Attachment 0002 Project Overview_100 DPDP_Theater.pdf

The National Museum of the United States Army Army Theater

100% Design Phase Deliverable Package

PROJECT OVERVIEW

01 May 2017

1 MAY 2017 2 THE SCENIC ROUTE

The National Museum of the United States Army (NMUSA)

100% DESIGN PHASE DELIVERABLE PACKAGE

Contents:

1.0 Introduction 4

1.1 Project Description 5

1.2 Scope of Work 6

1.3 Project Team 8

2.0 Basis of Development 9

2.1 Purpose of the Theater 9

2.2 Conceptual Criteria 9

2.3 The Visitor Experience 11

2.4 Program and Content Overview 17

2.5 Design Approach 20

2.6 Graphic Approach 25

2.7 NMUSA Programs and Education Department, Volunteer and Teacher Roles 26

2.8 Lighting 27

2.9 A/V Hardware 27

2.10 General Project Notes 29

Appendices

(Grey = Not applicable)

Appendix A – Reference Documents

Appendix B – Exhibit Numbering

Appendix C – Previous Drawings and Documents

Appendix D – Educational Content Package

Appendix E.1 – Software Content Package

Appendix E.2 – Audio/Video/Effects Content Package

Appendix F – Wall Text

Appendix G – Image Package (images for exterior wall mural will come from video files)

Appendix H.1 – Graphic Design Content Package

Appendix H.2 – Native Graphic Files

Appendix J.1 – Construction Drawings

Appendix J.2 – Construction Drawings CAD

Appendix K.1 – Stamped Structural Engineering Drawings

Appendix K.2 – Structural Engineering Calculations

Appendix L.1 – Lighting System

Appendix L.2 – Audio System

Appendix L.3 – Video System

1 MAY 2017 3 THE SCENIC ROUTE

Appendix L.4 – Show Control System

Appendix L.5 – Special Effects System

Appendix M.1 – AVL Construction Drawings

Appendix M.2 – AVL Device I/O Sheets

Appendix M.3 – AVL Construction Drawings CAD

Appendix N.1 – Lighting Cut Sheets

Appendix N.2 – Audio Cut Sheets

Appendix N.3 – Video Cut Sheets

Appendix N.4 – Effects Cut Sheets

Appendix N.5 – Show Control Cut Sheets

Appendix O.1 – Architectural Dependencies & Coordination

Appendix O.2 – Architectural Dependencies & Coordination: Documents Submitted to Date

Appendix O.3 – Architectural Dependencies & Coordination: Documents Received to Date

Appendix O.4 – Scope Matrix

Appendix P – Reference Images

Appendix Q – Service/Maintenance Reference

1 MAY 2017 4 THE SCENIC ROUTE

1.0 Introduction

This Design Phase Deliverable Package (DPDP) has been prepared by The Scenic Route (TSR) to describe the re-design efforts that have taken place around: theater design; visitor flow and experience;

audio, video, lighting and effects design; content enhancement; project coordination; and construction documentation of the Army Theater of The National Museum of The United States Army (NMUSA).

The DPDP documents specific design direction that TSR received throughout the process from the

NMUSA p roject office, the U.S. Army agency delegated to develop and implement the NMUSA exhibits program. The DPDP also documents the assumptions and/or recommendations of the design team.

In addition to exploring enhancements to the audio and video content provided by NMUSA (developed by Cortina Productions, through AMVID, in 2014), and the design of the physical elements of the Army

Theater, TSR was engaged to develop an exciting, immersive solution that provides optimum visitor throughput and operational flexibility. The architectural impact of the design solution was communicated with all relevant parties throughout the process.

This DPDP also describes the full visitor experience as well as the approaches to its design.

1 MAY 2017 5 THE SCENIC ROUTE

1.1 Project Description

In December, 2015 TSR was hired by NMUSA to design and develop the physical and programmatic elements that make up the Army Theater at NMUSA.

Initial guidance for the direction of the theater came in the form of an informal presentation by NMUSA at the TSR offices on 05 November, 2015. The discussion that followed covered NMUSA’s desire to engage TSR to assess what had been proposed for the theater in the past and then recommend the elements that would need to be addressed to provide the best visitor experience at the time of the museum’s opening and beyond. TSR provided a broad cost estimate for these services in January, 2016 and requested all of the documentation that had been collected up to that point.

Documents were uploaded by NMUSA to the shared Basecamp folder on 11 January 2016. From these, the NMUSA Theater Design – Design Development Presentation, dated 28 May, 2013, was the most concise document directionally. TSR used this and other shared documents to begin the redesign process. This document, developed by Skidmore, Owings & Merrill (SOM) architects, Shen Milsom & Wilke -Technology and Acoustical consultants and Fisher Dachs Associates -Theatre Planning and Design consultants, can be seen in Appendix A – Reference Documents

On 23 August, 2016, TSR, AGS, SED and NMUSA met in Huntsville Alabama for a project kickoff. From this presentation an initial design direction was approved.

On 21 November, 2016 TSR, AGS, SED and NMUSA met via teleconference to review TSR’s overall concept for the redesign.

On 23 November, 2016 NMUSA responded via e-mail that there would be a new requirement to provide “limited swivel seating” in the theater. This was followed on 29 November, 2016 with a longer discussion with Director Tammy Call during the team’s weekly teleconference to provide specific feedback.

On 09 December, 2016 TSR presented the next round of design to NMUSA via teleconference. The elements of the re-design presented in this DPDP reflect the outcome of the decisions made at that time.

Additional reference documents provided as guidance by NMUSA can be found in Appendix A.

1 MAY 2017 6 THE SCENIC ROUTE

1.2 Scope of Work

1. Creative Design Process:

- Review and use current design as a starting point for this process.

- Revisit all aspects of the theater experience, and develop alternative conceptual options for how the new theater/show experience could be presented.

- Study existing video and identify if any modifications need to be made

- Study seating options and positions

- Study queue line options

- Develop special effect ideas

- Develop lighting design ideas

- Work to minimize design change impact on building

2. Technical Design (After the creative design process has been completed and agreed upon):

- Technical design for all theater related components

- Develop and estimate software and hardware requirements

- Develop fabrication and production budget

3. AV, Technology and Lighting Design:

- Review and update current technology design and hardware and modify as needed

- Develop and estimate software and hardware requirements

4. Project Management

5. Administrative

Deliverables:

The 100% Construction Documents presented herein incorporate comments and recommendations generated from reviews of previously submitted documents by SOM, The Army Historical Foundation (AHF) and NMUSA. The construction documents consist of a complete drawing package describing audio, video and lighting technology as well as the accompanying documents and appendices. The Army Theater and the main show content have been designed to involve all visitors while staying in compliance with applicable codes and regulations.

These documents incorporate the changes discussed and approved during the January, 2016 – May, 2017 phase. Working in collaboration with NMUSA, TSR developed a new visitor flow, reconfigured the viewing area and developed enhancements to accentuate the messages provided in the main video show. These changes required extensive work on technical drawings and conceptual documents including the appendices to this document.

These construction documents constitute an up-to-date and integrated design for the Army Theater. The construction documents include graphical and narrative descriptions of the design intent and functional requirements for the vendor executing the design. In order to allow the government the most flexibility in assigning the execution scope to contractor(s), specific bid instructions identifying contractor scope are not included. TSR recommends that instructions to bidders are provided as a supplement to these drawings, delineating which systems and components a vendor should bid on and any scope of work the vendor will be responsible for that is not directly represented in the design (e.g. field operation support, supervision of other contractors).

1 MAY 2017 7 THE SCENIC ROUTE

Design and Execution:

In order to deliver a complete, unified experience in the Army Theater all physical, lighting and audio/video content must be closely coordinated as each component of the design is produced in parallel.

To ensure that the creative vision is faithfully represented in the final product, TSR recommends that NMUSA retain a qualified design firm to monitor and coordinate the production and development of realized physical design elements, audio/video/lighting/effects content (and delivery systems) and digital content. Throughout these construction documents, the term “design team” refers to a qualified design firm working in concert with NMUSA, tasked with making sure the completed Army Theater provides the best possible visitor experience. Because some design inputs are currently under consideration by NMUSA and AGS, adjustments may be necessary through the production phase impacting multiple design elements. The design team should maintain continuous coordination with AGS and identify feasible design enhancements that are consistent with the theater content. Because of the tightly integrated nature of the Army Theater, it is essential that the design team has experience designing immersive visitor experiences and developing exciting digital content. The design team also must have the technical skills to evaluate and integrate custom fabrication, lighting, audio, video and show control systems. Furthermore, to minimize the cost of contractor supervision and the risk of incompatibility, TSR recommends that all scope described in these documents be assigned to a single vendor who is qualified to perform or directly supervise each type of work involved in the design.

Maintenance and Sustainability:

Due to normal wear and tear, various components in the museum will require replacement and maintenance on an ongoing basis. These elements include lighting, seating, audio, rigging and projection equipment. Additionally, electronic equipment is not expected to last for the lifetime of the museum and will require periodic replacement and/or updating. To accommodate these ongoing maintenance processes, TSR recommends that the museum allocate an annual maintenance budget to maintain the Army Theater. It is also essential that the museum’s maintenance and information technology staff members have the appropriate skills to service and maintain the theater. Some replacements and changes will require the involvement of outside contractors where special skills or tooling are required.

These changes include reprogramming the show control system and specific tuning of the audio and video systems.

Compliance:

The following codes and standards have been considered in this design where appropriate:

NFPA 101 Life Safety Code (2009)

IBC International Building Code (2009)

UFC 1-200-01 General Building Requirements (August 16, 2010)

UFC 3-301-01 Structural Engineering (January 31, 2011)

ABA Architectural Barriers Act (2004)

ASCE 7 Minimum Design Loads for Buildings and Other Structures (2005)

TSR and NMUSA have determined that the following codes are not applicable to this scope of work and they have not been considered in this design:

ASHRAE 90.1 Energy Standard For Buildings Except Low Rise Buildings

LEED Leadership in Energy and Environmental Design

UFC 3-400-01 Energy Conservation

UFC 3-530-01 Interior and Exterior Lighting Controls

1 MAY 2017 8 THE SCENIC ROUTE

1.3 Project Team

The Army Theater Project Team is comprised of members of the National Museum Project Office and their Programs and Education Department (including Tammy Call, Allen Pinckney, Jimmy Price and Zack Cyphers), The Software Engineering Directorate (Jay Olive and Sam McKenzie) and The Scenic Route (Ulf Henriksson, Sean Culhane, Frank Janesh, Michael Goglia, Ron Gould and Naomi Eduardo).

The team met via conference call on a weekly basis since the beginning of the project. These meetings covered ongoing progress on all aspects of design and development.

1 MAY 2017 9 THE SCENIC ROUTE

2.0 Basis of Development

2.1 Purpose of the Army Theater

The Army Theater has been designed as a multi-purpose, flexible and user-friendly space that provides visitors a technically advanced area for group viewing.

The primary use of the theater is for the immersive viewing of the Army Theater Experience, Of Noble Deeds. The experience was created to orient the visitor to both the NMUSA’s mission and the history and breadth of the United States Army.

The secondary purpose of the theater is for the viewing of Digital Cinema Initiative (DCI) compliant and non-DCI compliant movies.

The tertiary purpose is as a space for viewing presentations.

2.2 Conceptual Criteria

NMUSA requested that TSR take what had been provided by previous contractors and update the concepts to create a physical space that allows for technological enhancements to the video to make the Army Theater and the Of Noble Deeds video a truly unique experience. TSR used the NMUSA Theater Design – Design Development Presentation developed by SOM, Shen Milsom & Wilke (Technology and Acoustical consultant) and Fisher Dachs Associates (Theatre Planning and Design consultant) dated 28 May, 2013, as the base design from which to begin (see Appendix A – Reference Documents).

To assess the creative vision, TSR started with the goals stated in Cortina Production’s as-produced script for the theater’s main show (see Appendix A – Reference Documents).

“Film goals:

1. To lead visitors to consider the profound implications of the relationship between the U.S. Army and the people of the United States.

2. To provide a vivid and compelling overview of the genesis of the Army and its unfolding story across nearly 250 years.

3. To orient visitors to the fantastic range and scope of Army activities in support of its central mission-to protect and defend the U.S. Constitution.

4. To illustrate the incredible size and vastness of the Army.

5. To show the Army as a global organization.

6. To depict the role of the Army family as well as civilian employees.

7. To show the disparate activities of the Army.

Presentation Scenario: 360-degree theater, with a projection surface that is 15' high x approximately 200' wide and a seating capacity of 155.”

TSR considered the following additional criteria while developing the recommended design:

- Flexible – easily able to adjust to each of the stated purposes and allow for museum staff’s operational adjustments to scheduling

- Easy to use – low maintenance and easily controllable at a museum staff level

- Immersive – able to present the audio, video and effects content in exciting and compelling ways

1 MAY 2017 10 THE SCENIC ROUTE

The Visitor

While the recommended age limit for the main video experience is 12 years and older, the Army Theater is designed for the enjoyment of all museum visitors – Families, Soldiers, Veterans, Scout Troops and other organizations. The opportunity for children under 12 to experience the main show is left to the discretion of the accompanying adult.

The largest groups of visitors to the theater are expected to be Veterans’ groups and students from 6th through 12th grade with teachers and/or care givers on study trips.

Theater Visitor Types:

* The Explorer: “[An] intellectually curious individual on a personal quest for knowledge and greater understanding.” The “tourist population.”

* The Facilitator: “[A] visitor whose primary motivation is to introduce someone else to the museum and its offerings, such as a parent, host or friend.”

* The Professional/Hobbyist: “[A] visitor with more than the average information about a topic who seeks to add to his/ her information in greater depth.”

* The Experience Seeker: “[A] tourist or other just stopping in with no special prior knowledge, perhaps on a recommendation from a guidebook – can be something of a ‘been there, did that’ experience seeker.”

* The Spiritual Pilgrim: “[A] visitor seeking inspiration, affirmation, a sense of wonder, a moment of introspection.” Veterans or Family members of those who are Army related. These will be individuals who have emotional reactions to sensitive displays.

The College Kid: Similar to the Professional Hobbyist, a student who is interested in learning about the topic and might question the information and how it is being presented to them.

They will be very interested in the technology used to power the theater, might want credit for coming to the museum and will search for further documentation.

The Student: School age kids with their families, after school groups, or teachers. Will want to be visually and physically active and are easily excited by things they already know. “I learned about this!”

The Tag Along: A person, most likely in their teens, who has been forced into the museum trip by family members or their school. We want to surprise these guys.

* Visitor Types adapted from Fraser, John and Beverly Sheppard. Looking, Engaging, Questioning and Learning: An Interpretive Plan for the National Museum of the United States Arm. Edgewater, MD: Institute for Learning Innovation. December 30, 2010.

1 MAY 2017 11 THE SCENIC ROUTE

2.3 The Visitor Experience

Visitors access the Army Theater from the Soldiers’ Stories hallway between the Main Lobby and the Exhibit Concourse.

Queue lines are established in the area north of the theater using portable stanchions in the suggested configuration shown above. The stanchions may not be necessary except during peak hours. The area for stroller parking for visitors to the theater is indicated above. A Volunteer will be helpful in keeping the queue line from overfilling and ensuring visitors enter the theater from the line in a timely manner.

Stroller parking

Front of queue line

1 MAY 2017 12 THE SCENIC ROUTE

The visitor will benefit from watching the main show prior to their museum-wide visit, but there are no systems in place to demand that they follow this suggestion. With a show starting every 20 minutes, they can plan their viewing at any time during the museum day.

The theater has a seating capacity of 122 – 114 seats plus eight wheelchair spaces. During an eight hour museum day, with three showings per hour, the maximum throughput will be 2,928 visitors.

Army Video Experience

Of Noble Deeds showings are programmed to start every twenty minutes starting at the top of each hour.

The show runs for twelve minutes, leaving an eight minute span for unloading and reloading of the theater. An on-screen countdown clock encourages visitors to move quickly through the process. Non-effects showings are scheduled for 1100, 1300 and 1500 hours each day.

Show times are described on signage outside the theater. (See Appendix H for more detail)

Volunteers and staff will assist in scheduling groups (school, Veterans, scouts, etc.) so that they may experience the show together.

The programmable curtain tracks use the Army Theater Experience preset to fully reveal the 306 degree screen area.

DCI and Non-DCI Movie Experience

Groups coming to film screenings access the theater the same way as above. The screen projection area is reduced to the normal aspect ratio native to the film with the use of the programmable drapery tracks.

The film’s audio and video content is presented through DCI-compliant equipment separate from the main show’s equipment.

Curtains are moved to tightly frame the sides of the projected image to either the DCI-1 preset (1.85:1) or the DCI-2 preset (2.39:1) image formats.

1. Visitors enter through the entrance through Sound Lock 1.

2. Visitors find seats of their own choosing. A Volunteer is on hand to help with any seating issues and to hand out ADA-compliant devices to the vision/hearing impaired visitor.

3. Visitors leave through the exit Sound Lock 2 at the end of the show.

1 MAY 2017 13 THE SCENIC ROUTE

Presentation Experience

Groups coming to presentations access the theater the same way as above. Lighting and lectern placement allow for the presenter to choose to stand at the front-left, front-center, front-right or rear of the viewing platform and control their content via the multi-input device provided within the lectern.

Curtain positioning using Show Control

Curtains on programmable tracks are controlled through the show control system and use these presets:

Army Video Experience – the curtain completely open

DCI-1 – the curtain opened to fit the correct width of the 1.85:1 aspect ratio of the film

DCI-2 – the curtain opened to fit the correct width of the 2.39:1 aspect ratio of the film

Presentation 1 – the curtain opened to fit the correct width of the 16:9 aspect ratio of slides or video from the center projector

Presentation 2 – the curtain completely closed

Presentation 3 – the curtain completely open and static images shown from all projectors

Presentation 4 – the curtain completely open, center projector for presentation content and static images on all other projectors

Manual – the curtain adjustable to any size

See Appendix L.4 – Show Control System for more information.

Army Video Experience

Curtain completely open

1 MAY 2017 14 THE SCENIC ROUTE

DCI film showings

DCI 1 – 1.85:1 aspect ratio

DCI 2 – 2.39:1 aspect ratio

For DCI compliance, a curtain is used to frame the side edges of the projected image. The curtain is programmed to facilitate the two sizes allowed for DCI showings.

1 MAY 2017 15 THE SCENIC ROUTE

Presentations

Presentation Mode 1 – 16:9 aspect ratio

Presentation Mode 2

The presenter can control his/her content from the NMUSA lectern, which can be placed in the front-center, front-right or front-left of the platform.

The audio and video can also be controlled from the back of the room.

The curtain can be drawn fully open, fully closed or used to frame the projected image/video content.

Position A Position B Position C

Position D

1 MAY 2017 16 THE SCENIC ROUTE

Additional Content

Presentation Mode 3

Presentation Mode 4

By utilizing the Dynamic Image Server the museum staff can show a repeated image on the left and right sides of the screen while showing video content (16:9 aspect ratio) in the center. Or, they can show a repeated image content (no video) to the entire screen.

For more detailed descriptions of these areas please see: Appendix E.2 – Audio/Video/Effects Package, Appendix L.1 – Lighting System, Appendix L.2 – Audio System, Appendix L.3 – Video System, Appendix L.4 – Show Control System and Appendix L.5 – Special Effects System.

1 MAY 2017 17 THE SCENIC ROUTE

2.4 Program and Content Overview

Of Noble Deeds Army Video Experience

On the screen, at the front of the room, a countdown clock shows the time remaining before the start of the next showing. This subconsciously helps the visitor get settled in their seat quickly.

A light ring at floor level defines the perimeter of the viewing platform. A glow comes from the lighting that bathes the cove area between the platform and the screen. The visitor feels as if they are floating in the space.

TIME CODE: 00:00 As the show begins the room grows dimmer, and the sound of a drill commander is heard near the back of the room. At the front, the sound of marching footsteps is heard from speakers mounted behind the screen.

TIME CODE: 00:48 The visitor sees the center of the screen start to change colors from black to deep blue, then the US Army Drill Team appears two-by-two, each pair splitting off, one to the left and one to the right. As the lead Soldiers move around the room, the viewing area expands with them, as does the sound of the marching steps, the clap of their hands on their rifles, the rustle of their crisp uniforms, until they have encircled the visitors.

1 MAY 2017 18 THE SCENIC ROUTE

TIME CODE: 01:21 A musical crescendo bursts through the speakers around and above the visitors. The screen is filled with color, and the title of the show: Of Noble Deeds. The light cove and the overhead theatrical lighting shimmer with colors to complement the on-screen action. Vibration motors rumble beneath the visitors’ seats, adding to the rumble of the tympani in the music and the tanks rolling by across the screen. The theatrical lighting above brings the entire room to life.

TIME CODE: 01:30 Then a sudden grenade blast fills the screen in sync with wind that hits the audience from fans mounted in the grid above.

TIME CODE: 01:33 Next the screen fills with present-day Soldiers in combat, their voices heard from different places around the room above and amid the sounds of battle.

TIME CODE: 01:35 The visitor sees a sky filled with helicopters. Moving “gobo” lights mimic the light play from helicopter blades slicing the air. The lighting above and the light cove below follow the color changes of the action on the screen. The sounds of the helicopters surround the room.

TIME CODE: 01:38 The scene changes to paratroopers dropping from planes and the visitor hears the planes’ engines cross the room overhead as they fly by.

TIME CODE: 01:41 The room is filled with a green glow as night vision scenes surround the room.

TIME CODE: 01:47 The scenes change rapidly as a deep-voiced narrator booms through the speakers, telling the visitors that these Soldiers all embody the seven Army Values.

1 MAY 2017 19 THE SCENIC ROUTE

TIME CODE: 01:57 Soon an explosion blasts on-screen as the vibration motors rumble and the theatrical lights flash in sync and cove lighting react and the entire sequence comes to a crescendo as the theater gently fades back to a sober darkness.

TIME CODE: 02:00 The drill team fades back on to the screen with the seven Army Values emblazoned graphically around the room.

The first two minutes of the twelve minute video are complete and the visitors are fully engaged.

From this point the video tells its story in chapters, each ending on the next drill team/Army Value interstitial. The lighting filling the room brightens and dims along with the storytelling. The audio tracks are distributed to the various speakers around and above the audience taking full advantage of the multiple layers of narration, sound effects and music. The fans and “gobo” lights set different moods within the space.

TIME CODE: 12:00 When the show is over, the programmed lighting returns the theater to its transitional state. The countdown timer shows on the screen. The visitors file out as the next group enters. The Volunteers assist those in need.

For the full script of the video see Appendix A – Reference Documents and for the full show breakdown see Appendix E.2 – Audio/Video/Effects Content Package.

1 MAY 2017 20 THE SCENIC ROUTE

2.5 Design Approach

Provided Content Assessment

At the beginning of the re-design process TSR used the NMUSA-provided master audio and video files along with Cortina Production’s As Produced Script: AV 1 Army Theater as the primary reference material. This can be seen in Appendix A – Reference Documents

Several theaters and venues that present multi-projector experiences were benchmarked to help determine the potential enhancements available for used in the Army Theater.

Arromanches 360 cinema Normandy, France

World War II Museum New Orleans, Louisiana

Civil War Museum Kenosha, Wisconsin

Comcast Experience Philadelphia, Pennsylvania

Kentucky Derby Museum Lexington, Kentucky

University of Texas San Antonio - “DomeShow”

Shanghai Corporate Pavilion Shanghai, China

Activision E3 booth Los Angeles, California

Barco “Escape” Los Angeles, California

A scene-by-scene assessment was performed to determine what enhancements would work best at specific times throughout the showing.

The 7.1 audio tracks were assessed through a 7.1 system to aid in the placement of additional speakers and sound effects. The original mix will be enhanced with additional sound effects through separate speakers to capitalize on the immersive aspect that audio provides.

A full-size mockup of the screen was built at TSR to feel the physical aspect of the round room, the potential size of the projection and the optimum audience viewing distance.

To further assess the provided content, TSR went back to the production company’s original intent.

1 MAY 2017 21 THE SCENIC ROUTE

The below is from Cortina’s AV-1 as-produced script:

Experience Summary: Using a blend of archival imagery and originally shot 360-degree footage, this signature film for the National Museum of the United States Army tells the story of the United States Army Soldier through the lens of the seven core Army values: Loyalty, Duty, Respect, Selfless Service, Honor, Integrity, and Personal Courage. These seven values appear as bold graphical text throughout the film and serve as the seven core themes to the unfolding story.

The film follows the typical storyline of a Soldier going off to war: leaving home, serving, and returning home. The story is told through Soldiers’ voices pulled from their letters and journals. These voices will either be recorded by the actual Soldier or by a professional voice-over actor. Minimal narration will serve as connective tissue between the various sound bites.

The imagery for this film is composited to fill a 180-degree screen surface for the entire film. This is accomplished by blending several pieces of footage and photos together to fill the 180-degree screen surface. At specific moments throughout the film, the imagery expands to the full 360-degree screen surface.

There are three 360-degree battle sequences in this film: the first is the la Drang Battle in Vietnam, the second is the Korengal Valley, Afghanistan and the third is the Battle of the Bulge during World War II.

These scenes will be composited to present a 360-degree Soldiers’ view of the action.

This is how this 360-archival view of these battles will be presented: on the front screens are images that portray the action as if you are a Soldier looking straight ahead at the battle. On screen left and screen right are images that portray what a Soldier would be seeing to their left and to their right during these combat sequences. And on the screens behind the audience is the action that portrays what would be happening behind the Soldier. The point being: to utilize the 360-degree theater to present a view of these two battles that has never been seen before.

In addition to these composited 360-degree battle sequences, Cortina Productions will be shooting original 360-degree images of the present-day Army engaging in training exercises. In October, Cortina Productions will be shooting the United States Army Drill Team with a specially designed, 10-camera, 360-degree rig. This footage will be seamlessly edited together so that the audience is engulfed in a 360-degree view of the Army Drill team silently maneuvering their weapons. This originally shot 360-degree footage will serve as transitions throughout the film.

For the full script see Appendix A – Reference Documents.

1 MAY 2017 22 THE SCENIC ROUTE

TSR undertook the re-design by first assessing what had been provided by other contractors and adding the guidance provided by NMUSA.

The most pressing challenge was that the video was produced for a 360 degree, 200’x15’ seated experience. From a fixed seat, none of the audience would be able to see a large amount of the projection surface.

Two solutions were presented: 1) remove the seats to allow the visitor to stand and/or move to self-determine his/her viewing area throughout the experience; 2) reduce the size of the video to bring more of the content into view.

The placement of the entrance and egress doors of the theater provided another challenge: projecting as the previous contractors had planned placed video content onto the doors, and the lighted EXIT signs.

Again, reducing the content width to coincide with the outside edges of the doors eliminated this concern.

In order to determine the final structural needs of the room, TSR assessed each of the video scenes and tracks of audio to determine how the experience could be enhanced. The ease of use and maintenance of these potential additions were paramount in the consideration of their adoption. The suggested enhancements are: reducing the video width; re-mixing the 7.1 audio for greater separation; programming lighting changes in the room to sync with the action on the screen; adding environmental effects and supplementing the audio and video with vibration motors under the viewing platform.

On 21 November, 2016 TSR presented a standing option that was rejected by museum leadership.

NMUSA requested an assessment of swivel seats.

The solution presented herein allows for 114 swivel seats (including two armless versions for aisle access) with a limited swivel range of 22.5 degrees to the left and right. There are eight wheelchair/companion seat combinations throughout the viewing area. The seating platform sits over an indentation and holds the HVAC outlets and vibration motors.

1 MAY 2017 23 THE SCENIC ROUTE

The video is projected at 12’x166’, ending at the edges of the entrance/egress doors.

The screen, projectors, lights, speakers (behind-screen and overhead) and fans are held by a structure and platform that create a room-within-the-room.

1 MAY 2017 24 THE SCENIC ROUTE

The seats are designed to swivel 22.5 degrees to the left and right. The design of the seat allows it to spring back to forward facing position. The design also limits the tilt function for greater visitor safety and comfort.

Donors of the theater have the opportunity for recognition with their name etched in black on a brushed stainless steel plate. The plate will be 3” x 1.5” and will be mounted with mechanical fasteners to the upper rear frame portion of each theater seat back.

Inclusion of any additional information such as amount of donation, category of giving level, personal message, etc. will be determined by AHF at a later date.

For more detailed descriptions of these areas please see: Appendix E.2 – Audio/Video/Effects Package, Appendix J – Construction Drawings, Appendix L.1 – Lighting System, Appendix L.2 – Audio System, Appendix L.3 – Video System, Appendix L.4 – Show Control System and Appendix L.5 – Special Effects System.

Donor plaque

1 MAY 2017 25 THE SCENIC ROUTE

2.6 Graphic Approach

Video:

While TSR did not produce the original content, it was created to be consistent with the existing AV Graphics Standards document created by Christopher Chadbourne and Associates, Inc. in April, 2010.

Signage:

Two movable standing signs are provided to communicate the timing of the shows as well as the availability of non-effects showings. These are designed to comply with NMUSA Graphic Standards so they are consistent with the other signage throughout the museum campus.

For more details please see Appendix H – Graphic Design Content.

Standing sign

1 MAY 2017 26 THE SCENIC ROUTE

2.7 NMUSA Programs and Education Department, Volunteer and Teacher Roles

Both individual visitors and groups will benefit from contact with additional support personnel throughout the Army Theater experience. The roles for each of these types of personnel need to be a coordinated effort in order to keep the pavilion running smoothly.

The NMUSA Programs and Education Department

Personnel will be responsible for scheduling student groups and providing any additional educational programming that extends the information from the video. Personnel may also be responsible for developing presentations that utilize the theater.

Volunteers

Volunteers in the Army Theater will be most helpful in helping people in and out of the area to ensure a safe and timely reset between showings. The current scheduling allows for eight minutes between main shows. The Volunteer is also helpful in ensuring visitors do not bring food or beverages into the theater.

When student or Veterans groups are scheduled in the theater, the Volunteer will be instrumental in ensuring their time is kept open and that any empty seats are filled. Answering any questions of ad hoc scheduling and availability throughout the day will also be their responsibility.

Teachers

Teacher(s) and other chaperones will have pre-visit information to help them understand the educational opportunities inherent in the theater presentation. Teachers will need to spend time on the NMUSA website before their visit to plan a trip that takes advantage of the extensive opportunities throughout the museum, and how the Army Theater experience can enhance those. Connection with museum staff before, during and after the trip will further the benefits the teacher and his/her class can gain from the

NMUSA.

1 MAY 2017 27 THE SCENIC ROUTE

2.8 Lighting

This 100% Construction Drawing package contains lighting design details for the theater experience as described above in the Visitor Experience – Section 2.3. Theatrical lighting effects will be integrated and choreographed with the content of the video to enhance the experience.

The lighting design within the Theater has been created with two purposes in mind – support of one specific video presentation and support of a multi-purpose space.

The fixture selection and placement have been chosen to provide an immersive experience to guests as they view a carefully-crafted video presentation. Lighting and effect elements are synchronized with the video to enhance the viewing experience. Lighting, in the form of colors, movement, and textures, will virtually extend the screen onto the viewing platform – bringing the guests into the action. The use of lighting from multiple angles and sophisticated, color-mixing fixtures allows for subtle manipulation of the viewers’ senses.

From a functional stand-point, the system is designed to provide safe walk-in and walk-out lighting while creating a dramatic first-look as guests enter the space. The repeating design elements of layering and circular patterns within the architecture are continued within the lighting design.

When the venue is not in “show mode”, the lighting design supports other functions – such as presentations, meetings, films, etc.

Within the theatrical fixture layout, there is a series of color-mixing architectural down-lights to ensure compliance with local building codes. In addition to adding to the theatrical experience, these units:

ensure minimum luminance levels are achieved and maintained; operate within the Emergency Backup system and provide effective work light for cleaning and maintenance.

The control architecture for this venue is a network-based system which is flexible, upgradable, and expandable.

See details on this lighting design in Appendix L.1 – Lighting System and Appendix M – AVL Drawing Package. The actual lighting hardware can be found in Appendix N.1 – Lighting Cut Sheets.

TSR will not be using the standard museum house/work lights within the Army Theater.

2.9 A/V Hardware

The Army Theater experience relies on several different electronic elements working in concert to provide a moving tribute to the Soldier, the Army Family and the organization’s rich history. The hardware elements are the video projectors, audio amplifiers and speakers and the various pieces of enhancement effect equipment. The software that brings the audio, video and special effects systems all together is the show control system.

The 100% Construction Drawing package contains schedules and plans for media display, based on current technologies – see Appendix J – Construction Drawings, Appendix M.1 – AVL Drawing Package.

The original video treatment can be found in Appendix A – Reference Documents, and an annotated treatment can be found in Appendix E.2 – Audio/Video/Effects Content Package.

The audio design and equipment are documented in Appendix L.2 – Audio System and the hardware is described in Appendix N.2 – Audio Cut Sheets.

1 MAY 2017 28 THE SCENIC ROUTE

The video projection design is shown in Appendix L.3 - Video System. The hardware is found in Appendix N.3 – Video Cut Sheets.

The enhancement effects design and equipment are shown in Appendix L.5 – Special Effects System and Appendix N.4 – Effects Cut Sheets.

Descriptions of the show control design, including the programmable curtain track, can be found in Appendix L.4 Show Control System and the software is detailed in Appendix N.5 – Show Control Cut Sheets.

1 MAY 2017 29 THE SCENIC ROUTE

2.10 General Project Notes

Definitions

1. Where the term 'contractor' is used on this page, it shall mean the vendor who has been awarded scope relevant to that requirement and any subsequent subcontractors.

2. Where the term 'base building' is used on this page, it shall refer to the museum as described by the architect in drawings and specifications, without modifications or additions for exhibit materials or other finishes furnishings and equipment.

Code Compliance

1. Where a conflict exists between these construction documents and applicable codes, regulations, or standards as identified by the authority having jurisdiction and/or the base building architect, the applicable codes, regulations, or standards shall govern.

2. These construction documents contain designs that have been coordinated with the base building construction documents. The base building contractor shall convey any changes to the design or as-built condition to the design team so that any interactions which effect safety or code compliance may be evaluated.

3. The contractor shall be responsible for identifying any modifications to the base building required in their scope of work that may impact fire resistance rated construction. The contractor shall submit any such conditions, and proposed fire-stopping or other details, to the base building architect for approval before damaging or modifying rated construction.

Structural Analysis

1. All elements bearing the stamp of a professional engineer have been assessed based on the following values: Site class: D, Building category: III, Importance factor: 1.25

SDS = 0.15

RP = 2.5

Ap = 1.0

CS = 0.13g

5. Where a maximum weight of an element has been indicated, the contractor shall confirm that the final element as-built does not exceed the weight indicated. As-built weight shall be determined by direct measurement, computer modeling, or documented estimation of each sub-component.

Scope

1. These drawings drawings only describe the exhibit systems for the Army Theater.

2. Base building systems; architecture, structural, electrical, mechanical, data/low-voltage, fire alarm, fire protection, security, and others are not included in these drawings. Refer to the NMUSA project construction drawings for details on the base building.

3. All spaces shall be protected by code-compliant automatic fire sprinklers.

1 MAY 2017 30 THE SCENIC ROUTE

4. Code-compliant fire alarm devices shall be provided.

5. Fire protection and fire alarm devices shall be provided by base building contractors and are not included in this design submittal.

Construction Documents

1. These construction documents convey design intent for the army theater area of the building. They do not necessarily indicate all of the scope of work for any particular contract. The contractor shall provide all items required to execute the design intent and maintain compliance with applicable regulations, even if they are not explicitly indicated in the construction documents.

2. A design team, to be designated by NMUSA will administer these contract documents, approving samples, responding to requests for information, and approving or rejecting alternates proposed by the contractor. In the event that more than one contractor is engaged to complete the scope of work in these documents, the design team shall be responsible for determining that all work has been assigned to an appropriate contractor and that each contractors' work is coordinated to achieve the design intent of these documents. The design team, in conjunction with NMUSA, shall also be responsible for assigning ancillary scope and requirements including construction support services, construction documentation, and jobsite restrictions at the time of contracting.

3. The design team is not responsible for means and methods of fabrication or installation except where they explicitly impact the design intent.

4. NMUSA and AGS are expected to continue developing content and project requirements in parallel with the work of the design team and the contractor. New or revised requirements that are determined during the production of this design shall be communicated to the design team for integration into the design and coordination with the contractor and completed work.

5. The construction documents consist of these drawings, the 100% design phase deliverable package, and all appendixes. Previously issued drawings are included for historic reference only and shall not be considered binding.

6. Narrative descriptions included in these documents shall be considered as binding performance requirements. In case of a conflict between the narrative description and a drawing, note, or dimension, request clarification from the design team before proceeding.

7. Where the construction documents contain conflicting information, consult the design team for clarification before proceeding with pricing, procurement, fabrication, or installation.

8. Where a typical detail or dimension and a specifically referenced detail conflict, the specifically referenced detail shall govern. Where no detail is specifically referenced, the applicable typical detail shall govern.

9. Do not scale these construction documents. Where dimensions are required that are not indicated explicitly, request clarification from the design team

10. All dimensions shown are to finished surfaces or the member indicated unless otherwise specified.

11. Photographs, images, and 3d renderings are for information only and shall not be considered to supersede any drawing, dimension, or written note.

1 MAY 2017 31 THE SCENIC ROUTE

12. The design contained in these documents is based on base building design dimensions which are subject to change at any time. The contractor is responsible for verifying field conditions and coordinating actual construction dimensions, sequences, and processes with the base building contractor and other trades. Where field conditions or coordinated plans conflict with these construction documents, consult the design team for approval before proceeding.

13. Where no finish is indicated for a surface, match the finish indicated for the largest adjacent surface of the same element. Where the intent is not clear, contact the design team for clarification.

14. The following default tolerances shall apply unless noted otherwise:

Fractional inch measurements less than 12 inches: ±1/16"

Foot and fractional inch measurements greater than 12 inches: ±1"

Three place decimal inches: ± .005"

Two place decimal inches: ±.010"

"Max" or "maximum" dimensions: +0"

"Min" or "minimum" dimensions: -0"

Good function, fit, and visual appearance shall be provided in all cases, even if it requires the use of stricter tolerances than are listed. All seams or gaps shall be straight, and visibly perpendicular or parallel as appropriate to adjacent lines.

Submittals

1. Where specific manufacturers and product numbers have been specified, provide the specified product or an approved equivalent product. If a product specified is no longer available at the time of procurement, consult the design team to specify an alternate. Where no specific manufacturer or product number has been specified, or when an alternate product is proposed, submit product data to the design team for review and approval before procurement.

2. Where a specific finish material, special paint finish, and/or color have been specified, submit samples of that finish or an approved equivalent to the design team for approval before procurement and application. Paint samples shall be provided as complete 'system samples' applied to the intended material, cleaned, prepared, and applied as it will be on the final product. The finish of the final product shall match the sample when evaluated for visual appearance, adhesion, and durability.

3. The contractor shall prepare shop drawings for each element shown and submit them to the design team for comment or approval before beginning procurement or fabrication for that element. Shop drawings shall clearly communicate how the contractor plans to execute the design including construction details, work that will be performed in the field, and finishing information as appropriate. The contractor shall clearly indicate any deviation from the construction documents in the shop drawings.

4. Additional required submittals are listed by discipline within this document. The contractor shall not proceed until the submittal has been approved by the design team.

General Requirements

1. To the extent practical, the contractor shall assemble all prefabricated components in their facility and make them available to the design team for inspection before delivery to the jobsite.

2. The contractor shall make work in progress available to the design team for progress inspections upon request.

1 MAY 2017 32 THE SCENIC ROUTE

3. All work shall be performed in a professional manner consistent with industry practices and relevant consensus standards.

4. All visible surfaces shall be 'museum quality.' surfaces must be flat, smooth, and uniform. Coatings shall be applied evenly with consistent color and sheen. Corners shall have a consistent radius and not be sharp. Finish blemishes such as trapped dust, visible irregularities in the underlying surface, bubbles, or drips shall not be acceptable on any visible surface.

5. The contractor shall inspect all work as installed for hazards to the public including but not limited to sharp edges, loose protective covers, exposed wiring, and loose flooring. Any hazards shall be eliminated and finishes restored.

6. After installation, the contractor shall commission each element provided by thoroughly testing it against any relevant narrative or functional descriptions. Testing shall include reasonably foreseen circumstances.