F15SOL10043_Exhibit_Design_for_Smithsonian_American_Indian_Museum.pdf

SOLICITATION/CONTRACT 1. THIS CONTRACT IS A RATED

5. SOLICITATION TYPE2. CONTRACT NO. 4. SOLICITATION NUMBER

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7. ISSUED BY CODE 8. THIS ACQUISITION IS

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ORDER UNDER DPAS (15 CFR 700)

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EFFECTIVE DATE ISSUE DATE

6. SOLICITATION

UNRESTRICTED OR SET ASIDE:

SMALL BUSINESS

SIZE STANDARD:

9. (AGENCY USE)

NO COLLECT CALLS

10. ITEMS TO BE PURCHASED (BRIEF DESCRIPTION)

SUPPLIES SERVICES

11. IF OFFER IS ACCEPTED BY THE GOVERNMENT WITHIN

CALENDAR DAYS (60 CALENDAR DAYS UNLESS OFFEROR INSERTS A DIFFERENT

PERIOD) FROM THE DATE SET FORTH IN BLOCK 9 ABOVE, THE CONTRACTOR

AGREES TO HOLD ITS OFFERED PRICES FIRM FOR THE ITEMS SOLICITED

HEREIN AND TO ACCEPT ANY RESULTING CONTRACT SUBJECT TO THE TERMS

AND CONDITIONS STATED HEREIN.

CODE 12. ADMINISTERED BY

13. CONTRACTOR FACILITY 14. PAYMENT WILL BE MADE BY CODE CODE

OFFEROR CODE

TELEPHONE NO.

DUNS NO.

CHECK IF REMITTANCE IS DIFFERENT AND PUT SUCH ADDRESS IN OFFER SUBMIT INVOICES TO ADDRESS SHOWN IN BLOCK:

15. PROMPT PAYMENT DISCOUNT 16. AUTHORITY FOR USING OTHER

THAN FULL AND OPEN COMPETITION

10 U.S.C. 2304 41 U.S.C. 253

NEGOTIATED

(RFP)

SEALED BIDS

(IFB)

1 51

SMITHSONIAN INSTITUTION

P.O. BOX 37012

MRC 1200

Washington DC 20013-7012

% FOR:X

x

OCON

F15SOL10043

NAICS:

HUBZONE SMALL

BUSINESS

SERVICE-DISABLED VETERAN-

OWNED SMALL BUSINESS

8(A)

WOMEN-OWNED SMALL BUSINESS (WOSB)

ELIGIBLE UNDER THE WOSB PROGRAM

EDWOSB

17.

ITEM NO.

18.

SCHEDULE OF SUPPLIES/SERVICES

19.

QUANTITY

20.

UNIT

21.

UNIT PRICE

22.

AMOUNT

The National Museum of the American Indian (NMAI) by and through the Smithsonian Institution has a requirement for an exhibit designer. The

Smithsonian, by this document, is requesting proposals from offerors to address the requested work. See attached sections B - M

27. SIGNATURE OF OFFEROR/CONTACTOR 28. UNITED STATES OF AMERICA (SIGNATURE OF CONTRACTING OFFICER)

NAME AND TITLE OF SIGNER (TYPE OR PRINT) DATE SIGNED NAME OF CONTRACTING OFFICER DATE SIGNED

25. CONTRACTOR IS REQUIRED TO SIGN THIS DOCUMENT AND RETURN

ISSUING OFFICE. CONTRACTOR AGREES TO FURNISH AND DELIVER ALL ITEMS SET

FORTH OR OTHERWISE IDENTIFIED ABOVE AND ON ANY CONTINUATION SHEETS

SUBJECT TO THE TERMS AND CONDITIONS SPECIFIED HEREIN.

26. AWARD OF CONTRACT: YOUR OFFER ON SOLICITATION

NUMBER SHOWN IN BLOCK 4 INCLUDING ANY ADDITIONS

OR CHANGES WHICH ARE SET FORTH HEREIN, IS

ACCEPTED AS TO ITEMS:

23. ACCOUNTING AND APPROPRIATION DATA 24. TOTAL AWARD AMOUNT

(FOR GOVERNMENT USE ONLY)

Dorothy A. Leffler x

AUTHORIZED FOR LOCAL REPRODUCTION

PREVIOUS EDITION NOT USABLE

STANDARD FORM 1447 (REV. 2/2012)

Prescribed by GSA - FAR (48 CFR) 53.214(d)

COPIES TO

TYPE OR PRINT NAME AND TITLE OF SIGNER

SIGNATURENAME AND ADDRESS OF FIRM (Include ZIP Code)

WE DO NOT, DESIRE TO BE RETAINED ON THE MAILING LIST FOR FUTURE PROCUREMENT OF THE TYPE OF ITEMS INVOLVEDWE DO

DO NOT REGULARLY MANUFACTURE OR SELL THE TYPE OF ITEMS INVOLVED

CANNOT MEET DELIVERY REQUIREMENT

OTHER (Specify)

UNABLE TO IDENTIFY THE ITEM(S)

CANNOT COMPLY WITH SPECIFICATIONS

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51 2 OF

DATE AND LOCAL TIME

AFFIX

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HERE

TO:

FROM:

SOLICITATION NO.

SMITHSONIAN INSTITUTION

P.O. BOX 37012

MRC 1200

Washington DC 20013-7012

OCON

F15SOL10043

STANDARD FORM 1447 (REV. 2/2012) BACK

SOLICITATION/CONTRACT 1. THIS CONTRACT IS A RATED

5. SOLICITATION TYPE2. CONTRACT NO. 4. SOLICITATION NUMBER

PAGE OF PAGES

7. ISSUED BY CODE 8. THIS ACQUISITION IS

BIDDER/OFFEROR TO COMPLETE BLOCKS 11, 13, 15, 21, 22, & 27

RATING

ORDER UNDER DPAS (15 CFR 700)

3. AWARD/

EFFECTIVE DATE ISSUE DATE

6. SOLICITATION

UNRESTRICTED OR SET ASIDE:

SMALL BUSINESS

SIZE STANDARD:

9. (AGENCY USE)

NO COLLECT CALLS

10. ITEMS TO BE PURCHASED (BRIEF DESCRIPTION)

SUPPLIES SERVICES

11. IF OFFER IS ACCEPTED BY THE GOVERNMENT WITHIN

CALENDAR DAYS (60 CALENDAR DAYS UNLESS OFFEROR INSERTS A DIFFERENT

PERIOD) FROM THE DATE SET FORTH IN BLOCK 9 ABOVE, THE CONTRACTOR

AGREES TO HOLD ITS OFFERED PRICES FIRM FOR THE ITEMS SOLICITED

HEREIN AND TO ACCEPT ANY RESULTING CONTRACT SUBJECT TO THE TERMS

AND CONDITIONS STATED HEREIN.

CODE 12. ADMINISTERED BY

13. CONTRACTOR FACILITY 14. PAYMENT WILL BE MADE BY CODE CODE

OFFEROR CODE

TELEPHONE NO.

DUNS NO.

CHECK IF REMITTANCE IS DIFFERENT AND PUT SUCH ADDRESS IN OFFER SUBMIT INVOICES TO ADDRESS SHOWN IN BLOCK:

15. PROMPT PAYMENT DISCOUNT 16. AUTHORITY FOR USING OTHER

THAN FULL AND OPEN COMPETITION

10 U.S.C. 2304 41 U.S.C. 253

NEGOTIATED

(RFP)

SEALED BIDS

(IFB)

1 51

SMITHSONIAN INSTITUTION

P.O. BOX 37012

MRC 1200

Washington DC 20013-7012

% FOR:X

x

OCON

F15SOL10043

NAICS:

HUBZONE SMALL

BUSINESS

SERVICE-DISABLED VETERAN-

OWNED SMALL BUSINESS

8(A)

WOMEN-OWNED SMALL BUSINESS (WOSB)

ELIGIBLE UNDER THE WOSB PROGRAM

EDWOSB

17.

ITEM NO.

18.

SCHEDULE OF SUPPLIES/SERVICES

19.

QUANTITY

20.

UNIT

21.

UNIT PRICE

22.

AMOUNT

The National Museum of the American Indian (NMAI) by and through the Smithsonian Institution has a requirement for an exhibit designer. The

Smithsonian, by this document, is requesting proposals from offerors to address the requested work. See attached sections B - M

27. SIGNATURE OF OFFEROR/CONTACTOR 28. UNITED STATES OF AMERICA (SIGNATURE OF CONTRACTING OFFICER)

NAME AND TITLE OF SIGNER (TYPE OR PRINT) DATE SIGNED NAME OF CONTRACTING OFFICER DATE SIGNED

25. CONTRACTOR IS REQUIRED TO SIGN THIS DOCUMENT AND RETURN

ISSUING OFFICE. CONTRACTOR AGREES TO FURNISH AND DELIVER ALL ITEMS SET

FORTH OR OTHERWISE IDENTIFIED ABOVE AND ON ANY CONTINUATION SHEETS

SUBJECT TO THE TERMS AND CONDITIONS SPECIFIED HEREIN.

26. AWARD OF CONTRACT: YOUR OFFER ON SOLICITATION

NUMBER SHOWN IN BLOCK 4 INCLUDING ANY ADDITIONS

OR CHANGES WHICH ARE SET FORTH HEREIN, IS

ACCEPTED AS TO ITEMS:

23. ACCOUNTING AND APPROPRIATION DATA 24. TOTAL AWARD AMOUNT

(FOR GOVERNMENT USE ONLY)

Dorothy A. Leffler x

AUTHORIZED FOR LOCAL REPRODUCTION

PREVIOUS EDITION NOT USABLE

STANDARD FORM 1447 (REV. 2/2012)

Prescribed by GSA - FAR (48 CFR) 53.214(d)

COPIES TO

TYPE OR PRINT NAME AND TITLE OF SIGNER

SIGNATURENAME AND ADDRESS OF FIRM (Include ZIP Code)

WE DO NOT, DESIRE TO BE RETAINED ON THE MAILING LIST FOR FUTURE PROCUREMENT OF THE TYPE OF ITEMS INVOLVEDWE DO

DO NOT REGULARLY MANUFACTURE OR SELL THE TYPE OF ITEMS INVOLVED

CANNOT MEET DELIVERY REQUIREMENT

OTHER (Specify)

UNABLE TO IDENTIFY THE ITEM(S)

CANNOT COMPLY WITH SPECIFICATIONS

PAGE

NO RESPONSE FOR REASONS CHECKED

51 2 OF

DATE AND LOCAL TIME

AFFIX

STAMP

HERE

TO:

FROM:

SOLICITATION NO.

SMITHSONIAN INSTITUTION

P.O. BOX 37012

MRC 1200

Washington DC 20013-7012

OCON

F15SOL10043

STANDARD FORM 1447 (REV. 2/2012) BACK

RFP #F15SOL10043

Section B – Supplies/Services and Prices/Costs

B.1. Type of Contract

The Smithsonian (herein referred to as “Smithsonian” or “SI”) intends to award a Firm Fixed Price contract for Phases I and II and a Not –to- Exceed (NTE) price for optional Phases III – V to the identified Offeror (referred to in the alternative as “Contractor” and/or “Vendor”). The Contractor shall furnish all supervision, labor, materials, equipment and facilities necessary to produce the work as specified below.

B.2 Services

B.2.1. The Smithsonian Institution National Museum of the American Indian (NMAI) is located at 4th and Independence Avenue, SW, Washington, DC. NMAI is seeking a design firm, or consortium of firms, who individually or collectively possess the experience, skills, and knowledge to develop and design a state-of-the-art exhibition, tentatively titled Americans (the “Exhibition”). NMAI intends to contract with a single entity, and encourages interested parties to assemble teams as needed in order to respond to all aspects of the requested scope.

B.2.2. The selected firm (the “Contractor”) shall provide all professional, technical, and non-personal Exhibition design services for the Exhibition, all of its components, and associated materials necessary for fabrication, space preparation, and installation of the new 9,200 square-foot 10-year-plus Exhibition, in accordance with the requirements of Section C, and as otherwise specified in this Request for Proposal (“RFP”) and any attachments and amendments hereto (collectively referred to herein as the “Services”).

Design work will begin in late Summer 2015, and the Exhibition will open to the public no later than October 2017. The Contractor shall furnish all supervision, labor, materials, equipment and facilities necessary to provide the Services as specified herein.

B.3 Budget

B.3.1. The Smithsonian Institution has estimated the total budget for this project, to include all Exhibition design requirements, construction, fabrication, and installation to be no more than $3,233,000. PLEASE NOTE: This total budget does not include the following, which have their own separate budgets and which will be handled by SI staff or awarded to third parties under separate contracts: (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.

B.3.2. Smithsonian Institution will hold the Contractor responsible for producing design packages that can be produced within the stated budget. The Contractor shall be required to redesign the package(s), at no additional cost, if they are not within the stated budget(s).

B.4 Pricing

The Contractor shall perform all Services in accordance with the requirements of this RFP for the firm-fixed price below and as further specified in the Contractor’s pricing proposal. This price shall include all direct labor, materials, communication, production and other direct costs as well as all indirect costs, subcontractor costs, commissions, and any other profit and expenses for which the Contractor expects payment. No additional charge shall be made by the Contractor for the requirements of this Contract, including but not limited to source and documentation, error correction, or expense for any other materials or services to be performed hereunder unless specified otherwise.

The Base Contract includes Phase 1 and Phase II and will be awarded based on responses to this RFP.

Phase I – Familiarization and 10% Concept Design Package Firm Fixed Price: $_____________________________________________

Phase II - 35% Schematic Design Package Firm Fixed Price: $_____________________________________________

Optional 1- Phase III - 65% Design Development Package Not-to-Exceed Amount: $_________________________________________

Optional Phase 2 - IV - 95% and 100% Design and Detailing, Fabrication Documentation Not-to-Exceed Amount: $_________________________________________

Optional Phase 3 - V - Exhibit Fabrication/Installation Support Services and Contract Oversight Not-to-Exceed Amount: $ _________________________________________

Total Contract (Phases I to V) Not-to-Exceed Amount: $_________________________________________

B.5. Travel and Per Diem

B.5.1 The Contractor shall obtain approval from the Contracting Officer’s Technical Representative (COTR) prior to any travel that is not covered in the base bid and/or the scope of work. The Contractor shall be reimbursed for pre-approved travel for actual transportation costs and travel allowances (per diem) of personnel authorized to undertake out-of-town, overnight travel under this contract. Such transportation costs shall not be reimbursed in an amount greater than the cost of economy class rail or of economy air travel, unless economy rail travel and economy air travel space are not available and the Contractor certifies to this fact in vouchers or other documents submitted for reimbursement. Travel allowances (per diem) shall be reimbursed in accordance with the Contractor’s established policy but in no event shall such allowances exceed the rates established in the Federal Travel Regulations.

B.5.2 If applicable, the Contractor shall be reimbursed for the cost of out-of-town, overnight travel performed by its personnel in their privately owned automobiles at the rate established in the Federal Travel Regulations not-to-exceed the cost by the most direct economy air route between the points so traveled. If more than one person travels in the same automobile, no additional charge shall be made by the Contractor for such travel.

B.5.3 No profit or fee (i.e., commission, G&A expense, overhead expense, etc.) shall be paid to Contractor for any travel expenses hereunder.

B.5.4 Optional Service:

The Smithsonian Institution reserves the sole option to exercise the optional services. The awarded Contractor shall not commence work on the following optional service without first receiving authorization from the Contracting Officer in the form of a written modification to the contract as signed by the Contracting Officer. If the Smithsonian Institution exercises some or all of the optional services, these optional services and their deliverables will be executed according to the same schedule as the base Bid. Time frame for when SI will exercise options

Section C – Description, Specifications, Statement of Work

C.1. Project Overview

Working title: Americans Target opening date: October 6, 2017 Duration of Exhibition: up to 10 years Size of gallery: 9,200 sq. ft. (see Attachment J.5), 15’ to open lighting grid, 24’ to ceiling Gallery location: 3rd floor, NMAI, National Mall, Washington, DC Subject areas: national identity, history, memory, culture, nation-building, historiography, contemporary life Target audience: All ages, most appropriate for 5th grade and up Needed services: Exhibit design services

C.2. Project Background & Description

C.2.1 National Museum of the American Indian A diverse and multifaceted cultural and educational enterprise, the NMAI is an active and visible component of the Smithsonian Institution, the world’s largest museum complex. The NMAI cares for one of the world’s most expansive collections of Native artifacts, including objects, photographs, archives, and media covering the entire Western Hemisphere, from the Arctic Circle to Tierra del Fuego. NMAI is committed to advancing knowledge and understanding of the Native cultures of the Western Hemisphere—past, present, and future—through partnership with Native people and others. The Museum works to support the continuance of culture, traditional values, and transitions in contemporary Native life. More than 1 million people visit the NMAI on the Mall each year. Many of these visitors are first-time visitors to NMAI and are primarily non-Native.

C 2.2. NMAI 2.0 – A Shared Legacy Over the next five years, NMAI is embarking on an ambitious project to replace the three galleries that opened the museum in 2004—Our Peoples, Our Universes, and Our Lives. The primary story arc through the three new Exhibitions galleries will instill in the visitor a healthy respect for what Native civilizations accomplished, a profound sadness at what happened to them and what they have lost, and wonder and admiration for the resilient and intelligent strategies that have permitted Native peoples to survive and thrive. Along with this message will be a sense of how remarkable and unlikely this story is. Equally important, NMAI must convey that the Native story is the visitors’ story too, and that what happened in the Americas has impacted the lives of people throughout the world. The tentative titles of these Exhibitions are Americans, Ancestors, and Contact.

Americans will be the first new semi-permanent (10 years or more) Exhibition at NMAI’s Mall location since the building opened in 2004. It is the result of wide-ranging discussions led by the Director and senior staff reflecting a commitment to demonstrate to visitors—most of whom are not Native, and who realize they know little about Indian history and culture—that the Indian experience is embedded in American national identity, and moreover, that they and their ancestors are connected to Native Americans in surprising and unexpected ways.

Visitors have been given a great deal of information about Native people in school, in their civic lives, and in the popular culture. Much of that information is wrong. If NMAI does not deal with this fact by confronting the popular misconceptions, it fails to engage visitors at the appropriate level.

C. 2.3 Americans Exhibition

a. Exhibition Rationale & Relevancy The premise for the Exhibition begins with the observation that American Indians are all around us—in popular culture (movies such as The Last of the Mohicans, Dances with Wolves, and Pocahontas); place names in every state of the nation (Peoria, IL; Tuscaloosa, AL; and Duwamish River, WA); weapons (U.S.S. Pocahontas, Chinook and Black Hawk helicopters, and Tomahawk cruise missiles); and even in the foods we consume (e.g. Calumet baking powder and Land O’Lakes butter). These representations— fanciful, cartoonish, well-meaning, insulting—are everywhere.

Yet, paradoxically, most Americans feel that they have very little connection to American Indians. We believe the exact opposite is true. We believe all Americans are far more deeply connected to American Indians than they realize. We make the case that American Indians are a part of the lives of Americans in profound, often surprising, ways. We intend to reveal this deep connection in Americans and show that American Indians are in the very DNA of American history and consciousness.

b. Tone & Approach This Exhibition should not look or feel like anything currently on display at NMAI. Nor should it feel like a “typical” history exhibit. The topics addressed call for an interdisciplinary perspective and a compelling application of innovative techniques to attract, engage, and educate diverse audiences. It is critical that the visitor have a number of ways to personally connect with the material.

Americans is not an object-driven Exhibition. It is idea-driven. It calls for a design approach that strategically uses objects, props, environments, interactives, images, audio, video, and graphics in service of the main ideas. Objects from NMAI’s collections and loaning institutions will be used judiciously to make clear and impactful connections for visitors. In areas addressing representations of American Indians we anticipate use of props (i.e. Pocahontas books, camp memorabilia, cigar labels, etc.). The Exhibition should incorporate media and technology only when it is the best mechanism to achieve the exhibit goals.

The tone should be approachable, thought-provoking, informative, non-judgmental, welcoming, and careful in its treatment of stereotypes. That which appears familiar at first glance should be revealed as complicated and intriguing. On balance, the Exhibition should be optimistic and forward-looking. By showing how difficult chapters of U.S. history have been remembered, the Exhibition will present more than hard truths about our past, it will indicate the capacity of the American national character to change over time.

c. Exhibition Main Message To understand how the United States emerged as a powerful nation and what it means to be American, one must understand that the United States and American Indians are deeply entangled in history, national consciousness, and contemporary experience.

d. Content Summary Americans are surrounded by fanciful imagery (visual and otherwise) of American Indians. Remarkably, such imagery has been part and parcel of the fabric of American life from before the founding of the United States and up to the present. Americans begins by acknowledging and demonstrating this uniquely American phenomenon. The Exhibition invites visitors to make personal connections and poses the question: Why does this imagery exists in so many domains of our lives? It’s our argument that this pervasive imagery speaks to a unique history that has greatly impacted all Americans.

Americans uses this imagery as a stepping stone to examine five nation-building events in American history (Thanksgiving, Pocahontas, Trail of Tears, the California Gold Rush, and the Battle of Little Bighorn)—and the central role that Indians played in these hugely important national events. We look at the circumstances immediately preceding each event, the event itself, and at how perceptions concerning the events have changed over time. We look at what has been remembered and forgotten; cherished and denied; evoked and morphed—and at what this says about our nation and ourselves. Put another way, Americans looks at what lays behind the American Indian imagery ubiquitous in America life: the centrality of American Indians in the history of the United States.

e. Thematic Organization (See Attachment J.6 for further content details & Attachment J.7 for complementary bubble plan)

Introduction and Orientation Upon arriving and leaving the gallery, visitors enter a central space that functions as the nexus of the Exhibition. They encounter an amazing plethora of American Indian imagery ranging from: 16thcentury map cartouches depicting the “New World” as a Native woman, to 17thcentury broadsides for the sale of tobacco, to 18thcentury colonial history paintings, to the growing diffusion of American Indian imagery in the 19th century and its even greater diffusion in 20th and 21st century advertising and pop culture. Here, too, visitors can explore some of the ways that Indians are everywhere in contemporary American life, such as place names, military weapon systems, products, camps, youth groups, and fraternal organizations. These experiences should provide visitors with the tools by which to understand and question the information and imagery they encounter in the rest of the Exhibition.

This area also presents Thanksgiving–a day during which many Americans feel connected to Indians.

Every November, hundreds of thousands of school children are dressed as Pilgrims and Indians. Families throughout the United States celebrate the 1621 meal because of the thanksgiving, peace, and harmony it signifies. And yet, the actual meal only warranted a few sentences from the otherwise verbose Pilgrims and was virtually forgotten for centuries. Americans will lift the veil on this national origin story and trace its history from the meal, through a bitter and prolonged war, known as King Philips War, through its recent invention and up to today.

This area demonstrates, beautifully and irrefutably, that Indians wallpaper American life, not just in the 21st century but continuously since the 1500s. The examples selected will be based not on historical significance alone, but also to maximize connections with visitors, each with their own interests, backgrounds, and memories. For example, the t-shirt of a skeleton head with a Plains-style headdress from Kanye West’s 2013 Yeezus Tour and the Keep America Beautiful campaign featuring a crying Indian in the 1970s offer different points of entry for visitors. The visuals and activities of this section suggest that Indians are in the metaphorical DNA of the United States and in the visitor’s DNA too. The section raises the question: why?

The rest of the exhibit provides answers.

The Billboards Introducing each event section will be a “billboard,” perhaps as large as sixteen feet wide and incorporating digital components. They must be visually commanding from a distance. Both their architectural design and that of their content must help create the mood, tone, and aesthetics of

Americans. Additionally, they serve as advance organizers for each event section. While not primarily didactic in nature, they are the visitors’ first introduction to the specific content of an individual event.

The billboards should serve to enhance the larger-than-life status these events have come to hold in American history and national identity. They should immediately and unequivocally convey the fact that the significance of each event is far greater and more consequential than visitors may have previously thought. Their secondary importance is to convey each event’s complex story in an efficient and engaging manner through typography, graphics, data visualizations and, to the extent needed, annotating text. They tell their stories succinctly, powerfully, and with amazing brevity. Engaging the visitor visually as well intellectually, they are intended to pique the visitors’ curiosity by setting out the groundwork for what is to come.

The Event Sections In these sections, visitors will find the supporting evidence for the Exhibition’s premise that Indians are part of the country’s DNA due to deep involvement in national consciousness, historical consequences, and contemporary experience. Visitors will see how contested history actually is, as they watch it being written, debated, and manufactured.

Each section aims to accomplish these three things:

1) Meet visitors where they are.

The delivery of information in these areas will emphasize opportunities for visitor connection. It is important that visitors feel smart and supported as they investigate potentially new information. For example, the Exhibition will, in an accessible manner, provide enough factual background that people don’t feel put off if they don’t knowing anything about the Trail of Tears except the words “Trail of Tears.” Presentation techniques will help trigger connections with visitors from information they read in school or saw in movies or images.

2) Demonstrate why these events are famous.

Reveal previously unexamined facts of the event. Give evidence for why the events are remembered and, in many cases, celebrated through thousands of books, pictures, reenactments, and shopping. They are huge events in American history and changed the country in big ways.

3) Show how the episode made America and its people who and what they are today.

Illustrate that the ways these events have been remembered, revised, and forgotten indicates a lot about America as a country. For example, the Thanksgiving meal was forgotten for more than 100 years and no one used the words “Trail of Tears” until World War II. Invite visitors into this process to show them that it is not static and complete–the way you/we remember the past may be very different from how your parents, grandparents, and distant ancestors did. History changes. You are a part of it and what you remember can change the future.

The Pocahontas, Trail of Tears, California Gold Rush, and Battle of Little Big Horn sections are each self-contained. While a visitor’s experience in each event section and understanding of the material is independent of the others, the design of the Exhibition should encourage visitors to approach the sections in chronological order. Given gallery constraints, each event will not command the same amount of space (see J.7 initial approaches to space allocation).

The sightlines and transition spaces between Orientation and the Events are critical. Visitors should be provided with cues that they are moving from an area of more general exploration to specific historical events. Similarly, material referenced in the Orientation should reinforce and reference material in the

Events. For example, cigar labels can harken to Pocahontas and tobacco in the Virginia colony. Also, we anticipate that there may be opportunities for interesting and strategic sightlines from one event to another.

For more detail about each event section, please see J.6.

f. Visitor Goals Americans invites visitors to consider their perceptions of and connections to American Indians. If our aim is true, our public will seduced by these stories, images, and representations—familiar, reassuring, and PERSONAL. They may feel bemused, angered and sad at times, but mostly we hope they feel curious. They will be intrigued at how it all fits together, with the historical events, with their own memories, and as part of a shared American experience. As they move through the gallery, they become adept at making sense of the notion that Indians, and the idea of Indians, are embedded in the DNA of the United States. In their everyday lives they will start to see the representations of imaginary Indians around them as evidence of a shared history, present, and future.

g. Visitor experiences The presentation styles in the Exhibition should promote critical thinking, participation, curiosity, dialogue, and acquisition of historical information among people of all ages, interests, learning styles, and levels of expertise. The Exhibition should layer content for multiple types of visitors—individuals, school classes, family groups, professionals, experts, etc.

Emphasis will be placed on interpretive methods that allow visitors to draw connections to their own lives. The tone should be impactful, open, accessible, and non-judgmental. We are not interested in characterizing representations as good or bad. Nor do we want to suggest that visitors should feel guilty for buying Land O’Lakes butter, driving a Jeep Cherokee, celebrating Thanksgiving, living on Navajo Terrace, or feeling drawn to the romantic notions of Pocahontas or the Wild West. Throughout their visit, people should be reminded that Americans have very real connections to Indians and this is due to deeply rooted historical reasons.

The Exhibition should provide visitors with opportunities to:

Make connections between their lives, the world they live in, and the topics and events presented.

Stimulate and exercise their curiosity and wonder.

Quietly reflect and take their time with content.

Be active and engage individually or together with other visitors.

Come to know Indian involvement in American history and contemporary life as personally relevant, intriguing, complicated, and as a way to better understand American national identity, culture, and history.

Although evaluation is not within the scope of this Contract (with the exception of prototyping), visitor testing, surveying, and active engagement in exhibit development will inform and guide the Exhibition design process. See Attachment J.9 for results of small studies conducted over approximately the past year. Several studies conducted within the past several years also provide baseline information about the Museum’s visitors (see Attachment J.10). Visitor testing will be conducted throughout the Exhibition development process with participation from the design contractor team. Formative testing will provide opportunities to test Exhibition concepts and prototypes.

C. 3. General Parameters for Design Services

C. 3.1 Summary

The Contractor will provide professional design services needed to develop the interpretive elements and visitor experiences in Americans. The Contractor shall provide all labor, equipment, supplies, materials, management, and supervision necessary to provide the Services outlined.

Such work includes:

the study of NMAI’s content documents, bubble diagrams, initial design ideas preparation of concept and schematic design drawings, specifications, and cost estimates;

design of the Exhibition and all of its components (including all 3D components, structures to house multimedia and interactives, graphics, object security*, object mounts** );

layout of all Exhibition components (including but not limited to display cases, platforms, object risers, object layouts, wall panels, interactive experiences***, specialized floor, wall and ceiling structures and treatments, and contextual/theatrical recreations and environments);

respond to visitor evaluations throughout the project’s phases including, but not limited to, front-end and formative visitor evaluations. Smithsonian staff and other contractors will iteratively test Exhibition concepts, prototypes, sample graphics, and interactives (multimedia and manual) throughout the Exhibition development and design phases coordination with the A/E on infrastructure requirements coordination with lighting designer as needed project documentation (contract drawings and specifications, etc.)

fabrication and installation timetable project management fabrication and installation quality assurance and coordination services all specifications, drawings, and associated materials necessary for the fabrication, conservation and stabilization, construction, and installation of the Exhibition.

*Please Note: Although this is not envisioned as an object-intensive exhibit, the Contractor will be required to design case security in conjunction with the Museum, and electrical needs for this security as necessary.

**Please Note: Others (Smithsonian staff and conservation contractors) will perform all conservation, preparation, and mounting of objects. It is the Contractor’s responsibility to provide specifications, drawings, case layouts, and any associated materials necessary to successfully integrate all objects into the Exhibition design and must work seamlessly with the preparators throughout the project.

***Please Note: Others (Smithsonian staff and contractors) will be responsible for the development, design, programming, and production of multimedia-based elements, including interactives. That said, it is expected that as part of the collaborative design and exhibit development process, the Contractor will be involved in discussion and decisions about which pieces of Exhibition content best lend themselves to a media-based presentation.

C. 3.2 Expertise NMAI seeks the services of talented and creative exhibit design professionals to assist in the conceptualization, design, and production of this Exhibition. The Contractor’s design team must have experience in weaving a variety of elements into creative and powerful experiences. The Contractor and any of its consultants and/or subcontractors must include a blend of individuals with professional expertise and demonstrated success in the following areas: creation of memorable visitor experiences, Exhibition design, graphic design and production, data visualization, user experience and interactive design, cost estimation, and fabrication support services.

C. 3.3 The Team The Contractor shall work as full collaborators on an Exhibition team that includes the COTR and NMAI staff from various departments, including but not limited to Exhibitions, curatorial, media, education, and conservation. The responsibility for writing, intellectual content, artifact and visual research, and media development lies with NMAI. The visual and experiential presentation responsibility lies with the Contractor, subject to Smithsonian Institution approval.

Together with the core Exhibition Development Team (EDT), the Contractor will explore creative and innovative concepts for presenting Exhibition content effectively to varied audiences. The expectation of the collaborative team environment is one where conceptualization and problem-solving through constructive criticism and compromise are encouraged. The Contractor must be familiar with and committed to an iterative creative process. Although NMAI has relied heavily on tribal community curatorial input in other projects, this project will not be developed with the same level of input.

Responsibility for understanding implications that Exhibition decisions may have on NMAI’s relationship with specific tribes rests solely with NMAI.

C. 3.4 Consultation with Smithsonian Offices The Contractor will be required to consult with additional Smithsonian offices and resources for information regarding conservation and artifact display requirements, Americans with Disabilities Act (“ADA”) requirements, health and safety, and ease of exhibits maintenance including maintenance of mechanical interactive devices. In addition Contractor will be required to coordinate with the Smithsonian Office of Protection Services for security, and, in conjunction with an A/E contractor, the Office of Facilities Engineering and Operation (“OFEO”) for engineering and construction requirements.

C. 3.5 Smithsonian Design and Performance Considerations Contractor shall provide the Services in accordance with the following design considerations:

a. approach to Education and Learning

b. The Smithsonian views education to be at the core of its purpose and is thus committed to providing a contextual framework and engaging designs to support a meaningful and memorable visitor experience. The successful Exhibition will employ a balanced variety of educational and entertainment techniques that address the full range of visitor learning styles and age groups. These techniques may include but are not limited to multimedia, immersive, and other contextual arrangements; interactive devices (mechanical and electronic);

expressive presentations; and traditional displays. The choice of techniques shall be driven by content and desired visitor experiential outcomes. Use of Technology The creative use of technology is one of the richest challenges facing Exhibition designers.

Perhaps more important is the process of determining when and where technology is used and how it is incorporated into the broader Exhibition experience. NMAI believes that technology can be a powerful tool, but its use should be carefully considered to be the most effective, appropriate content delivery vehicle, and not an end unto itself. The implication of technology in Exhibition design in particular has to do with its flexibility, expandability and integration institution-wide, and the long-term commitment to continual upgrading and enhancements as new technologies become available. Given the extended timeline for this project, the designers will have to be responsive to the changing technology landscape. All technologies must be thoroughly tested and proven prior to implementation.

c. Sustainability The Smithsonian Institution is committed to the preservation of our environment and considers Sustainable Design as an integral part of basic design services. It acknowledges

Sustainable Design as a process of informed action aiming to improve its project’s contribution to natural, social and economic prosperity throughout its life cycle. The design team shall incorporate in the design all prerequisites and necessary points to obtain a minimum level of silver certification for the project type under the nationally recognized criteria for sustainability established by the U.S. Green Building Council’s initiative for Leadership in Energy and Environmental Design (LEED). The design team LEED AP (Accredited Professional) shall be responsible to reach this project certification. See Attachment J.4iii for Smithsonian Sustainability Requirements.

d. Durability of Materials

Durability of materials, ease of maintenance, and visitor safety are important issues for the SI and NMAI. The design team must demonstrate that all materials meet the established criteria in heavily-visited public buildings where visitation numbers are in the millions and maintenance is with green methods.

e. Universal Design

The design team shall incorporate universal design in accordance with the Smithsonian Institution’s Guidelines for Accessible Exhibition Design available at http://accessible.si.edu/pdf/Smithsonian%20Guidelines%20for%20accessible%20design.pdf and here as Attachment J.4iv.Notwithstanding the foregoing, the Exhibition shall be designed to not simply meet the Accessibility guidelines set forth herein but to expand upon them, utilizing current thinking and technologies to create an Exhibition that is multi-modal, including multiple entry points into content for maximum inclusivity.

f. Functionality and Maintenance The Exhibition must be designed with functionality and for ease of maintenance throughout the expected 10-year operational life of the Exhibition. Visitor-operated devices, such as electronic and mechanical interactives, must work smoothly, effectively, and efficiently. Staff access to all display areas, including display case objects/contents, multi-media and interactive hardware (electronic and mechanical), and lighting, sound, and security systems must be easily accessible for routine cleaning, maintenance, adjustment, and repair.

g. Integration with Architecture and Adherence to Codes, Standards and Guidelines

Contractor shall take into account as essential considerations life safety, barrier-free design, energy conservation, and control of sound-spill from AV programs. The Exhibition and the building architecture should complement each other. Contractor and the Exhibition A/E firm are expected to work in a collaborative manner. In performing the Services, Contractor shall adhere to the Smithsonian Institution Office of Facilities Engineering and Operations Codes, Standards and Guidelines dated February 15, 2012 which are attached hereto and incorporated herein as Attachment #J.4i.

The Contractor shall be furnished with drawings and specifications of the gallery base build-out and will be kept informed by the Smithsonian’s Contracting Officer’s Technical Representative (“COTR”) of any changes that may affect their work.

h. SD-410 Review Process The Smithsonian SD 410 review, see Attachment J.4.v, is conducted by Smithsonian reviewers responsible for construction and MEP/FP code compliance, life safety, accessibility, and related issues. Therefore, the document packages to be submitted at each phase shall include floor plans, sections and elevations; large-scale plans, elevations, sections and details of any items to be constructed and installed within the space; and security, fire protection, electrical, mechanical, and plumbing drawings where modifications to any of these systems are required. Contractor will be required to respond in writing within three (3) weeks to Smithsonian comments generated by the deliverables through the Smithsonian’s Office of Facilities, Engineering, and Operations (“OFEO”) online “I-Manage” system. For more information on the SD-410 review process, please refer to:

http://ofeo.si.edu/design/dm_guide/sd410.asp.

C. 3.6 General Requirements

a. Schedule As part of its proposal, Contractor shall prepare and submit a detailed task and resource, schedule which shall include design and deliverable milestones; critical path activities and resources; submission dates; projected dates for cost estimates and design reviews;

Smithsonian review periods; Contractor review periods; meetings specified herein; and task dependencies for submissions and meetings (the “Schedule”). Unless otherwise agreed to by the parties in writing, the Schedule must be coordinated with the Smithsonian durations listed below in each design phase, and include sufficient time to share information with subcontractors. Contractor shall revise the Schedule to reflect Smithsonian comments, track the Schedule, update the Schedule as needed to remain current, but no less than monthly and provide the Schedule to Smithsonian upon request. The Contractor shall immediately notify the COTR and the Smithsonian Contracting Officer of any problem, unexpected occurrence, or delay in performing the Services.

b. Work Plan Contractor shall prepare and submit a detailed work plan outlining Phase I & II of the Services to the Smithsonian for review within ten (10) days of the Contract award date.

Contractor shall update and submit subsequent phase work plans to the Smithsonian as needed to remain current, but no less than monthly.

c. FTP Website Contractor shall provide, develop, support, and maintain a secure file transfer protocol website for the exchange of large electronic data files related to the Services (“FTP Site”) within ten (10) days after Contract award. Contractor shall provide NMAI and the Smithsonian Office of Contracting with full access, including the password, to the FTP Site and shall maintain the FTP Site throughout the Contract Term.

d. Quality Control Plan Contractor shall perform quality control reviews. Contractor shall submit a quality control plan to Smithsonian for review and approval within four weeks after Contract award.

e. Meetings & Reports As set forth herein, Contractor shall attend and participate in project meetings at various locations throughout the duration of the Contract, which may include meetings at NMAI as well as Contractor’s offices, subcontractor’s offices, and the exhibit design fabrication shops and offices. All associated travel costs are subsumed in the prices set forth in Section B above. The Contractor shall prepare and distribute to the COTR a written report of all substantive telephone conversations, meetings, or discussions related to this project. This written report shall be delivered within four (4) calendar days of any said conversation, meeting or discussion.

f. Documentation The Contractor shall provide to the COTR all engineering design calculations, computer printouts, equipment data sheets and other source data used to develop the design, estimates, and contract documents. These calculations shall be prepared in a professional, accurate, and easily understood manner.

g. Site Conditions Any files, documents, or other information provided by Smithsonian is not warranted to show present existing conditions for Exhibition sites; therefore the Contractor is solely responsible for independently verifying all data necessary for the accomplishment of the services and shall obtain all other data required to ensure the complete and adequate design of the project.

It shall be the Contractor’s responsibility to conduct the necessary research, interview the relevant Smithsonian personnel, and otherwise gather all information necessary to develop an accurate survey of existing conditions prior to design development.

h. Reviews & Professional Responsibility Where necessary and appropriate, the Smithsonian may provide reviews to aid in the correct interpretation of its requirements, to encourage appropriate creativity in design, and to assess the entire project. These reviews may be highly detailed and conducted at the highest levels within the Smithsonian. The Smithsonian reviews and approval shall not relieve Contractor of professional liability. Contractor is totally responsible for all facets of the projects. Such responsibility remains with the Contractor until construction is complete, as-built documents are submitted and all claims are resolved.

i. Digital Files Contractor shall develop a set of graphic layout files for all graphic panels and prepare them for direct digital output onto a final exhibit medium. Digital layout files shall contain all text, graphics, and design elements in the final exhibit. Contractor shall maintain a secure backup copy of all digital files at all times. For each digital layout file, Contractor shall prepare a one-piece color proof for all text and graphic elements to be reviewed and approved by the

COTR.

C. 3.7 Quantity and Format

a. Quantity

Contractor shall submit three (3) full-size (24 x 36) and fifteen (15) half-size (12 x 18) bound hard-copy sets of the 3D/CAD drawing package and six (6) hardcopy sets of the 2D graphics drawing package for each design phase. Unless otherwise agreed to by the parties, Contractor shall submit six (6) electronic copies of each package on CD or DVD or FTP as appropriate, for each design phase.

b. Format At the close of each design phase, the Contractor must submit all drawings, renderings, specifications and cut sheets in both hard copy and electronic formats on CD/DVD for SD- 410 review as follows:

i. Electronic files: All drawings and specifications must be accurate and coordinated throughout all phases of the submittal process. All design and engineering drawings must comply with the SI OFEO CAD Guidelines dated May 6, 2011 (see Attachment J.4ii). 3D/CAD drawings must be submitted in read/write native AutoCAD or Vectorworks read/write file format or in a fully compatible file format that can be read by or imported into AutoCAD (.dwg preferred, .dxf acceptable) as well as .pdf format at full size. Graphic design/2D designs must be submitted in Adobe InDesign and .pdf formats at full size. Specifications must be submitted in .pdf format at 8 ½ x 11 size. Renderings must be submitted in high-res .tif format at 11x17 minimum size.

ii. At the close of the Final Design/Fabrication and Installation Document phase, all production-ready graphic design files with placed low-res and linked high-res digital images must be submitted in electronic format as described herein. Any CAD/3D vector design files required for digitally controlled production machinery (such as Computer Numerical Controlled routers) must also be submitted in electronic format with standard machine tolerances of three decimal points.

iii. Hard copies: The 3D drawing packages must be submitted on 24x36 (Arch D) size paper, landscape format, and bound as complete sets. The graphics package must be submitted on a minimum of 11x17 size paper, landscape format, and bound as complete sets. Specifications and cut sheets must be submitted on 8 ½ x 11 size paper, portrait format, and bound as complete sets.

iv. All deliverables and submittals, including drawings (all sheets), boards, and samples, must be labeled and dated with the date of submission.

v. All drawings, including graphic designs, must be drawn to scale, and the scale must be clearly noted on each sheet (sketches, renderings, axonometric/isometric drawings excepted).

vi. Drawing units shall be metric.

vii. All CAD drawings shall use the official title block for SD-410 review, available at the OFEO website at http://ofeo.si.edu/.

viii. All elevation drawings, including graphic elevations, must include a 6’-0” standing adult and an adult seated in a wheelchair for scale and sightline reference.

ix. All cut sheets shall be clearly marked to indicate placement/use of each item in the Exhibition.

C. 4. Detailed Scope and Deliverables for Design Services

4.1 Phase I – Familiarization and 10% Concept Design Package

A. Description: Phase I shall be for Contractor’s familiarization, initial consultations, coordination, project analysis, and initial planning/design towards the development of the Exhibition design.

The purpose is to create concept design documentation including floor plans, concept sketches, and three-dimensional visuals to help NMAI understand the design within the larger spatial context.

i. Contractor will become familiar with the project history and current thinking and direction of the…