any proof of concept digital assets beyond traditional storyboarding?

Do you want the exhibit design firm to conceive of what the media's role will be? Or is media concept design work to be done by those others? (RFP p.3)

How does the team envision media concept design working in concert with this design effort, as media is often an important part of this early creative concept work?

SI Response: See the third “***Please Note” on page 10. The intent is for the exhibition designer to work with the NMAI exhibition team (which includes our Media staff) through the initial concept phases to determine which pieces of content are best suited to a media-based component and what that media component would be (i.e. a video, collaborative game, audio). Given the inclusion of a variety of media

F15SOL10043 amend #2 Page 5 of 14 techniques in the exhibition world, we expect the designer to be versed in the creative possibilities even though they may not possess the skills to program, produce, or code such components. As far as proof of concept materials go, nothing beyond traditional storyboarding is anticipated.

Question 28: In general, how do you anticipate the Exhibit Designer to interface with the Media Producer throughout the project? Since there is a significant emphasis on the strategic use of interactives and AV for the approach to the exhibition, are we correct in assuming that the AV and interactive designer will be a participant in all meetings?

SI RESPONSE: The exhibit designer and the media producer will meet on a regular basis as part of the exhibitions team. It is likely that once an approach for the individual media elements has been agreed upon, the producer will work autonomously and send updates to the team as the work progresses ensuring that the media furthers the goals of the overall exhibit experience and the graphic look and feel is integrated.

Question 29: Are there overall museum initiatives with regards to personal mobile technology or social media that we should be aware of, and consider in our approach?

SI RESPONSE: The museum currently has a contract with the vendor STQRY using their mobile platform to provide location aware interpretation and support for low sight and non-English speaking visitors. The platform relies on BLE beacons to create actions, namely send push notifications to users, when there is content nearby. We are using a bring-your-own-device approach and will consider using this platform to provide access to deeper content and to create a more fully accessible experience for this project based on whether we determine our current experiment with this technology to be successful. The museum is very interested in leveraging strategies to implement social media as part of the experience although to date these strategies have not been implemented into the design of the gallery space.

Question 30: Are we correct in assuming that NMAI will have the responsibility for the AV/Media scripts as well?

SI RESPONSE: Yes. NMAI or third-party will be responsible for any AV/Media scripts.

Who Does What Questions Question 31: Section C. 3.1, Pg.10. General Parameters for Design Services. Please could you define responsibilities under “project management” as this is generally provided by SI/NMAI?

SI RESPONSE: The design firm will designate someone as the primary project manager to serve as the primary contact between the NMAI Exhibition Manager and the firm. We expect that the person in this role is able to coordinate all meetings and reviews with NMAI and the key members required from the design firm and/or subcontractors, ensure deadlines and deliverables are met on the overall project schedule, as well as having the ability to work with an exhibition team that has adhered to an iterative process.

Question 32: Section B.3.1, Pg. 3. Is it correct that the scope of work does not include exhibit fabrication/installation, media design production and integration, lighting design, object loan/conservation/mounting work, A/E work related to the demo and renovation, and image research/acquisition? Please confirm.

SI RESPONSE: Correct.

Question 33: Section B.3.1, Pg. 3. Understanding that SI plans to award a separate lighting design contract or handle that portion of the project with SI staff, can you indicate whether or not you expect exhibition design proposals teams to include lighting designers?

SI RESPONSE: We do not expect design proposals to include lighting designers. If you do have that capability in-house please feel free to mention it but it is not required.

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Question 34: Section B.3.1, Pg. 3. For pricing purposes, will the exhibition design contractor be expected to procure any IP rights?

SI RESPONSE: The contractor will not be expected to pay for any intellectual property rights. That will be handled by separate budgets. An exception to this is any proprietary fonts.

Question 35: Section C.4.4.C.ii, Pg. 20. For pricing purposes, is the contractor responsible to produce graphic files suitable for production for every single graphic in the exhibition or is the requirement to only deliver layouts that, for example, would need final hi-res placement and dimensional adjusting, etc. by the fabrication contractor? Please also describe the expectations related to graphic production oversight.

SI RESPONSE: Graphic design services are included in this RFP and are expected to cover all graphics in the exhibition. Assuming by graphic production oversight you mean assuring each file is printed to color and size specs, than the design firm will be in charge of tracking this. If you mean copyediting, that is NMAI’s responsibility.

Question 36: Section C.2.3.e, Pg. 7. Is the “billboard design” part of the scope of the design firm? Or is it a coordinated effort and will the work be in close tandem with your AV/Media staff?

SI RESPONSE: The design of the billboards is part of the scope of the design firm. The text in the RFP should be corrected to “Introducing each event section will be a “billboard,” perhaps as large as sixteen feet wide and possibly incorporating digital components.” (added word in red). The billboards may work best with digital components but it is not a foregone conclusion. If digital elements are included, then yes, as with other AV/Media pieces, the work will be in completed in close collaboration between all parties.

Question 37: Should we plan on including a content developer on our team?

SI RESPONSE: It is not required as Section C.3.3, Pg. 11 says "the responsibility for writing, intellectual content, artifact and visual research and media development lies with NMAI."

Question 38: How will the contractor interact with the Lighting Designer, who is under a separate contract?

SI RESPONSE: Contractor will interact with the lighting designer, via phone, video conferencing, face-to-face and site visits as necessary. Contractor will supply lighting requirements to convey mood and effect, visitor experience, conservation requirements and specialty lighting to the lighting designer.

Question 39: Section C. 3.1, Pg. 10. What extent of mount design is part of the scope, and what level of interaction with conservators and curators?

SI RESPONSE: Mount-making is the responsibility of NMAI. The work will be closely coordinated so that mount choices fit the design choices of the rest of the show. There will be a great deal of collaboration with curators and in-house design in conceptualizing and developing the show. The interaction with conservators will likely be limited to conversations about specific objects under consideration.

Question 40: Given the unique shape of the building and core atrium, do we need to include an acoustic engineer as part of the team?

SI RESPONSE: Acoustic control in the atrium and general public space of the NMAI is not of concern to this project as the design services are required for the third floor gallery, not the overall public space of the museum. However, as noted in Section C3.5.g, pg. 12, “the contractor shall take into account… and control of sound-spill from AV programs.” An acoustic engineer as part of the team is not a requirement but consideration must be given in the design to control sound.

Question 41: Does the contract include providing actual fabrication of casework, furniture or scenic elements or merely support services and contract oversight and administration?

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SI RESPONSE: The contract is not for fabrication of any elements, though it does not preclude the firm from bidding on those elements later on. The contract is for support services and oversight and administration of fabrication.

Question 42: On past projects SI has required the contractor to have a security expert on our team, is that required for this project or will the museum provide an expert to tie in case security systems, if needed, to the building security system?

SI RESPONSE: Contractor will be required to specify, produce drawings, and accommodate all necessary security systems for installation by SI staff. All requirements for gallery security will be provided by the NMAI and the corresponding security required for individual cases/environments.

Question 43: Can you confirm that the Museum is responsible for scanning of high-resolution images, including oversized scans if needed?

SI RESPONSE: No, the final scanning is the responsibility of the contractor.

Question 44: The RFP states that the owner/others will be responsible for image acquisition. Would that include the commissioning of original illustrations/artwork?

SI RESPONSE: That is difficult to answer. What could fall under original illustrations/artwork is a very broad term. For example, the billboard designs may call for illustrated elements that would be executed by a graphic designer and therefore be original to the project not from iStock or other sources. This would be expected to fall within the design services provided by the design firm. However, if there is, say a need for an intricate painting of Powhatan’s village, such original artwork would fall to another budget line.

Question 45: Section C4.5 Option 3, item ii), Pg. 21. Please could you exclude “engineering” on line 9 as we assume this would be the responsibility of the separately appointed engineering consultants SI RESPONSE: Yes

Question 46: Section 4.3 Option 1 phase. III A. item iii), Pg. 19. Please could you confirm that testing of lighting is excluded as we assume this would be part of the lighting consultant’s responsibility under a separate contract. The RFP state that all technologies must be thoroughly tested. Who will be performing that for AV? Your internal AV department?

SI RESPONSE: Yes, the lighting designer would need to test any new lighting technologies. The same is true for AV, either the media contractor or NMAI will test.

Question 47: Section C 3.5 item h. Pg12-13. Please confirm that security, fire protection, electrical, mechanical and plumbing systems including modifications to those existing systems will be by consultants hired directly by NMAI, as per B.3.1. The same should apply to lighting and AV/IT.

SI RESPONSE: Yes, that is correct.

Question 48: Section C3.6 General Requirements item f) documentation, Pg. 14. Please could you confirm that engineering design calculations will be by others and that they will be responsible for their own design estimates and contract documents, including specifications etc?

SI RESPONSE: Yes they are responsible for their own specifications, estimates, and contracts but these are to be coordinated by the Contractor for design and installation.

Question 49: Section C.4.2 35% Schematic Design Package item C. Deliverables item. iii), Pg. 18.

Please confirm that information and drawings describing the following will be provided by others to

NMAI:

fire protection, life safety features and/or devices, security, electrical and HVAC SI RESPONSE: Correct. But as noted in C4.2.C.iii.a your plans must address fire protection, life safety, security, electrical, and HVAC.

F15SOL10043 amend #2 Page 8 of 14

f. AV multimedia hardware and software.

SI RESPONSE: Correct.

g. a preliminary Electrical plan.

SI RESPONSE: The NMAI will supply as-builts from the previous exhibition, but the contractor is responsible for field verifying all electrical including cabling and panel accommodations.

h. a fire protection plan.

SI RESPONSE: All requirements are supplied by the NMAI, the contractor will incorporate all necessary signage, strobe locations, sprinkler locations, etc. in their drawing package.

Question 50: 4.4 Option 2 Phase IV 95% and 100% Design; Detailing, Fabrication Documentation, item iv), Pg. 20 Please could you confirm that the Museums separately hired consultants will be available for the SD410 review meeting(s) to address issues pertaining to their work.

SI RESPONSE: Yes, other contractors will be required to respond to questions that arise regarding their components of the project.

Fabrication Related Questions Question 51. Section C.4.5.A.ii. Pg. 21. For pricing purposes, can you provide guidance for the requirement “Contractor shall be available at the request of the Smithsonian to review and/or supervise fabrication and construction,…” in the event we are asked to “supervise”?

SI RESPONSE: Contractor will be required to oversee the construction of exhibit elements both at the fabricators facility and on-site at the NMAI. The amount of on-site supervision will depend on the fabrication specifications issued by the design firm selected.

Question 52: Section C.3.2. Pg. 10. Please define “fabrication support services.”

SI RESPONSE: See the text in Section C 4.5 for a description.

Question 53: If we were to include a specialty consultant on our team for the cost estimating purposes, would they then be precluded from bidding on the future solicitations for the aforementioned services? For example, if a fabricator is listed on our team, would they still be allowed to bid on the future fabrication solicitation for this project?

SI RESPONSE: Such a firm would still be eligible.

Question 54: Section C.4.5. Pg. 21. The RFP states that “The Contractor shall…have a representative on-site during the construction phase as needed.” Can you quantify the scope for this so that we can provide a cost estimate?

SI RESPONSE: This should be a Not to Exceed Price.

Question 55: Section B.3.2. Pg. 3. The RFP states that “the Contractor shall be required to redesign the package(s) at no additional cost if they are not within the stated budget(s).” Since the final cost will be determined by fabricator bid price, can we assume that we would put out a bid package that has alternates, etc. to help ensure that a viable bid comes in under budget?

SI RESPONSE: This sounds like a reasonable, but not required approached. See H.5 on page 30 and the answer to question 14 for more on this point.

Question 56: Section C.4.5.C.i, Pg. 22. For pricing purposes, are we to expect others’ as-built documents will be provided to us and our work involves document management and packaging into a deliverable for the most part? Please elaborate.

SI RESPONSE: The design firm needs to anticipate the incorporation of others drawings to make a final, complete set of 100% design documents. The fabricators will supply their own set of 100% as-builts.

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Question 57: Section C. 3.5.g, Pg. 12. What drawing assets exist in editable digital format, including “as built” record drawings of the physical space with services?

SI RESPONSE: We can supply the Schematic design drawings of the space in Vectorworks and/or exported Autocad files. On completion of the construction of the previous exhibit, the NMAI will supply as-built electrical drawings locating the service outlets and junction boxes in the space including the mapping all circuits and panel board designations as well as as-built drawings of life safety components.

Question 58: Under Item C Deliverables Please could you change this to avoid invalidating professional liability errors and omissions insurance by adding to the end of the sentence under ii) “The contractor shall bear any costs associated with changes submitted by the fabrication contractor due to conflicts between Contractor drawings in a legitimate claim under the Contractor’s Professional errors and omissions professional indemnity insurance.

SI RESPONSE: NO.

Question 59: Under Clause iii) Please confirm that “erection and specific handling” is to be under the fabricator’s responsibility and liability and is not covered in the specifications. Is it possible for these two words to be excluded from the responsibility?

SI RESPONSE: No, these details shall be provided by the contractor to the fabricator, especially in the case of specialty treatments and new materials, as they may influence the manufacture/installation of the exhibit components.

Evaluation & Testing Question 60: Section C.2.3.g, Pg. 9 and Section C.4.2.A and C.4.2.C.iii, Pg. 17-19Please describe the extent of participation of the design contractor team in this process? Will the NMAI or a third party facilitate the visitor evaluations? Is there a schedule for these evaluations that allows for the design process to be responsive to the results?

SI RESPONSE: Both NMAI and third party evaluators will conduct visitor evaluations. There is no schedule as of yet. We do not anticipate conducting any further front-end evaluations, but formative evaluations testing specific presentation approaches and ideas. As one of the deliverables in Phase I (Section C4.1.C.ii.c) is a list of recommended elements for prototyping, much of the evaluation schedule will flow from the extent of that list. The design firm will need to provide the material to be tested (i.e.

digital files of graphics for NMAI to print, cardboard models of mechanical interactives, etc.) but does not need to conduct the evaluations. We encourage someone from the firm to attend, as it is often instructive to witness visitor testing in person, but it is not required.

Question 61: Section C.4.3.a.iii, Pg. 19. For pricing purposes, please describe how the design contractor team will determine whether or not new or innovative products, processes, and materials need to be tested. Are there any requirements related to the methodology or documentation of these tests?

SI RESPONSE: As the exhibition is designed, contractor will need to determine which proposed design solutions meet the criteria. For example, if printing to a substrate with which you don’t have previous experience, we will want that technique tested before committing so we don’t end up with graphics that peel off the wall. There are no requirements for methodology or documentation. Results should be shared is layman’s terms.

Design Drawings in Attachment 7 Question 62: Are we to assume that the early design plan and renderings are the intended direction for the design approach? Does the museum wish to take a second look at that as part of the 10% phase, or will the Contractor be launching the project from the beginning of the 10% concept design stage? Are these drawings to be used only for reference by the prospective teams, or are they "locked down"

F15SOL10043 amend #2 Page 10 of 14 elements within the drawings that we're expected to adhere to or expand upon? For example, is the floor plan a given? Are curved walls a given?

SI RESPONSE: The drawings show one way of matching the bubble plan/thematic organization to the space, but are not a given starting place for the purposes of the project. They are a space study conducted by our designer in early March before he left for another job. The intent of including the drawings in Attachment 7 was full disclosure to the bidders about the visual layouts the exhibition development team has looked at thus far. While these preliminary designs are not set, we are committed to the organization of the content as described in Section C.2.3.e Pg 7-9. We are not locked into the way that organization has been interpreted in these drawings. For example, the notes about Gold Rush being a participatory theater and Thanksgiving being a low partition are simply early ideas and nothing we are wedded to. The curved walls are not a given, nor is the partition of the space into sections as indicated by the floor plan shown.

Object Questions Question 63: What is the status of the objects and archives list, loan collections etc.? How will the selection of objects be handled? Who will be responsible for determining how objects will be used or interpreted?

SI RESPONSE: Visuals for the Americans exhibition will include: NMAI objects, a small number of loan objects, graphic images (e.g., cigar box labels, advertisements or movie posters depicting Indians, 19th century paintings, facsimiles of documents), photographs, and possibly a small number of actual archival documents. The check lists for each section of the exhibition are completed as follows:

Pocahontas – 90% complete Battle of Little Big Horn – 85% complete Trail of Tears 85% complete Thanksgiving 80% complete California Gold Rush 70% complete Nexus – currently 20% complete; expected to be 75% complete by September

It is important for the designers to fully understand that the NMAI Americans team wants the designers to work with NMAI to finalize the check list for the exhibition. Unlike a material culture or collections-based show there will not be an absolute checklist from which the designers must work to include every identified image and object. It will not be the designer’s responsibility to research or propose additional visuals. The NMAI will identify all possible visuals for the exhibition and the final decision as to what visuals are or are not in the exhibition.

The designer will recommend which of the identified visuals best convey the content and, of course, how to use them in the exhibition. For example, we want to convey the fact the Pocahontas was a major historical figure for four hundred years. We have identified about 30 images of Pocahontas created over the last 400 years that demonstrate this fact. We do not necessarily care if all 30 images are in the exhibition. We would like the designers to work with us to determine which and how many of these images to use in order to best illustrate the content in an engaging and creative manner. Based on what the designers present to the NMAI, the NMAI will decide what images end up being used. Obviously, we are looking forward to this being a conversation between the design firm and NMAI. (Sometimes designers ask curators to label visuals A, B, or C, to indicate how important they are. While we do consider some of our images much more important than others and will definitely identify them, we want to see what the designers can do with our selection of images. We want to see how they would cull them and use them to make the strongest impact.)

Question 64: We understand this is not an object-heavy design, but is there an estimate of how much rotation of artifacts is anticipated for this 10-year, permanent exhibit?

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SI RESPONSE: The exhibition sections that we anticipate most needing rotations are the Battle of Little Big Horn and Trail of Tears. In both these sections, we want to exhibit clothing and other organic objects (e.g., made from hide or muslin and decorated with pigments or feathers). At this point we anticipate those objects needing to be rotated after three years.

Content and Script Questions Question 66: Please could you let us know the status of the final script and if this could be provided sooner than indicated to the Consultant? We are concerned about the target delivery dates for script. For example, it is stated that a detailed script template will be delivered at the conclusion of 35%, and a 75% script at the conclusion of 65% design. Please confirm if we are expected to complete 65% with all graphics complete without receiving a complete script. There is no mention of completion of script by NMAI in 95%. Can you clarify?

SI RESPONSE: NMAI is flexible on the delivery date of the 75% script but expect it to happen within the 65% design development phase. Please include the script delivery dates that would work best with your production schedule as part of the detailed task and resource schedule described in Section L.5.1.2.A. This can then become a point of discussion as the contract with the selected designer is negotiated.

The graphics completed with the 65% design may include placeholder text. As for the script template at 35%, NMAI anticipates their work on this document to be concurrent and responsive to the design work of this phase. Similar to the approach described in the answer to Question 63, while we know the content we want to convey, we do not have a definitive set of words that must be designed into the exhibition.

Rather we will work closely as an NMAI-design team to determine these elements. So though the completed script template may not be finalized until the end of the phase when it will be included in the rest of the 35% package, the designer will certainly be aware of the contents of the script template beforehand.

Question 67: Please confirm that NMAI is also providing the interpretive planning, script, text and label copy to the Contractor.

SI RESPONSE: Yes.

Question 68: Creating something highly participatory often requires docents to guide experiences. Other than scheduled groups, does the museum anticipate that this is this experience will be 100% self-guided?

Is there a possibility that docents could be stationed in the exhibit galleries?

SI RESPONSE: As the exhibition is being designed as a 10-year exhibition and personnel resources are difficult to account for over such a span of time, the exhibition should be designed as self-guided. That said, the team has discussed some ideas for facilitated experiences and is open to such ideas, but they should not be a necessary element of the visitor experience.

Question 69: How does the museum feel about creating immersive environments, specifically including using props and/or filming “reenactment” vignettes?

SI RESPONSE: This is a question that really the only answer for is “it depends.” The exhibition team is not categorically opposed to any presentation method but it should be in service to the exhibit content and visitor goals. Not to mention, executed at a high level. We understand immersive environments to refer to a range of level of detail, from using materials, lighting, sounds, props, etc. to evoke a sense of place to full-on reproduction. Our general feeling is that the closer you try to go to the latter, the harder it is to nail.

Question 70: Section C.2.3.e, Pg. 8. Can you please define your meaning of “advance organizer”? We have encountered different interpretations of this phrase and would like to make sure we understand the intent.

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SI RESPONSE: In relation to the billboards, we use the term “advance organizer” to mean that the billboard content will give visitors an idea of what is covered in the related section. For example, in the Pocahontas billboard, themes of tobacco, wealth, and ancestry will be addressed. Any colors, icons, or other graphic cues used for these themes in the billboard can be repeated in the section so that the two reinforce each other.

Other Question 71: Section C.4.2.C.ii, Pg. 18. For pricing purposes, please describe the expectations related to the level of detail incorporated into the 3D virtual model walk-through. For example, do you expect the model to incorporate image and color texture maps on surfaces for a lifelike appearance (and be updated as such) or is it more simplistic? Does the software have to be Vectorworks or will SketchUp be acceptable?

SI RESPONSE: SketchUp is acceptable for the 3D model. While we do not need the model to have a lifelike appearance, it should have a greater level of detail than white shapes showing massing and general feel. Some images and color to indicate primary feel of the space are required. The model will be used to help the team conceptualize the space and also as a communication tool to management and staff who may not be accustomed to viewing floor plans and elevations.

Question 72: Section C.3.3, Pg. 11. To what extent do you expect the Exhibition Design contractor to interface with tribal communities?

SI RESPONSE: We do not anticipate the contractor interfacing with tribal communities. That responsibility lies with NMAI.

Question 73: Section M, Pg. 50. How large is the group evaluating the proposals? Who is on the interview panel?

SI RESPONSE: The first review will be a technical team of approximately 5 people. We do not know at this time all parties who will be on the interview panel, but it will include the exhibition’s lead curator, associate curator, project manager, exhibition manager, and others.

Question74: Section C.3.5.h, Pg. 13. Broken hyperlink SI RESPONSE: Use http://www.ofeo.si.edu/ae_center/sd-410-process.html

Question 75: The review process includes other stakeholders or boards, beyond the core team? Have any review groups been identified or formed at this point?

SI RESPONSE: The review and selection of a design firm will be conducted by the technical panel with internal collaboration with the NMAI exhibition team. With the Americans exhibition being the first of NMAI’s permanent gallery refurbishments it is expected that NMAI’s senior management team will be informed at all stages of the review, selection, and awarded contract phase. All comments or concerns will be coordinated through the Americans Project Manager and Exhibition Manager.

After the contract has been awarded, the design review stages will have many groups reviewing and commenting on documents. These groups include but are not limited to OFEO (Office of Facilities and Engineering), OPS (Office of Protection Services), NMAI Exhibition Design, Collections, Conservation, Media, and IT departments.

Non-Americans Questions Question 76: Can you provide information on the anticipated schedule for redeveloping the NMAI’s remaining two permanent exhibitions (Ancestors and Contact)?

SI RESPONSE: The Americans Gallery is on the third floor of the museum and the other two exhibits are on the fourth floor somewhat reducing the necessity for them to relate in design and interpretive

F15SOL10043 amend #2 Page 13 of 14 methodology to Americans. Their scheduled development, design/fabrication and installation are currently being reviewed by the NMAI.

Question 77: Who were the exhibit designers, lighting designers, and media designers involved in the Treaties exhibit? Was lighting, media, etc. contracted separately, the way you will do it for the Americans exhibit? Will the same parties in those roles also work on the Americans exhibit?

SI RESPONSE: Reich & Petch did the exhibit design (but not concept work, that was by in-house design). Media was done by NMAI and Interface Media and lighting was Available Light. The Americans project is a different project with different needs and although we may consider the same parties, there are no preconceived notions of who we will work with. Americans is conceptually different and we expect the look to be distinct from Treaties. We will select the parties that best fit the project.

Question 78: Section 3.5.c, Pg 12. LEED

Can you explain how this project is seeking LEED Silver status? Is that for the exhibit gallery interior or the whole museum? Is there an architect working with NMAI on this goal?

Is there an expectation, or requirement, that the exhibition design team include a LEED AP?

Can you tell us which version of LEED you will be using?

SI RESPONSE: The museum has already been awarded LEED Silver status. Our commitment now is to be awarded Gold Status. The SI has LEED architects on-staff who assist us in our internal progress. A LEED architect is required for the contractor firm as all LEED requirements must be met. The version of LEED requirements will be the latest version.

Question 79: Currently, what is the average length of time visitors spend in each of the museum’s galleries, and does the museum expect a similar length of visitation in Americans? If not, is there a target length of visit for typical, non-guided visitors?

SI RESPONSE: The average visitor spends 92 minutes at the museum. Among visitors who visited at least one exhibition, an average of 102 minutes were spent at NMAI. Time was split between the inaugural galleries (15% in Our Universes (4th floor), 17% Our Peoples (4th floor), 14 % Our Lives (3rd floor)) and 57% in other activities defined as taking tours, seeing films, eating, shopping, viewing Public Programs, viewing collection displays in the main public spaces. This information is based on a study conducted in 2005. For Americans, we know that some people will come in the gallery and spend 5 minutes or less looking around and some will engage more deeply. We’d like all of them to encounter something of interest that intrigues them. For a visitor who has some time to spent, the exhibition taking about 45-60 minutes to “go through” feels about right.

B. The proposal due date remains at July 6, 2015 10:00 AM (EST)

C. With the exception of the changes made herein, all contract terms and conditions of F15SOL10043 remain in effect.

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