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Agenda 04/23/2019 Item #16D 8 (RFP #18-7383)04/23/2019 EXECUTIVE SUMMARY Recommendation to award three (3) Agreements for Request for Proposal (RFP) #18 -7383, “Museum Exhibit Design, Fabrication and Installation,” to Exhibit Concepts, Inc., Explus, Inc., and Riggs Ward, LLC. OBJECTIVE: To provide for the continuing design, fabrication and installation of educational exhibits for the public at the County’s five (5) historical museums in Naples, Marco Island, Everglades City, and Immokalee as well as for any other County Division that may need these specialized services. CONSIDERATIONS: Since 2002, the Collier County Museum Division has utilized professional museum design firms to ensure quality presentations for the public’s education and enjoyment, and to maintain continuity of exhibit development, fabrication and installation at all Museum locations. This approach has resulted in significant upgrades to the Museum’s exhibits for greater visitor interest and appeal, increased educational value, and enhanced security and preservation of the objects on permane nt display. On July 17, 2018, the Procurement Services Division released RFP #18 -7383, “Museum Exhibit Design Fabrication and Installation.” The County sent out 6,775 notifications of the RFP and interested vendors downloaded one hundred twenty-eight (128) solicitation packages. The six (6) firms listed in the below chart all submitted timely proposals by the August 31, 2018 deadline. All firms were deemed responsive and responsible. On November 16, 2018, a Selection Committee met to review and score the six (6) proposals based on qualifications consistent with the RFP. The firms were scored and ranked in the following order: Company Name Final Ranking Exhibit Concepts, Inc 1 Explus, Inc 2 Riggs Ward, LLC 3 Taylor Studios 4 Split Rock Studios 5 ADM2 Exhibits 6 Staff is recommending awarding the attached proposed agreements to the top three (3) ranked firms: (1) Exhibit Concepts, Inc., (2) Explus, Inc., and (3) Riggs Ward, LLC. Services for work under this agreement will be initiated by obtaining quotes from all three (3) firms, with the work going to the lowest quote received. Staff will commence work through the issuance of a County approved purchase order. FISCAL IMPACT: Tasks associated with the exhibit development and construction process will be assigned as funds become available. Total funding for these services is currently available in the Museums fiscal 2019 budget in the amount of $60,000. The Museum Division Strategic Plan contemplates $400,000 of exhibit improvement projects systemwide over the next five (5) years. The actual amount allocated for exhibit design and fabrication will vary from fiscal year to fiscal year, according to need and available funding. GROWTH MANAGEMENT IMPACT: While this action has no direct impact, it is consistent with Collier County’s goals to streamline and expedite the procurement of services. LEGAL CONSIDERATIONS: This item is approved as to form and legality and requires majority vote 16.D.8 Packet Pg. 2073 04/23/2019 for Board approval. -SRT RECOMMENDATION: To award three (3) agreements for RFP #18-7383, “Museum Exhibit, Design, Fabrication and Installation,” to Exhibit Concepts, Inc., Explus, Inc., and Riggs Ward, LLC and authorizes the Chairman to sign the attached agreements. Prepared By: Amanda O. Townsend, Director, Museum Division ATTACHMENT(S) 1. 18-7383 Final Scoring and Rank (PDF) 2. 18-7383 NORA_Signed (PDF) 3. [linked] 18-7383 Exhibit Concepts_Proposal (PDF) 4. [linked] 18-7383 Explus_Proposal 1 (PDF) 5. [linked] 18-7383 Explus_Proposal 2 (PDF) 6. [linked] 18-7383 Riggs Ward Design_Proposal (PDF) 7. 18-7383 Explus_Insurance_2-14-19 (PDF) 8. 18-7383 Explus_Contract_VendorSigned (PDF) 9. 18-7383 Exhibit Concepts_Insurance_04-05-19 (PDF) 10. 18-7383 Exhibit Concepts_Contract_VendorSigned (PDF) 11. 18-7383 Riggs Ward LLC_Insurance_Redacted_4-4-19 (PDF) 12. 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (PDF) 16.D.8 Packet Pg. 2074 04/23/2019 COLLIER COUNTY Board of County Commissioners Item Number: 16.D.8 Doc ID: 7686 Item Summary: Recommendation to award three (3) Agreements for Request for Proposal (RFP) #18-7383, “Museum Exhibit Design, Fabrication and Installation,” to Exhibit Concepts, Inc., Explus, Inc., and Riggs Ward, LLC. Meeting Date: 04/23/2019 Prepared by: Title: Administrative Assistant – Museum Name: Wanda Bieschke 01/02/2019 11:18 AM Submitted by: Title: Division Director - MuseumOperations Support – Museum Name: Amanda O. Townsend 01/02/2019 11:18 AM Approved By: Review: Procurement Services Opal Vann Level 1 Purchasing Gatekeeper Completed 02/21/2019 12:58 PM Procurement Services Sandra Herrera Additional Reviewer Completed 04/05/2019 8:52 AM Procurement Services Swainson Hall Additional Reviewer Completed 04/05/2019 1:31 PM Museum Amanda O. Townsend Additional Reviewer Completed 04/05/2019 2:16 PM Procurement Services Ted Coyman Additional Reviewer Completed 04/05/2019 5:21 PM Public Services Department Kimberley Grant Level 1 Reviewer Completed 04/09/2019 10:24 AM Public Services Department Todd Henry Level 1 Division Reviewer Completed 04/09/2019 1:43 PM Public Services Department Steve Carnell Level 2 Division Administrator Review Completed 04/09/2019 1:45 PM County Attorney's Office Scott Teach Level 2 Attorney Review Completed 04/15/2019 9:25 AM Office of Management and Budget Valerie Fleming Level 3 OMB Gatekeeper Review Completed 04/15/2019 9:36 AM County Attorney's Office Jeffrey A. Klatzkow Level 3 County Attorney's Office Review Completed 04/15/2019 10:52 AM Budget and Management Office Ed Finn Additional Reviewer Completed 04/16/2019 11:03 AM Public Services Department Todd Henry Additional Reviewer Skipped 01/02/2019 11:19 AM County Manager's Office Nick Casalanguida Level 4 County Manager Review Completed 04/16/2019 11:54 AM Board of County Commissioners MaryJo Brock Meeting Pending 04/23/2019 9:00 AM 16.D.8 Packet Pg. 2075 Selection Committee Scoring Sheet RPS #: 18-7383 Title: Museum Exhibit Design Fabrication and Installation Name of Firm Tony Barone Nancy Olson Lisa Marciano Jennifer Guida Theresa Schober Total Scores Selection Committee Final Rank Exhibit Concepts, Inc.70 82 83 82 76 393.00 1 Explus, Inc 69 81 82 81 71 384.00 2 Riggs Ward Design 66 84 78 67 74 369.00 3 Taylor Studios 69 82 68 63 66 348.00 4 Split Rock Studios 63 71 58 60 59 311.00 5 ADM2 Exhibits 61 70 56 59 64.5 310.50 6 Procurement Professional Swainson Hall - Procurement Manager Step 1: Upon direction by the Procurement professional, the individual selection committee member should provide their scoring of the proposals. Step 2: The procurement professional will review the mathematically tabulated scores determine if consensus is reached. Step 3: The Committee by concensus will determine the number of proposers to bring back for oral presentations. Page 1 of 1 16.D.8.a Packet Pg. 2076 Attachment: 18-7383 Final Scoring and Rank (7686 : Recommendation to award RFP #18-7383 Museum 16.D.8.bPacket Pg. 2077Attachment: 18-7383 NORA_Signed (7686 : Recommendation to award RFP #18-7383 Museum Exhibit Design) SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS. INSURER(S) AFFORDING COVERAGE INSURER F : INSURER E : INSURER D : INSURER C : INSURER B : INSURER A : NAIC # NAME:CONTACT (A/C, No):FAX E-MAILADDRESS: PRODUCER (A/C, No, Ext):PHONE INSURED REVISION NUMBER:CERTIFICATE NUMBER:COVERAGES IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(ies) must have ADDITIONAL INSURED provisions or be endorsed. If SUBROGATION IS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement. A statement on this certificate does not confer rights to the certificate holder in lieu of such endorsement(s). THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER. OTHER: (Per accident) (Ea accident) $ $ N / A SUBR WVD ADDL INSD THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. $ $ $ $PROPERTY DAMAGE BODILY INJURY (Per accident) BODILY INJURY (Per person) COMBINED SINGLE LIMIT AUTOS ONLY AUTOSAUTOS ONLY NON-OWNED SCHEDULEDOWNED ANY AUTO AUTOMOBILE LIABILITY Y / N WORKERS COMPENSATION AND EMPLOYERS' LIABILITY OFFICER/MEMBER EXCLUDED? (Mandatory in NH) DESCRIPTION OF OPERATIONS below If yes, describe under ANY PROPRIETOR/PARTNER/EXECUTIVE $ $ $ E.L. DISEASE - POLICY LIMIT E.L. DISEASE - EA EMPLOYEE E.L. EACH ACCIDENT EROTH-STATUTEPER LIMITS(MM/DD/YYYY)POLICY EXP(MM/DD/YYYY)POLICY EFFPOLICY NUMBERTYPE OF INSURANCELTRINSR DESCRIPTION OF OPERATIONS / LOCATIONS / VEHICLES (ACORD 101, Additional Remarks Schedule, may be attached if more space is required) EXCESS LIAB UMBRELLA LIAB $EACH OCCURRENCE $AGGREGATE $ OCCUR CLAIMS-MADE DED RETENTION $ $PRODUCTS - COMP/OP AGG $GENERAL AGGREGATE $PERSONAL & ADV INJURY $MED EXP (Any one person) $EACH OCCURRENCE DAMAGE TO RENTED $PREMISES (Ea occurrence) COMMERCIAL GENERAL LIABILITY CLAIMS-MADE OCCUR GEN'L AGGREGATE LIMIT APPLIES PER: POLICY PRO-JECT LOC CERTIFICATE OF LIABILITY INSURANCE DATE (MM/DD/YYYY) CANCELLATION AUTHORIZED REPRESENTATIVE ACORD 25 (2016/03) © 1988-2015 ACORD CORPORATION. All rights reserved. CERTIFICATE HOLDER The ACORD name and logo are registered marks of ACORD HIRED AUTOS ONLY 2/14/2019 Marsh &McLennan Agency LLC 5500 Cherokee Ave Suite 300 Alexandria VA 23294 Johanna Moore 757-456-0577 757-456-5296 certificates@marshmma.com Hartford Insurance Co.of the Midwest 37478 EXPLUINC Hartford Fire Insurance Company 19682Explus,Inc. 44156 Mercure Circle Dulles VA 20166-2000 Hartford Casualty Insurance Company 29424 1948311495 A X 1,000,000 X 300,000 10,000 1,000,000 2,000,000 X Y 42UUNNL7258 7/1/2018 7/1/2019 2,000,000 A 1,000,000 X X Comp $1,000 X Coll $1,000 42UUNNL7258 7/1/2018 7/1/2019 C X X 5,000,00042RHUNL68907/1/2018 7/1/2019 5,000,000 A X N 42WEEL7900 7/1/2018 7/1/2019 500,000 500,000 500,000 B Installation Floater Leased/Rented 14MSNI4105 7/1/2018 7/1/2019 Limit Limit Ded $1,000,000 $175,000 $2,500 RE:For any and all work performed on behalf of Collier County Collier County Board of County Commissioners is included as Additional Insured under the General Liability and Automobile Liability with respect to work performed by the insured if required by written contract for the referenced job and/or contract.The General Liability applies as primary and non-contributory to the additional insured's own liability coverage if required by written contract. Collier County Board of County Commissioners 3295 Tamiami Trail E. 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(Mandatory in NH) ANY PROPRIETOR/PARTNER/EXECUTIVE OFFICER/MEMBER EXCLUDED? 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NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER. IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(ies) must have ADDITIONAL INSURED provisions or be endorsed. If SUBROGATION IS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement. A statement on this certificate does not confer any rights to the certificate holder in lieu of such endorsement(s). COVERAGES CERTIFICATE NUMBER:REVISION NUMBER: CERTIFICATE HOLDER CANCELLATION © 1988-2015 ACORD CORPORATION. All rights reserved. The ACORD name and logo are registered marks of ACORDACORD 25 (2016/03) ACORDTM CERTIFICATE OF LIABILITY INSURANCE Continental Casualty Company Continental Insurance Company Transportation Insurance Company Underwriters at Lloyd's London Valley Forge Insurance Company 4/05/2019 Marsh & McLennan Agency LLC 1730 N. Limestone St. Springfield, OH 45503 937 399-5500 Michelle A. Demmitt 937-398-5308 212-948-6366 michelle.demmitt@mma-mw.com Exhibit Concepts, Inc. Attn: Kelli Glasser 700 Crossroads Court Vandalia, OH 45377 20443 35289 20494 555555 20508 A X X X 5091255592 08/18/2018 08/18/2019 1,000,000 300,000 15,000 1,000,000 2,000,000 2,000,000 E X X X C5086602602 08/18/2018 08/18/2019 1,000,000 B X X CUE5086602616 08/18/2018 08/18/2019 5,000,000 5,000,000 A N WC586602583 08/18/2018 08/18/2019 X 1,000,000 1,000,000 1,000,000 C D Install Floater Professional Liab 5086602597 VBE08311A18 08/18/2018 06/19/2018 08/18/2019 06/19/2019 $1,000,000/$5,000 Ded $1,000,000/$2,000,000 Collier County Board of County Commissioners, OR, Board of County Commissioners in Collier County, OR, Collier County Government, OR, Collier County included as an additional insured under the captioned Commercial General Liability and Automobile Liability Policies on a primary and non-contributory basis if and to the extent required by written contract. For any and all work performed on behalf of Collier County Collier County Board of County Commissioners 3295 Tamiami Trial E. 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PRODUCER 804-282-6723 9\?ijiAcT Jason PriestVirginia Commonwealth Corp. 2570-B Gaskins Rd wgN:o, Ext): 804-282-6723 I r..e2, No):804-282-2286 Richmond, VA 23238 E-MAIL IIDDRESS·Jason Priest INSURER(Sl AFFORDING COVERAGE NAIC# INsuRER A :Granae Mutual Insurance Co 14060 INSURED INSURER B :Accident Fund Ins Co 10166 Riggs Ward, LLC & Riggs Ward Design, L.C., & RWD, LLC INSURER C: 2315 W. Main Street Richmond, VA 23220 INSURER D: INSURER E: INSURER F: COVERAGES CERTIFICATE NUMBER· REVISION NUMBER· THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. INSR TYPE OF INSURANCE ADDL SUBR POLICY NUMBER POLICY EFF POLICY EXP LIMITS I TR ,.,�n lun,n A X COMMERCIAL GENERAL LIABILITY EACH OCCURRENCE $ 1,000,000 � □ CLAIMS-MADE CK] OCCUR DAMAGE TO RENTED 1,000,000 y CPP2765663-00 09/22/2018 09/22/2019 PREMISES !Ea occurrence)$ � MED EXP (Anv one person) $ 10,000 � PERSONAL & ADV INJURY $ 1,000,000 GEN'L AGGREGATE LIMIT APPLIES PER: GENERAL AGGREGATE $ 2,000,000 Fl POLICY □ �r8i DLoc PRODUCTS -COMP/OP AGG $ 2,000,000 OTHER: $ B �TOMOBILE LIABILITY COMBINED SINGLE LIMIT 1,000,000 !Ea accident) $ X ANY AUTO� OWNED � SCHEDULED y CA2765665-00 09/22/2018 09/22/2019 BODILY INJURY (Per person) $ � AUTOS ONLY � AUTOS BODILY INJURY (Per accident) $ HIRED NON-OWNED iPf;,?�fc�J;;';,8AMAGE $ � AUTOS ONLY � AUTOS ONLY $ A X UMBRELLA LIAB � OCCUR EACH OCCURRENCE $ 3,000,000 � CUP2765667-00 3,000,000 EXCESS LIAB CLAIMS-MADE AGGREGATE $ DED I X I RETENTION $ 10000 $ A WORKERS COMPENSATION X I �ffTuTE I I OTH-AND EMPLOYERS' LIABILITY ER Y/N WCG 6172332 09/22/2018 09/22/2019 1,000,000 ANY PROPRIETOR/PARTNER/EXECUTIVE □ E.L. EACH ACCIDENT $ OFFICER/MEMBER EXCLUDED? N/A 1,000,000 (Mandatory in NH) E.L. DISEASE -EA EMPLOYEE $ If yes, describe under 1,000,000 DESCRIPTION OF OPERATIONS below E.L. DISEASE - POLICY LIMIT $ DESCRIPTION OF OPERATIONS/ LOCATIONS/ VEHICLES (ACORD 101, Additional Remarks Schedule, may be attached if more space is required) Collier County Board of County Com missioners is additional insured under General & Auto Liability policies on pri mary & non-contributory basis as required per written contract . CERTIFICATE HOLDER CANCELLATION COLLl-5 SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE Collier County Board of County THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS. Com missioners 3295 Ta mia mi Trail E. AUTHORIZED REPRESENTATIVE Naples, FL 34112 Jason Priest I ACORD 25 (2016/03) © 1988-2015 ACORD CORPORATION. All rights reser ve d. The ACORD na me and logo are registered marks of ACORD 16.D.8.k Packet Pg. 2154 Attachment: 18-7383 Riggs Ward LLC_Insurance_Redacted_4-4-19 (7686 : Recommendation to award RFP #18-7383 Museum Exhibit Design) LLC16.D.8.lPacket Pg. 2155Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2156Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2157Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2158Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2159Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2160Attachment: 18-7383 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LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2181Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2182Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2183Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2184Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2185Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2186Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2187Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2188Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2189Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2190Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit 16.D.8.lPacket Pg. 2191Attachment: 18-7383 Riggs Ward LLC_Contract_VendorSigned_Redacted (7686 : Recommendation to award RFP #18-7383 Museum Exhibit EXHIBITCONCEPTS.COM | 1 1EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS COLLIER COUNTY MUSEUMS REQUEST FOR PROPOSAL MUSEUM EXHIBIT DESIGN FABRICATION AND INSTALLATION RFP# 18-7383 AUGUST 31, 2018 EXHIBITCONCEPTS.COM | 2 2EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS TABLE OF CONTENTS 3 COVER LETTER 4 BUSINESS PLAN REFERENCE PROJECT: THE BRADFORD OHIO RAILROAD MUSEUM Business Plan of Approach ........................5-11 Final Reports ...............................................12 Timeline .......................................................13 14 COST OF SERVICES TO THE COUNTY PROJECT: NAPLES DEPOT MUSEUM Cost Proposal .............................................15 Fee Schedule/ Sq. Ft. Charge ....................16 17 EXPERIENCE AND CAPACITY Overview ......................................................18 Percentage of In-House Work ...................19 Capacities ....................................................20-25 Work Samples ..............................................26-34 35 REFERENCES ..........................................................35-37 38 TEAM MEMBERS Organizational Chart .................................39 Exhibit Concepts Resumes ........................40-43 Subcontractor BPI .....................................44-82 83 REQUIRED FORMS ...............................................83-105 EXHIBITCONCEPTS.COM | 3 3EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS August 31, 2018 Swainson Hall Procurement Manager - Acquisitions Procurement Services Division 3295 Tamiami Trail East, Bldg C-2 Naples, Florida, 34112 Dear Swainson: Exhibit Concepts, Inc. is pleased to submit our qualifications for the design, fabrication and installation of ex- hibits for the Collier County Museum. The materials included in this proposal will better familiarize you with our company, provide information on our past museum projects, and highlight the importance we place on providing superior project management. During forty years of design, fabrication and installation of superior quality museum exhibity, Exhibit Concepts has been privileged to successfully complete numerous high-profile projects such as The Bradford Ohio Railroad Museum, Brukner Nature Center and the Mahoning Valley Tyler History Center. Working on projects where designs are complex and there are many team members, we choose to use an integrated project plan, utilizing the expertise of all members of the project team. Our philosophy is to establish highly collaborative working relationships structured to optimize the project outcome. We believe that trust in team members is paramount to success. Our entire team looks forward to partnering with the Collier County Board of Commissioners to design, fabricate and install exhibits for the museums of Collier County. Sincerely, Steven D. Lowry Account Executive EXHIBITCONCEPTS.COM | 4 4EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS BUSINESSPLAN THE BRADFORD OHIO RAILROAD MUSEUM EXHIBITCONCEPTS.COM | 5 5EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS BRADFORD RAIL ROAD MUSEUM The Project Manager coordinated the efforts of Exhibit Concepts’ staff and subcontractors during the following project tasks: The proposed methodology for the project management, production, fabrication and installation of the exhibit elements for the Bradford Ohio Rail Road Museum were executed as follows: The Bradford Railroad Museum was issued a job number and an in-house work order. The work order and supplemental work orders listed all structural and graphic requirements along with completion dates. The job number documented all time and materials logged against the project. The records were stored electronically and became part of the permanent operating records of Exhibit Concepts (ECI). The Project Manager was present during all face-to-face meetings and conference calls during the production, fabrication, and installation phase of the project. The Project Manager provided written minutes for all face- to-face meetings and conference calls within four (4) calendar days. During fabrication, the Project Manager conducted weekly inspections to monitor exhibit fabrication to ensure quality craftsmanship was maintained throughout construction. In addition, the Project Manager and all department heads participated in weekly production meetings to review progress and address changes related to the project. Upon completion of fabrication, the project manager supervised the on-site installation. At the conclusion of the installation, the Project Manager conducted a final inspection and staff training. 1 EXHIBIT INSTALLATION CLOSE OUT MAINTENANCE AND SUPPORT FINAL DESIGN AND DELIVERABLES CONSTRUCTION DOCUMENTATION PROJECT MEETING SCHEDULE 2 3 4 5 6 INTERPRETATIVE DEVELOPMENT/ CONCEPT DESIGN PROJECT MANAGEMENT METHODOLOGY BUSINESS PLAN EXHIBITCONCEPTS.COM | 6 6EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS INTERPRETIVE DEVELOPMENT Our philosophy for exhibition projects is to collaborate closely with our client’s project team in order to provide a design that satisfies program needs, reflects the institution’s goals and mission, and responds to the museum’s architecture. In our approach, with all projects including Bradford, we plan and design around your stated exhibit concept. We believe visitors become active participants in discovery and exploration when they are in an environment that intrigues and captivates them. Iconic elements, which anchor a space, should be memorable and present themselves as recognizable concepts. In the Discovery phase, we work at a more creative level. We plan and design around the exhibit concept as we understand it, working with you all to understand the mission and experience intended for the environment. We rely heavily on highly participatory brainstorming sessions, with as many stakeholders as necessary, to get all visions and ideas on the table. Much of the inspired work gets done at the table in these workshops. Our process usually looks something like this: • Review all exhibit design and content documents • Conduct Focus Groups (Educators, Employees and Volunteers) to determine which current exhibits are effective and what new exhibits should be considered. • Brainstorm/advance concepts, using existing work as the media assets…What kind of imagery might support this exhibit? • Advance discussion of the tone and style of the media through look-and-feel studies— this is done in close collaboration with the exhibit design, as we want the media to be both thematically and stylistically integrated into the surrounding exhibit landscape. • Refine the content and experience goals for media exhibits; • Evaluate space layout concerns as they relate to media (e.g., audio bleed or bounce; light levels; ceiling heights; hard v. soft surfaces) • Assist in prioritizing and optimizing media options (both software and hard- ware) based on exhibit goals and budget parameters • Provide consultation on hardware options and price/performance trade-offs 1 BRADFORD RAIL ROAD MUSEUM Interactive Types & Possibilities We all need physical play. Visitors, in particular children, often connect with a concept when play is part of learning. It could be a simple activity like cranking a handle and moving freight around, or moving faux “coal” across a coal dock. Play can be solitary and play can be communal. One thing is for sure...play is fun, and nothing beats a visitor with a smile. It’s not just about learning...it’s about discovering! In the day and age where the wealth of human knowledge is ju s t a s m a r t p h o n e a w a y , exhibits need to embrace creating experiences where people d i s c o v e r a n d c o n n e c t stories rather than be spoon-fed information. Interactives that c a l l o n p u s h i n g boundaries, asking “why?”, and communicating with others will g e n e r a t e t h o u g h t . More importantly, they will generate memories. Technology is a tool for storytelling. Within today’s audience is an expectation that technology will som e h o w play a part in the exhibit experience. It could be as simple as a dig i t a l picture frame to show the expanse of imagery in a collection, or m a y b e multi-touch atscreens exploring the path of the railroad. The key i s that no matter what technology is employed, let the story dictate its form and function. Digital take-a-ways are even an option. Rail passes can be issued, or the visitor could take a picture where they appear to be conducting a train through Bradford.©2012 The design and content of this presentation is the sole property of Exhibit Concepts, Inc. Duplication or use by any other party is strictly prohibited and protected under Copyright laws.Bradford Railroad Museum 7 Developing a Visual Approach_Graphics & Ma t e r i a l s Let the graphic design of the day inspire us. The posters, signage and ephemera of the late 18 0 0 ’ s / e a r l y 1 9 0 0 ’ s had a distinct style. Ornate yet purposeful lines a n d t e x t o e r e d b o t h clarity and visual excitement. The feeling of some t h i n g t h a t w a s h a n d done was intersecting with a time of mass produ c t i o n . B y t a p p i n g into that man / machine combination, we can att a c h a c h a r a c t e r t o both the graphics and the thematic structure of t h e e x h i b i t . The materials should speak to the subject matt e r . By using materials that would have been common in t h e r a i l y a r d s , you can immediately evoke feelings of strength, har d w o r k , a n d stability. The natural grit of steel and the texture of w o r n w o o d w i l l harken back to Bradford’s train era. Authentic-feelin g n i s h e s w i l l create an air of industriousness, and help bring the s e t t i n g o f t h e story to life. Bradford Railroad Museum 4 ©2012 The design and content of this presentation is the sole property of Exhibit Concepts, Inc. Duplication or use by any other party is strictly prohibited and protected under Copyright laws.©2012 The design and content of this presentation is the sole property of Exhibit Concepts, Inc. Duplication or use by any other party is strictly prohibited and protected under Copyright laws.Interpretive Content Outlin e Secretary J.C. Baldrich opene d t h e R a i l w a y Y . M . C . A . i n 1 9 0 6 . Subtheme II: The Early Years o f t h e R a i l r o a d During its early years, Bradfor d w a s a i d e d b y c h a n g e s i n t e c h n o l o g y t h a t n e c e s s i t a t e d a h u b in their location. Storylines: With the rise o f c o a l , B r a d f o r d t h r i v e d , a d d i n g a c o a l d o c k a n d m a n y r a i l r o a d j o b s , as well as jobs w i t h i n t h e c i t y t o s e r v e t h e n e e d s o f a b o o m i n g p o p u l a t i o n . The quick grow t h o f p o p u l a t i o n a n d b u s i n e s s i n B r a d f o r d w a s t i e d t o t h e n u m b e r of trains and e m p l o y e e s . Working the r a i l r o a d o f t e n i n v o l v e d l o n g d a y s a n d d a n g e r o u s w o r k . Life in a deve l o p i n g t o w n o n t h e w e s t e r n O h i o l a n d s c a p e i n v o l v e d d i c u l t i e s that included o o d i n g , g r o w i n g p a i n s , a n d a t r a n s i e n t p o p u l a t i o n . As the numbe r o f t r a i n s r o s e , s o d i d t h e n e e d f o r a d d i t i o n a l s t r u c t u r e s t o s e r v e their needs, suc h a s t h e Y M C A f o r t h e h o u s i n g o f e m p l o y e e s . Potential Exhibit Elem e n t s : Fuel Compariso n s , C o a l C a r t Hobo Symbol s / L a n g u a g e Telegraph Interactiv e Railroad Lante r n C o l o r M e a n i n g s / F l a g M e a n i n g s Freight Carts / T y p e s o f F r e i g h t Train Destinat i o n M a p s / T i c k e t i n g S t a t i o n / T i c k e t P u n c h Daily Train Info g r a p h i c ( N u m b e r o f T r a i n s , T y p e s , p a s s e n g e r s , e t c ) Ambient Soun d o f B u s t l i n g R a i l y a r d 1. 2. 3. 4. 5. 1. 2. 3. 4. 5. 6. 7. 8. Bradford Railroad Museum 12 PHASEPLANNING EXHIBITCONCEPTS.COM | 7 7EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS CONCEPT DESIGN Working with the information generated from Discovery/Investigation, the Exhibit Concepts team began preparation of the Concept Design package. Our work was carefully coordinated with the Museum’s requirements and included the following tasks and deliverables: 1. Meeting with the Museum to coordinate architectural/exhibit issues 2. Meeting with the Museum to coordinate the integration of scripts and content into the exhibit design 3. Meeting with the Museum to discuss preliminary media concepts for the presentation of information and story 4. Preparation of refined floor plans and elevations integrating exhibit systems 5. Preparation of preliminary graphic design concepts; concepts illustrate the hierarchy of exhibit messages, typography, graphic style, colors, and preliminary finishes 6. Preparation of preliminary materials and finishes boards 7. Coordination with the preparation of preliminary project schedule 8. Coordination with the proposed project budget 9. Presentation of the Concept Design deliverables to the Museum for review and approval to proceed into Schematic Design Subtheme 3: Floorplan 45THE BRADFORD OHIO RAILROAD MUSEUM SUBTHEME 4 KITCHEN SUBTHEME 1 SUBTHEME 2 On the Rails The History of the Building The Railroad PorterA Complicated Machine Bradford’s Railyard Maintaining the Machine The Bradford Fire Limited Living Space Railway Cooks / Servingware Social Organizations The Magnificent RoundhouseThe Many Needs of the Railroad The Dining Car Experience A Booming Railtown A3 1.01 Metal Lockbox Prop Luggage Reference Groundform Reference Subtheme 2: The Baggage Cart 48THE BRADFORD OHIO RAILROAD MUSEUM Location Side View Detail View G3 1.02 G3 1.03 A3 1.01 Groundform and prop luggage built to accommodate the cart wheel Graphic Panels: 66”w x 6”h 2nd surface print on 1/8“ non glare acrylic on both sides of 3/4” painted melamine panel Themed Chest Artifact Case 72”w x 11.75”d x 28”h Graphic size TBD in FCD phase LED lighting required Source period appropriate luggage and chests as props This ground form base needs a toe-kick similar to tie hack ground form EX3 1.03 Concept Design Deliverables: • Preliminary concept drawings • Final concept drawings demonstrating theme, character and feel • Refined plans and select elevations coordinated with architecture, storylines and media concepts • Preliminary graphic elevations • Preliminary materials and finishes boards • Content Notebooks with preliminary documentation of objects and images • Refined budget estimate 3 ©2012 The design and content of this presentation is the sole property of Exhibit Concepts, Inc. Duplication or use by any other party is strictly prohibited and protected under Copyright laws.Main Exhibit Floor Interpretive Zones Roundhouse Interactive Mechanics Diorama Model Railroad Table Dining Car Air Horn Interactive Track Switch Interactive Donor Recognition & Final Statement Tie Hack Diorama Archway Modied Depot Museum Entrance & Exit Depot Cart Interactive Themed Artifact Cases Museum ID Panel Banner Wall Main Text Panel Units Bradford Railroad Museum 3 Subtheme I: The Birth of Bradford Subtheme II: The Early Years of the Railroad Subtheme III: A Booming Railroad Town Subtheme IV: The Decline of the Railroad DESIGNCONCEPT EXHIBITCONCEPTS.COM | 8 8EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS FINAL DESIGN AND DELIVERABLES Following approval of the Concept Design package, the Exhibit Concepts team began the development work required to fully illuminate and detail the concepts for the museum galleries established in the Concept Design. This work will included the following tasks: 1. Refined and detailed the design concepts including the integration of the preliminary storylines, audiovisual and multimedia concepts 2. Refined the graphic design concepts into a preliminary graphics specification package, including integration of photos, maps and documents acquired by the Museum and Exhibit Concepts, and selection of type styles, colors and finishes 3. Developed preliminary lighting design and electrical specifications 4. Coordinated all audiovisual hardware requirements with the Museum 5. Scheduled regular working sessions with the Museum, the Exhibit Concepts team and other consultants to keep everyone abreast of significant details 6. Reviewed Schematic Design documents as they relate to applicable life safety, building code and ADA requirements 7. Presentated the Schematic Design deliverables to the Museum for final approval for review and approval to proceed into Detail Design Development (Bid Documentation) Final Design Development Deliverables included the following planning and scheduling: • Developed exhibit design documents including scaled plans, sections and elevations of each exhibit element • Preliminary memorabilia/artifact schedule; numbered and keyed to the exhibit design documents • Developed graphic design documents numbered, keyed, and integrated into the exhibit design documents. These documents will include graphic panel styles and hierarchy, colors, typography samples, photos and photomurals, colors and finishes, preliminary photo crops, and preliminary production specifications • Final audiovisual hardware schedule • Line item cost estimate for fabrication, production and installation of exhibit • Preliminary production schedule PLANNING AND SCHEDULING 2 ©2012 The design and content of this presentation is the sole property of Exhibit Concepts, Inc. Duplication or use by any other party is strictly prohibited and protected under Copyright laws.Bradford Railroad Museum Entry Foyer & The Museum’s Identity 08.02.13 v1.0 4 DESIGNFINAL EXHIBITCONCEPTS.COM | 9 9EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS Autodesk Design Review Sample SHOP DRAWING PREPARATION Fabrication plans were drawn at a high level of detail to address any design issues. We incorporated elements necessitated by code stipulations and address any budget or program problems identified at the end of the concept phase. The Bradford Railroad Museum then reviewed drawings, mock-ups and all samples, materials or test prints as they evolved throughout the fabrication process. Submittals were presented in the form of hard copies and/or electronic files. Depending on the nature of the submittal, meetings or presentations for clarification and discussion were held. Submittals happened simultaneously with the construction documentation phase. CONSTRUCTION DOCUMENTATION ECI utilized Design Review by Autodesk (see below). The detailer created a DWF (Design Web Format) viewing file from AutoCAD. The DWF file then will became a black and white raster file to View, Print, Measure, comment and markup. With this system, the Designer, Owner or subcontractors can send us DWF, DXF, DWG, or a PDF that may be marked up and returned with redline comments or approvals. ECI utilize this program for speed, accuracy and for the reduction of paper. This program allows ECI to keep better records internally for reviews, and comments from the shop, program manager or anybody that is involved within the fabrication or installation of the exhibit. The program keeps a log of markups, when they were made, and who made them. It allows the detailer to highlight comments that have been addressed and he or she can post comments in return with any markups that are in question. 3 Scale: 34" = 1'-0" MTP NARROW GRAPHIC (3 REQ'D.)1 2 134" 3212"2" 134" 2"14" 1934" 10" 80" 2" 50" 2" 16" FULLY WELDED STEELGRAPHIC FRAMERECEIVES (PA-201) PPG"SPECIAL BLACK" (MATTE)PAINT FINISH CAST IRON NEWEL BALLFINIAL FIXED TO TOP OFPOST 34" thk. MDF GRAPHICSUBSTRATE RECEIVES(PA-201) PPG "SPECIALBLACK" PAINT PREP COAT GRAPHIC IMAGE DIRECTPRINTED ONTO FACE OF34" thk. MDF CONTOUR CUTGRAPHIC SUBSTRATE G1 2.01 G1 2.02 G1 2.03 EX1 2.01 EX1 2.02 EX1 2.03 Scale: 1 12" = 1'-0" SECTION2 10" 10" 2" 50" 2" 16" 34" 2" GRAPHIC IMAGE DIRECTPRINTED ON FACE OF PRE-PAINTED 34" thk. MDFSUBSTRATE 2" x 2" x 18" thk. FULLYWELDED STEEL CROSS FRAME -- 1/4-20 x 2 12" L.STA-FAST BOLTS THREADINTO WOODSERTS TOMOUNT GRAPHIC PANELTO STEEL FRAME 34" thk. CONTOUR CUT MDFGRAPHIC SUBSTRATERECEIVES (PA-201) PPG"SPECIAL BLACK" (MATTE)PAINT PREP COAT, TYP. 1/4-20 x 2 12" L. STA-FASTBOLT THREADS INTOWOOD-SERT IN BACK OFGRAPHIC SUBSTRATE Scale: 34" = 1'-0" NARROW FRAME (3 REQ'D.)3 334"1414"1414"334" 36"2"2" 5"33"5"14" 1934" 2" 50" 2" 16" 90" FULLY WELDED STEELGRAPHIC FRAMERECEIVES (PA-201)PPG "SPECIAL BLACK"(MATTE) PAINT FINISH (6) 516" Dia. THROUGHHOLES IN CROSSFRAMES FOR GRAPHICPANEL FASTENERS (PA-201) PPG "SPECIALBLACK" PAINT FINISHON BACK SIDE OFGRAPHIC PANEL, TYP. Scale: 1 12" = 1'-0" SECTION4 34" 412" 34" 6"514" 34" 34" 4"1012" 34" 1514" 34" 1514" 34" 1" 49" (MAX.) (2) LAYERS OF 38" thk.BENDING PLYWOODRECEIVE SCENICTREATMENT TO MATCHAPPROVED SAMPLE 34" thk. MDF GROUNDFORM FRAMINGRECEIVES SCENICTREATMENT TO MATCHAPPROVED SAMPLE 34" thk. FULL WIDTHPLYWOOD RIBS FORDECK SUPPORT, TYP. 34" SQ. HDWD. CLEAT ONSIDE OF BOX BEAM FORTYING GROUND FORMTO BEAM, TYP. R34" Scale: 1 12" = 1'-0" PLAN SECTION5 1"34" 1514" 34" 1514" 34" 1412" 34" 49" 7258" 1518" 34" 1514" 17316" 1514"34"17116"1514"34"17116" 34" 18418" R45" (2) LAYERS OF 38" thk.BENDING PLYWOODRECEIVE SCENICTREATMENT TO MATCHAPPROVED SAMPLE 34" thk. FULL WIDTHPLYWOOD RIBS FORDECK SUPPORT, TYP. 4" W. x 34" thk. PLYWOODTOP and BOTTOMSTRETCHERS TO FIXRADIUS OF WALL FRONT Scale: 1 12" = 1'-0" SECTION6 14" 27" HOLD 34" (4) 5/16-18 STA-FASTTHROUGH BOLTS TOMOUNT ARTIFACT DISPLAYTO FLOOR, TYP. 5" SQ. x 14" thk. STEELDISPLAY BASE PLATE w/ (4) 38" Dia. THROUGH HOLES 2" SQ. x 18" thk. STEELDISPLAY LEG -- ASSEMBLYRECEIVES (PA-201) PPG"SPECIAL BLACK" (MATTE)PAINT FINISH 6" SQ. x 18" thk. STEELDISPLAY ARTIFACT MOUNTING PLATE w/ (4) 516"Dia. THROUGH HOLES 34" thk. MDF GRAPHICSUBSTRATE RECEIVES(PA-201) PPG "SPECIALBLACK" PAINT PREP COAT(3" RADIUS ON ALL FOURCORNERS) GRAPHIC IMAGE DIRECT PRINTED ONTO FACE OF 34"thk. MDF SUBSTRATE 2" 4"6"4" 12" 5" 12" 6" 312" 34"34" 5" 2" Ø516" Ø38" Scale: 1 12" = 1'-0" SECTION7 (4) 5/16-18 THROUGHBOLTS TO MOUNTARTIFACT DISPLAY TOFLOOR, TYP. 5" SQ. x 14" thk. STEELDISPLAY BASE PLATE w/ (4)38" Dia. THROUGH HOLES 2" SQ. x 18" thk. STEELREADER RAIL LEG -- ALLRECEIVE (PA-201) PPG"SPECIAL BLACK" (MATTE)PAINT FINISH 6" SQ. x 18" thk. STEELREADER RAIL MOUNTING PLATE w/ (4) 516" Dia. THRUHOLES 34" thk. MDF GRAPHICSUBSTRATE RECEIVES(PA-201) PPG "SPECIALBLACK" PAINT PREP COAT(3" RADIUS ON ALL FOURCORNERS) GRAPHIC IMAGE DIRECT PRINTED ONTO FACE OF 34"thk. MDF READER RAILSUBSTRATE 27" HOLD 3178" 17"512" 512" 6" 34" 2" 4" 30.0° 312" 34" 5" 5" 12" 12" 6" 2" 34" Ø38" Scale: 1 12" = 1'-0" SECTION8 1112" 4" 2" 12" 2" 4" 1112" 24"47" GRAPHIC IMAGE DIRECTPRINTED TO FACE OFPRE-PAINTED SUBSTRATE 2" x 2" x 18" thk. FULLYWELDED STEEL CROSS FRAME w/ 1/4-20 x 2 12" L.STA-FAST BOLTS INTOWOOD-SERTS TO MOUNTGRAPHIC PANEL 34" thk. CONTOUR CUT MDFGRAPHIC SUBSTRATERECEIVES (PA-201) PPG"SPECIAL BLACK" (MATTE)PAINT PREP COAT 34"34" 2" x 2" STEEL HORIZ.FRAME 1 12" W. x 18" thk.CONTINUOUS STEELGRAPHIC MOUNTINGWEB IS WELDED ONCENTERLINE OFINSIDE SURFACE OFTUBE FRAME 2" x 2" STEELFRAMEWORK -- ALLSURFACES and EDGESOF FRAME RECEIVE(PA-201) PPG "SPECIALBLACK" (MATTE) PAINTFINISH GRAPHIC IMAGEDIRECT PRINTED ONFACE OF PRE-PAINTED 12" thk. MDF SUBSTRATE 1 58" x 1 58" x 18" thk. STEELGRAPHIC FRAME BASE,THROUGH BOLTED TOTHE FLOOR 34" thk. CRATINGPLYWOOD BOX BEAMw/ SCENIC TREATMENT Scale: 1 12" = 1'-0" SECTION9 8" 18" 2" 54" 2" 2"3"3" 58" 26"10 12" thk. MDF GRAPHICSUBSTRATES RECEIVE(PA-201) PPG "SPECIALBLACK" (MATTE) PAINTPREP COAT, TYP. FOR THE DOUBLESIDED GRAPHIC HERE,FOAM TAPE andSILICONE the SECONDGRAPHIC PANEL TOSTEEL FRAME HOLDINGFIRST GRAPHIC PANEL 18"5334" GRAPHIC18" 2" 12" Scale: 3" = 1'-0" DETAIL10 6" 4"1"1" 1" 4" 1" 6" Ø716" 6"14" 2" 24" 1 58" x 1 58" x 18" thk.STEEL TUBE w/(PA-201) "SPECIALBLACK" (MATTE)PAINT FIN. 1/4-20 RIVET NUTS,FLUSH TO SURFACE 6" x 6" x 14" thk. STEELBASE PLATE,WELDED TO POST 158" 158" 158" 12" 934" Owner's Signature and Date Designer's Signature and Date Not approved as noted. Please revise and resubmit. Approved as noted. Approved as shown. Check appropriate box: Construction Drawings 16Q2635 M. Lewis 6-23-17 Owner:Marilyn Kosier, PresidentThe Bradford, Ohio RailroadMuseum200 North Miami AvenueBradford, Ohio 45308E: mkosier@rrohio.comP: 740-654-8424 Designer:Matt Brandeberry, Sr. Designer Exhibit Concepts, Inc.700 Crossroads CourtVandalia, Ohio 45377E: www.exhibitconcepts.comP: 937-890-7000 700 Crossroads Court, Vandalia, Ohio 45377(937) 890-7000 www.exhibitconcepts.comDrawn for:Submittal Drawn by: Date: Revision Dates: Job #: X1.303 Copyright c 2017 AllRights Reserved Page #: This drawing was formattedfor a 24 x 36 page -- ANYOTHER SIZE PAGE IS NOTTO SCALE DOCUMENTSCONSTRUCTION EXHIBITCONCEPTS.COM | 10 10EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS PROJECT MEETING SCHEDULE The time frame for this project was documented on an overall project schedule. Tasks were assigned start, milestone and completion dates on the schedule. Dates for submittals and review were integrated and called out accordingly. This schedule was reviewed and updated throughout the project. A. Kick off meeting: Meetings occur on site shortly after award to review the scope of work, team introductions, team coordination, project schedule, project costs, and quality standards and expectations. Initial meeting include all project representatives that have input regarding design and function of the exhibits. The meeting give everyone involved in the project the opportunity to get to know one another and their expectations, to discuss the project details, performance goals and confirm communications procedures. The meetings will determine what additional information is required and the most efficient time to schedule each procedure. 4 B. Phone Conference Meetings: These meetings happen weekly at a pre-set time/day. They will happen via phone for all project parties. ECI will provide a call-in number. C. On-site Meetings: ECI is committed to being on site for these meetings and for milestone events. These include, but are not limited to, Design Review Meetings, General Site Visits, and Coordination Reviews with Building Contractors. D. Shop review Meeting: This meeting will be held at ECI to review shop production. E. Pre-Installation Meeting: This meeting will be on-site to review the installation process, key personnel, safety procedures, egress within the project boundaries and time frame for the installation. F. Closeout Conference: This meeting will be on- site to review all operational procedures, testing, and project record documentation. EXHIBITCONCEPTS.COM | 11 11EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS EXHIBIT INSTALLATION ECI works closely with our clients through every phase of their project with detailed work plans and timelines for concept development, fabrication and final installation. • On-Site Project Managers and Installation Teams • Detailed Installation Work Plans • Custom Packing and Crating • Indoor and Weatherproof Outdoor Installations • Operating and Management Manuals • Maintenance and Support Instructions 5 MAINTENANCE AND SUPPORT Every exhibit we fabricate shows our pride in workmanship. We build exibitry with the client and visitor in mind as durability under extreme conditions and simplicity of maintenance are key factors. Comprehensive maintenance manuals and follow-up repair services ensure an ongoing, engaging visitor experience with every exhibit we craft. • Warranty • Exhibit Refurbishment • Operation and Maintenance Manuals • Continued advice and support CLOSEOUT Upon completion of each project, a final walk-through will be conducted to verify that the project is complete and to the full satisfaction of the Owner. With installation complete, systems manuals detailing any maintenance or upkeep issues required in the exhibit and warranties for audiovisual hardware where applicable will be submitted. A training session will be conducted to ensure the owner has a full understanding on the operation and maintenance of each exhibit. 6 &INSTALLATIONCLOSEOUT EXHIBITCONCEPTS.COM | 12 12EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS Bradford Railroad Museum - Budget Estimate Extended $80,000.00 Schematic Design/Final Design Development $25,000.00 Content Development/Outline/Final Text $25,000.00 Image Selection and Development $5,000.00 Media and AV System Design $2,000.00 Lighting Plan and Design $3,000.00 Final Artwork Graphic Layout $18,000.00 Estimated Reimbursable Expenses $2,000.00 $40,000.00 Exhibit Engineering and Construction Drawings $15,000.00 Project Management $25,000.00 $308,000.00 Entry Foyer Uprights, 3 Graphics $33,000.00 Scenic Diorama $20,000.00 Timber Wall and Overhead Arch $23,000.00 Move Depot and enlarge $7,000.00 Coal Sign, Wall Treatments and Graphics $21,000.00 Luggage Cart with CPU Interactive $54,000.00 "Complicated" Vignette $14,000.00 Vault $23,000.00 Hallway $14,000.00 Roundhouse Room $28,000.00 Switching Tower Room $23,000.00 Mezzanine $14,000.00 YMCA $12,000.00 Children's Exhibit in basement $22,000.00 $46,000.00 Flooring by Others Lighting $32,000.00 Ambient Audio and Equipment $14,000.00 $8,000.00 Delivery $3,000.00 Travel, per diems and expense $5,000.00 $482,000.00 Engineering/Mechanical Fees By Others Install Fire Sprinkler & Alarm Systems By Others Modify the Existing Air Conditioning System By Others Modify Restroom Facilities By Others Modify the Existing Electrical System By Others Artifacts By Others Taxes NIC Exhibit Design Owner Supplied Items Other Elements Building Plan Architectural Fees Building Elements Other Exhibit Delivery and Expenses Exhibit Environments Exhibit Production Total Estimate 2013© Exhibit Concepts, Inc. Proprietary Information. The information contained herein contains confidential design and pricing data, and is for use only by the parties named above. REPORTS EXHIBITCONCEPTS.COM | 13 13EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS Bradform Railroad Museum July 2013 Task Concept Design Submission Final Design Process Development of Content Overall Final Copy Writing Final Image Acquisition/Selection Specific Content Dev - Graphics Final Graphic Art/Review Coordination with Media and AV Samples and Submittals/Review Construction Documentation Review Construction Drawing Package Exhibit Fabrication Graphic Production Installation Substantial Completion Review/Punch-out Closeout/Maintenance Manuals Design Milestones and Reviews Production Items Completion A S O N D J JJFMAM EXHIBITCONCEPTS.COM | 14 14EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS COST OFSERVICESTO THE COUNTY EXHIBITCONCEPTS.COM | 15 15EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS Collier County-Napels Depot Museum Cost Proposal 2018 © Exhibit Concepts, Inc. Proprietary and Confidential Information. The information contained herein contains confidential design and pricing data, and is for use only by the parties named above. Cost Proposal Qty Design Phase Design Development 50%$53,500.00 Exhibit Design $28,000.00Graphic Design $15,000.00Media / Interactive Narrative $2,500.00Preliminary Exhibit Script Writing By OwnerFinal Artifact List By OwnerProject Management $5,000.00Travel Cost $3,000.00 Final Design Development 100%$25,500.00 Exhibit Design/Final Drawings $14,000.00Media / Interactive Final Treatments $2,500.00Exhibit Script/Final By OwnerFinal Artifact Layout $2,000.00Project Management $5,000.00Travel Cost $2,000.00Total Design Phase $79,000.00 Pre-Production Phase Construction Documentation $49,000.00 Space Prep Drawings $2,000.00Final Digital Artwork $30,000.00Engineering/Detailing $10,000.00Project Management $5,000.00Travel Cost $2,000.00Total Pre-Production Phase $49,000.00 Production Phase Production and Installation $327,000.00 Project I: design, fabricate, and install permanent case features and other misc. Items Lot Labels, case graphics, risers, etc. with a consistent theme for all exhibition cases and displays.$50,000.00 1 Vintage phone vitrine $5,000.001Three Seminole license plates vitrine $5,000.00 1 Hotel case – stage case to look like hotel lobby – keys, mail, check-in sign, luggage, rug, wallpaper, wainscoting, etc.$100,000.00 1 Create barrier for beach chair display $8,000.001Fabricate new Swamp Buggy exhibition case to accommodate recent donations.$8,000.00LotGraphics for back restrooms $500.00Project II: Interactives 1 Utilizing the various means of transportation, create an interactive display available to diverse audiences.$40,000.00 1 Incorporate small interactives throughout the museum to create a cohesive story through new learning medium $20,000.00 1 Virtual display / touch screen that showcases the interior of our train cars that are not accessible to all patrons.$50,000.00 General costsShipping / Delivery $10,000.00Installation Labor $20,000.00Installation Per diems / Hotel / Airfare / Auto Rental $10,000.00Manuals/Closeout $500.00Total Production Phase $327,000.00 Total Project Cost $455,000.00 Exclusions No Bond of any kind has been includedNo Tax of any kind has been included as RFP states project is tax exemptNo Building Fees or Permits of any kind has been includedNo Building Modifications are included in this budget Collier County-Napels Depot Museum Cost Proposal 2018 © Exhibit Concepts, Inc. Proprietary and Confidential Information. The information contained herein contains confidential design and pricing data, and is for use only by the parties named above. Cost Proposal Qty Design Phase Design Development 50%$53,500.00 Exhibit Design $28,000.00Graphic Design $15,000.00Media / Interactive Narrative $2,500.00Preliminary Exhibit Script Writing By OwnerFinal Artifact List By OwnerProject Management $5,000.00Travel Cost $3,000.00 Final Design Development 100%$25,500.00 Exhibit Design/Final Drawings $14,000.00Media / Interactive Final Treatments $2,500.00Exhibit Script/Final By OwnerFinal Artifact Layout $2,000.00Project Management $5,000.00Travel Cost $2,000.00Total Design Phase $79,000.00 Pre-Production Phase Construction Documentation $49,000.00 Space Prep Drawings $2,000.00Final Digital Artwork $30,000.00Engineering/Detailing $10,000.00Project Management $5,000.00Travel Cost $2,000.00Total Pre-Production Phase $49,000.00 Production Phase Production and Installation $327,000.00 Project I: design, fabricate, and install permanent case features and other misc. Items Lot Labels, case graphics, risers, etc. with a consistent theme for all exhibition cases and displays.$50,000.00 1 Vintage phone vitrine $5,000.001Three Seminole license plates vitrine $5,000.00 1 Hotel case – stage case to look like hotel lobby – keys, mail, check-in sign, luggage, rug, wallpaper, wainscoting, etc.$100,000.00 1 Create barrier for beach chair display $8,000.001Fabricate new Swamp Buggy exhibition case to accommodate recent donations.$8,000.00LotGraphics for back restrooms $500.00Project II: Interactives 1 Utilizing the various means of transportation, create an interactive display available to diverse audiences.$40,000.00 1 Incorporate small interactives throughout the museum to create a cohesive story through new learning medium $20,000.00 1 Virtual display / touch screen that showcases the interior of our train cars that are not accessible to all patrons.$50,000.00 General costsShipping / Delivery $10,000.00Installation Labor $20,000.00Installation Per diems / Hotel / Airfare / Auto Rental $10,000.00Manuals/Closeout $500.00Total Production Phase $327,000.00 Total Project Cost $455,000.00 Exclusions No Bond of any kind has been includedNo Tax of any kind has been included as RFP states project is tax exemptNo Building Fees or Permits of any kind has been includedNo Building Modifications are included in this budget EXHIBITCONCEPTS.COM | 16 (;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 Fully Burdened Hourly Labor Rates 7KHIXOO\EXUGHQHGODERUUDWHVVHWIRUWKEHORZVKDOODSSO\WRDOOLQGLYLGXDO7DVN2UGHUFRQWUDFWVLVVXHGKHUHXQGHU /$%25&$7(*25<$33/,&$%/( &RQWUDFWRU5DWH Senior Project Manager ..................................$94.00 Detailer .............................................................$84.00 Senior Fabricator/Carpenter ..........................$72.00 Installer ............................................................$80.00 Graphics Designer ..........................................$125.00 Senior Exhibit Designer .................................$175.00 Interpretive Planner ......................................$160.00 Content Researcher .......................................$80.00 Interpretive Writer .........................................$80.00 Artifact Mount Maker ....................................$75.00 AV Intergration..............................................$150.00 Creative Direction ..........................................$175.00 Editing ............................................................$150.00 Project Management.....................................$150.00 Average Square Foot Charge .......$250.00 )RUGHVLJQIDEULFDWLRQDQGLQVWDOODWLRQ IRUDSHUPDQHQWPXVHXPSURMHFW BPI Key Personnel Hourly Rates 2018 AV Integration - $125 Creative Direction - $150 Editing - $125 Project Management - $135 PROPOSED FEE SCHEDULE EXHIBITCONCEPTS.COM | 17 17EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS EXPERIENCECAPACITY& EXHIBITCONCEPTS.COM | 18 18EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS 1978EST. 2ND GENERATION OWNE D 200KSQUARE FEET OF PRODUCTION & WAREHOUSING + VETERAN S O VER 13 EMPL OYEES 130 ABOUT US TOP TEN AIR & LANDMARKETS LOCATION:CORPOR ATE HEADQUARTER SDAYTON, OH + CHICAG O Exhibit Concepts has cultivated an outstanding reputation for producing, installing, and maintaining quality exhibitry for interpretive facilities, museums and visitor centers throughout the United States. Our approach is to create a team of professionals, consisting of our in-house staff as well as outside specialists, whose talents match the requirements of the project. Our team is dedicated to producing exhibitry of the highest quality. We take great care to thoroughly understand your ideas and translate them into an exhibit that accomplishes your desired objectives. We have developed expertise in matching each unique design to those production techniques and materials that will perform most effectively and economically for that design. Our in-house staff of professional designers, model makers, graphic production technicians and structural fabricators have over five centuries of cumulative museum experience. We build all displays in-house to ensure internal control of each project. We frequently assemble the exhibits in our shop, so we can evaluate and refine them before final on-site installation. APPROACHPROCESS Exhibit Concepts uses a proven, process-driven approach for managing our projects. Our methodology results in solutions that exceed client expectations, achieves better results, meets budget requirements and reduces errors. We incorporate dedicated project management resources and automation tools to stay on track, keep our clients informed and coordinate numerous interdependencies in order to produce the highest quality exhibits and displays. We have never missed a completion deadline in forty years regardless of scope of work or number of partners involved. Communication and information sharing are critical factors in the success of accomplishing any project. A meticulous, real time communication process will accommodate transparent collaboration across multiple agencies. The project manager will facilitate the collaboration and sharing of information. The communication may include, emails, file sharing via FTP sites, face-to-face meetings, conference calls, quality control checks and on site testing. COMMUNICATION EXHIBITCONCEPTS.COM | 19 19EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS EXHIBIT INSTALLATION EXHIBIT FABRICATION GRAPHIC PRODUCTION 5 4 6 In-house fabrication allows ECI to produce everything from specified prototypes to complete galleries. Our technicians are accomplished in carpentry, composite fabrication, finished painting, and other processes. In-house fabrication means we are able to work directly with the design team to ensure value-added functionality and superior aesthetics to the exhibit as it is being fabricated. • Project Management • Subcontract Management • CNC Machining • Lathe Machining • A/V and Media Integration • Interactive and Responsive Electronics • Graphic Production Management Our in-house capabilities include digital print output, mounting, laminating and installation. Our digital imaging programs enable us to adjust or enhance client supplied digital art. Final images can be produced using our digital printers on a wide range of materials including film, paper, canvas and vinyl as well as direct printing on various substraits. Our installation teams work with highly detailed plans to expertly install each exhibit. Great care and attention to detail go into the installation of graphics, artifacts, interactive elements or any other exhibitry required. Many projects in our portfolio have extensive AV integration systems. We are comfortable with coordination and implementation of AV systems. We expect to build the systems in our shop, and perform burn-in as part of the in-house test procedure to ensure the best possible performance before it is delivered to the site. Exhibit Concepts provides a high level of effort toward communicating with the building representative in providing the following AV tasks: • Updated project schedule showing details for building interface • Specific information on drawings showing electrical interface, both line and low volt • Specific information for additional blocking in walls, and confirm anchor points in ceiling • Site visits during all phases of the upgrade before exhibit installation to ensure specific field conditions are confirmed • We will discuss and coordinate protection of finished surfaces prior to AV installation AUDIO VIDEO INTEGRATION CAPABILITIESIN-HOUSE 1 The final designs include refined graphics and content and preliminary AV hardware, lighting, electrical and similar systems. Schematic design documents are also delivered. Construction documentation is provided for final mark-up and shop drawings are then produced in high level finished detail so that fabrication may begin. 2 80% IF MEDIA PRODUCTION IS REQUIRED FOR THE PROJECT 90% OF OUR PROJECTS ARE COORDINATEDIN-HOUSE 3 INTERPRETIVE PLANNING & CONCEPT DESIGN Exhibit Concepts offers creative exhibit planning services with our in-house Interpretive Planner. Working in close collaboration with our clients the Interpretive Planner creates a thematic design that satisfies program needs, reflects the institution’s goals and mission, and responds to the museum’s architecture. The interpretive plan and concept designs are achieved through brainstorming and collaboration and is compiled into a detailed document that is oftentimes used for fundraising purposes. FINAL DESIGNS & CONSTRUCTION DOCUMENTATION EXHIBITCONCEPTS.COM | 20 20EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS GRAPHICSMOUNTINGCASEWORK QUALITY, HIGH-IMPACT GRAPHICS LARGE-SCALE, MICRO-SCALE, ARTIFACTS PRESERVATION, PROTECTION, SECURITYBUILDINGSINTERACTIVE HIGH DETAIL, STORY-TELLING, DURABLE ENGAGING, EDUCATIONAL, IMMERSIVELIFECAST HISTORICAL, PRESERVATION, CONTINUITY EXHIBITCONCEPTS.COM | 21 21EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS GRAPHICS Frontier Texas! GRAPHICS Our graphic technicians specialize in producing quality high-impact graphics to the client’s specifications. Our in-house capabilities include digital print output, mounting, laminating and direct printing on a wide range of materials. Rutherford B. Hayes Presidential Library & Museums EXHIBITCONCEPTS.COM | 22 22EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS MOUNTING Palm Beach Historical Museum MOUNTING We understand that artifacts are key to an exhibit narrative and visitor experience. Appropriately displaying artifacts that are large scale, micro-sized, military grade or extremely delicate all require distinctive skills and a high level of expertise. Our capabilities ensure that each artifact is carefully and artfully showcased with every unique environment in mind. Mahoning Valley Tyler History Center EXHIBITCONCEPTS.COM | 23 23EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS Troy-Hayner Cultural Center Red River Valley Museum CASE WORK Rutherford B. Hayes Presidential Library & Museums CASE WORK Our preservation specialists are well versed in the creation of micro- climates and understand how to mitigate damage caused by such factors as lighting, humidity, and insects as well as chemical reactions among materials used in the cases. They are experienced in the installation of fiber-optic and LED lighting, security systems and humidity control, and the use of inert materials for case construction. Mahoning Valley Tyler History Center EXHIBITCONCEPTS.COM | 24 24EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS INTERACTIVE Interactive elements allow visitors to experience a story through hands- on exploration. These fun and educational pieces can be custom hand crafted to nearly any specification by skilled master craftsmen using top grade, durable materials that will stand the text of time.INTERACTIVE Casa Navarro State Historic Site Casa Navarro State Historic SiteCasa Navarro State Historic Site Leonardo's Children's Museum EXHIBITCONCEPTS.COM | 25 25EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS LIFE CASTS Lifecasts bring exhibits to life with hyper-real human details. We offer expertly crafted lifecasts that can be molded to any specific pose for depicting life-sized people in scenic dioramas or other museum scenic elements. The Chisholm Trail Heritage Museum The Bradford Ohio Railroad Museum Gwinnett Environmental and Heritage Center Frontier Texas! Abilene and Texas Forts Trail Visitor Center LIFE CASTS EXHIBITCONCEPTS.COM | 26 26EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS WORKSAMPLES EXHIBITCONCEPTS.COM | 27 27EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS BRADFORD RAILROAD MUSEUM Bradford, Ohio Contact Information: Marilyn Kosier, Executive Director 200 N Miami Ave. Bradford, OH 45308 (740) 654-0177 mkosier@rrohio.com The Bradford Railroad Museum will takes visitors on a journey back in time to discover the rich history of the Iron Horse, and how the railroad shaped the landscape of the United States, while forging boomtowns such as Bradford, Ohio. Large graphic panels will tell the story behind the people that built the railways while artifacts of tools, equipment and unique items will be displayed to illustrate the vibrant history of how the railroad affected Bradford and the nation. Hands on interactives will allow visitors to take an active part in discovering more about how the railways transformed everyday life. The Ohio Museums Association awarded the Bradford Ohio Railroad Museum with the 2017 Best Exhibition under $500,000. PROJECT TEAM Project Manager: Alex Friend Fabrication Supervisor: Scott Bruce Installation Supervisor: Dan Bennett Drafting Supervisor: Brian Hubbard Master Carpenters: Chuck Hill, Pete Fuller, George Hurtt Graphics Supervisor: Tim Hosler Graphic Designer: Tony Accrocco Exhibit Designer: Matthew Brandeberry PROJECT OVERVIEW Scope of Work: Interpretive Planning, Design, Fabrication, Installation Project Size 3,050 Sq. ft. Project Budget: $460,000 Completion: 2011 EXHIBITCONCEPTS.COM | 28 28EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS EXHIBITCONCEPTS.COM | 33 33EXHIBIT FABRICATION & INSTALLATION FREEMAN'S MILL PARK The nature center sits on a 165-acre nature preserve dedicated to environmental education and wildlife rehabilitation. Exhibit Concepts was selected to design and fabricate exhibits, wildlife habitats, graphics, and interactive components to showcase the amazing insects, mammals, birds, reptiles, and plant life that are found in the preserve. The exhibits were designed to allow the Center’s staff to easily change the graphics and wildlife specimens seasonally, making the visitors’ experience unique every time they return. BRUKNER NATURE CENTER Troy, Ohio PROJECT TEAM Project Manager: Marvin Mescher Fabrication Supervisor: Scott Bruce Installation Supervisor: Dan Bennett Drafting Supervisor: Mike Lewis Master Carpenters: Chuck Hill, Pete Fuller, George Hurtt Graphics Supervisor: Tim Hosler Exhibit Designer: Matthew Brandeberry PROJECT OVERVIEW Scope of Work: Design, Fabrication, Installation Project Size 3,500 sq. ft. Project Budget: $470,082 Completion: Phase 1, 2011 - Phase 2, 2016 Contact Information: Deb Oexmann 5995 Horseshoe Bend Rd. Troy, Ohio (937) 698-6493 deb@bruknernaturecenter.com EXHIBITCONCEPTS.COM | 30 30EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS EXHIBITCONCEPTS.COM | 31 31EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS MAHONING VALLEY TYLER HISTORY CENTER, Youngstown, Ohio The Center traces the history and development of the Valley from the early Native Americans and Pioneers, to the formation of townships and cities to the rise and fall of the iron and steel industries, all through the stories of the people that called this Valley home. Visitors learn about the companies that flourished, the culture of philanthropy, the birth of arts and sports and the locations that the people grew to love. Exhibit Concepts was selected to design fabricate and install exhibits that showcase original artifacts, photographs, and manuscripts, as well as media and interactive stations. PROJECT TEAM Project Manager: Duane Landes Fabrication Supervisor: Scott Bruce Installation Supervisor: Dan Bennett Drafting Supervisor: Brian Hubbard Master Carpenters: George Hurtt Chuck Hill, Pete Fuller, Tony Kirchner Graphics Supervisor: Tim Hosler Exhibit Designer: Matthew Brandeberry PROJECT OVERVIEW Scope of Work: Design, Fabrication, Installation Project Size 3,000 sq. ft. Project Budget: $627,842 Completion: 2017 Contact Information: H. William Lawson, Executive Director 648 Wick Ave. Youngstown, OH 44502 (330)743-2589 hwlawson@mahoninghistory.org EXHIBITCONCEPTS.COM | 32 32EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS EXHIBITCONCEPTS.COM | 33 33EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS DAYTON HISTORY - KETTERING EDUCATION CENTER Kettering, Ohio EXHIBITCONCEPTS.COM | 34 34EXHIBIT DESIGN, FABRICATION & INSTALLATION COLLIER COUNTY MUSEUMS DAYTON HISTORY - KETTERING EDUCATION CENTER Kettering, Ohio Co�er County� Administrative Services Department Procurement Services Division Attachment 9: Reference Questionnaire Solicitation: Reference Questionnaire for: Solicitation Museum Exhibit Design, Fabrication and Installation (Name of Company Requesting Reference Information) Exhibit Concepts, Inc. (Name of Individuals Requesting Reference Information) Steven Lowry Name: Deb Oexmann Company: Brukner Nature Center (Evaluator completing reference questionnaire) (Evaluator's Company completing reference) Email: deb@bruknematurecenter.com FAX: Telephone: 93 7-698-6493 Collier County is implementing a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and th� item or form will be scored "O." Project Description: Lower Level Exhibits Completion Date: _M_a.::....y_2_01_1 ________ _ Project Budget: _$_29_2-'--,8 _4_4._00 ________ _ Project Number of Days: __ 18_0 _______ _ Change Orders -Dollars Added : __ o _____ _ Change Orders -Days Added: __ o _____ _ Item 1 2 3 4 5 6 7 8 9 10 Citeria Score Ability to manage the project costs (minimize change orders to scope). lo Ability to maintain project schedule (complete on-time or early). ID Quality of work, i.e, materials used were of good or high quality; installers were neai and ensured that debris was removed immediately after or during performance of work. \0 Quality of consultative advice provided on the project. e, Ability to proficiently manage subcontractors. lo Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) \o Ability to verbally communicate and document information clearly and succinctly. cg Abiltity to manage risks and unexpected project circumstances. \0 Confidence in the firms creative ability of design capabilities, and project installation 5 Overall comfort level with hiring the company in the future (customer satisfaction). \D TOTAL SCORE OF ALL ITEMS C\'t 18-7383 Sol Ref Nam Ema Col in t a c bes firm If yo be Pro Pro Cha It licitation: ference Ques (Name of Co (Name of Ind me: (Evaluato ail: llier County is he selection o lient for which st of your kno m/individual ag ou do not hav scored “0.” oject Descript oject Budget: _ ange Orders tem 1 Ability 2 Ability 3 Quality and en work. 4 Quality 5 Ability 6 Projec invoice 7 Ability 8 Abiltity 9 Confid 10 Overa stionnaire for: mpany Reque ividuals Requ or completing s implementin of firms to per h they have p wledge on a s gain) and 1 re ve sufficient k ion: _______ ___________ - Dollars Add to manage th to maintain p y of work, i.e, nsured that de y of consultat to proficiently ct administrati es; manuals o to verbally co y to manage r dence in the f all comfort leve Atta esting Refere uesting Refer reference qu ng a process t rform this pro previously per scale of 1 to 1 epresenting th knowledge of ___________ ___________ ed : _______ he project cos project schedu , materials us ebris was rem tive advice pr y manage sub ion (complete or going forwa ommunicate a risks and une irms creative el with hiring TOTAL SC achment 9: R ence Informat rence Informa estionnaire) FAX: that collects r oject. The Na rformed work. 10, with 10 re hat you were past performa ___________ ___________ ___________ Citeria sts (minimize ule (complete ed were of go moved immed ovided on the bcontractors. ed documents ard documen and documen xpected proje ability of des the company ORE OF ALL Reference Qu ion) ation) Company reference info me of the Co Please com epresenting th very unsatisf ance in a par Completion _Project Nu _ Change O a change orde e on-time or e ood or high qu diately after or e project. s, final invoice tation, etc.) nt information ect circumsta ign capabilitie y in the future L ITEMS uestionnaire y: (Evaluator’s ormation on fir ompany listed mplete the surv hat you were fied (and wou rticular area, l n Date: _____ umber of Days Orders - Days ers to scope). early). uality; installe r during perfo e, final produc clearly and s nces. es, and projec (customer sa s Company co Telephone: rms and their in the Subjec vey. Please r very satisifed ld never hire leave it blank ___________ s: _________ Added: ____ ers were neat ormance of ct turnover; succinctly. ct installation atisfaction). ompleting refe r key personn ct above has rate each crite d (and would h the firm/indiv and the item ___________ ___________ ___________ Score erence) el to be used listed you as eria to the hire the vdiual again). or form will _____ _____ _____ e 10 10 10 10 10 10 10 10 10 10 100 EXHIBITCONCEPTS.COM | 38 8(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 SPECIALIZEDEXPERTISEOF TEAM MEMBERS EXHIBITCONCEPTS.COM | 39 39(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 ORGANIZATIONAL EXHIBIT CONCEPTS, INC. FABRICATION SUPERVISOR SCOTT BRUCE VP, SPECIAL ENVIRONMENTS JERRY SPANGLER PROJECT MANAGER MARVIN MESCHER COST ESTIMATOR DANIEL WINSLOW GRAPHICS PRODUCTION GRAPHIC TECHNICIAN GARY ZEHRING GRAPHIC TECHNICIAN MARK TRASK PRINT TECHNICIAN AARON PEAK DRAFTING SUPERVISOR BRIAN HUBBARD GRAPHICS SUPERVISOR TIM HOSLER GRAPHIC DESIGNER TONY ACCROCCO DETAILING MIKE LEWIS FABRICATION/INSTALL PETE FULLER FABRICATION/INSTALL CHUCK HILL FABRICATION/INSTALL GEORGE HURT FABRICATION/INSTALL TONY KIRCHNER FABRICATION/INSTALL DAN SUBLER FABRICATION/INSTALL BRIAN ROSENBERRY FABRICATION/INSTALL MIKE BROWN FABRICATION/INSTALL WAYNE BOWMAN FABRICATION/INSTALL JAKE WEIDNER INSTALLATION LEAD DAN BENNETT ELECTRICIAN DAVE BILBREY CHART INTERPERETIVE PLANNER MATTHEW BRANDEBERRY EXHIBITCONCEPTS.COM | 40 40(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 GERALD SPANGLER VP, SPECIAL ENVIRONMENTS Jerry combines an eye for detail and a passion for understanding how things work to lead our special environments group. His specialty for making connections drives a unique perspective on telling stories through compelling experiences. As Vice President of Special Environments, Jerry oversees all aspects of museum development and implementation. During his more than 20 years with ECI, he has utilized his engineering background to successfully manage projects and develop employees along the way. Jerry has had the privilege of working on high profile projects like the Oklahoma City National Memorial and Museum and the National Navy UDT-SEAL Museum. Jerry was also involved in the development of IntelliZeum, the first interactive learning environment in the nation for Head Start Program at ESC19 Head Start, El Paso, TX. EDUCATION University of Dayton, Dayton, OH Bachelor of Industrial Engineering, 1989 EXPERIENCE Vice President, Special Environments Exhibit Concepts, Inc. 2002 - Present Project Manager Exhibit Concepts, Inc. 1995 - 2002 Project Manager L.W. Milby, Inc. 1991 - 1995 Project Manager ADEX, Inc. 1989 - 1991 RESUMES MARVIN MESCHER PROJECT MANAGER Marvin has a vast knowledge for all aspects of the exhibit industry with a strong background in interactive exhibits. Marvin has over twenty five (25) years in the exhibit industry and is a team leader in the development of interactive environments. Taking a ride through the jungle, soaring in a space rocket or diving a submarine to the ocean depths are just a few of the environments he has managed from concept to visitor-ready adventures. EDUCATION Miami Valley Career Technical Center, Dayton, OH Electrical/Electronics Technology, HVAC and Refrigeration EXPERIENCE Senior Project Manager Exhibit Concepts, Inc. 1997 - Present PROJECTS Leonardo’s Children’s Museum, Enid, OK Florida Museum of Natural History, Gainesville, FL Cleveland Zoo Elephant Habitat, Cleveland, OH Region 7 – ECOLAND, Kilgore, TX Region 2 - Early Scholars Academy, Corpus Christi, TX Montgomery Co. Environmental Learning Center, Dayton, OH Brukner Nature Center, Troy, OH Production Manager L.W. Milby, Inc. 1989 - 1997 EXHIBITCONCEPTS.COM | 41 41(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 Brian comes from an architectural background in design and project management, with over thirty (30) years of experience. He has a broad perspective of how to turn design concepts and ideas into reality while staying true to design intent, budget, and project scope. His broad experience and knowledge base bring a well-rounded level of expertise to Exhibit Concepts, Inc. BRIAN HUBBARD DRAFTING SUPERVISOR EDUCATION Miami University, Oxford, OH Bachelor of Architecture, 1986 EXPERIENCE Drafting Supervisor Exhibit Concepts, Inc. 2016 - Present Director of Project Management CIP Retail 2003 - 2016 EXPERIENCE Architectural Project Manager Winegardner & Hammons 1998 - 2003 Store Design and Planning The Kroger Company 1995 - 1998 Architectural Manager Paul Muller Architects 1993 - 1995 Retail Designer CIP Retail 1987 - 1993 PROJECTS Mississippi Civil Rights, Jackson, MS National Navy Seal Museum, Fort Pierce, FL Bradford Railroad Museum, Bradford, OH Leonardo’s Children’s Museum, Enid, OK SCOTT BRUCE FABRICATION SUPERVISOR Scott arrived from the construction trade where he spent his over twenty (20) years managing various construction trades. He is trained in both Primavera and MS Project Scheduling, and was the Lead Manager for $35 million projects and has scheduled work for both construction as well as plant facilities. Scott is currently responsible for all supply chain and shop labor needs as well as heading up all forecasted work scheduled for Exhibit Concepts, Inc. EDUCATION Columbus State Community College, Columbus, OH, 1989 Bowser-Morner Building Investigations OSHA 30 Trainer Certified Clark State Community College, Springfield, OH EXPERIENCE Fabrication Supervisor Exhibit Concepts, Inc. 2013 - Present Schedule Contractor Fluor Project, Ventura California Project, $25M+ Resource Contractor Dayton Airport Project, $10M+ Project Supervisor Dayton Public School Building, $33M+ PROJECTS Mississippi Civil Rights, Jackson, MS Region 7 – ECOLAND, Kilgore, TX National Museum of the Pacific War, Fredricksburg, TX National Navy Seal Museum, Fort Pierce, FL Brukner Nature Center, Troy, OH Jacques Cousteau National Estuarine Research Reserve, Tuckerton, NJ RESUMES EXHIBITCONCEPTS.COM | 42 42(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 TONY ACCROCCO GRAPHICS DESIGNER Tony has a multi-disciplined background in digital, product based and scenic design. He brings high- level creativity to design impactful and engaging works that capture the client’s intended audience. He is an excellent collaborator working well with project managers, interpretive planners and key partners to execute the client’s vision. Tony’s background includes working hands-on in museum and interactive environments, prior to his graphic design experience, giving him insight with a unique operational based perspective. This insight is critical to the intuitive designs necessary for a successful visitor experience. EDUCATION Sinclair Community College, Dayton, OH AAS Visual Communications 2013 EXPERIENCE Graphic Designer Ze Design Exhibit Concepts, Inc. Designer 2013 - 2015 2016 - Present Huffy Corporation Designer 2012 - 2013 PROJECTS Dublin Camp Parks Military History Center, Dublin, CA National Navy Seal Museum, Fort Pierce, FL Bradford Railroad Museum, Bradford, OH Brukner Nature Center, Troy, OH Sigma Chi Fraternity, Oxford, OH Vertiv Customer Experience Center, Dearborn, OH TIM HOSLER GRAPHICS SUPERVISOR Tim brings over twenty (20) years of experience in exhibit graphic design, coordination, production and management, seeing a project through from start to finish. His passion and expertise is bringing the creative vision of an exhibit to life with beautiful, detailed graphic elements. As manager of a talented graphic team, Tim oversees the day to day development of graphics from design to final production maintaining the highest quality product for every client. EDUCATION Sinclair Community College, Dayton, OH Associate of Design + Marketing, 1993 EXPERIENCE Graphics Supervisor Exhibit Concepts, Inc. 1999 - Present Graphic Designer + Department Manager L.W. Milby, Inc. 1994 - 1999 PROJECTS Leonardo’s Children’s Museum, Enid, OK Region 7 – ECOLAND, Kilgore, TX Supreme Court of Ohio Education Center, Columbus, OH Region 19 - IntelliZeum, El Paso, TX West Woods Nature Center, GPD, Geauga, OH RESUMES EXHIBITCONCEPTS.COM | 43 43(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 MATTHEW BRANDEBERRY SENIOR EXHIBIT DESIGNER As someone who views design as an opportunity to effect lasting change in a community, Matthew has honed his abilities to impact people through environmental designs. During his career, he has developed a very holistic outlook on creating experiences within public settings. Years of fulfilling the roles of interpretive planner and exhibit designer have created a cross disciplinary skill set and true passion for working with clients within interpretive and educational settings. EDUCATION Bowling Green State University, Bowling Green, OH Bachelor of Fine Art, 1998 Florida State University, Tallahassee, FL Master of Fine Art, 2001 In Matt’s Own Words: During the course of my career I have worked on projects all over the nation. Having played the role of interpretive planner and exhibit designer I have had the unique opportunity to help craft well informed, effective exhibits across the state of Texas, including at history-centric locations such as Fulton Mansion State Historic Site and the Red River Valley Museum. These, as well as many other design opportunities have honed my ability to balance visual aesthetics and interactivity with the true intent of exhibits. While the experiences have provided a tremendous variety of interpretive topics, stories of the railroad have surfaced repeatedly. From my earliest days as a designer typesetting graphics for the Olustee Depot and Museum to creating a full-scale depot inside the Charles H. Wright Museum of African American History to be used as a visual metaphor for the Great Migration, the rails have run through a number of my projects. Most recently, after having completed the design and installation of their new core exhibits, the Bradford Ohio Railroad Museum engaged us to create an interpretive plan for their “BF” Interlocking Tower in an effort to offer additional rail related messaging, creating a railroad tourist destination in the city. BRADFORD RAILROAD MUSEUM - SWITCH TOWER EXPERIENCE Senior Exhibit Designer - Exhibit Concepts, Inc. 2011 - Present PROJECTS RISE Academy, Columbus, OH Region 7 – Outdoor Learning Lab, Kilgore, TX Bradford Railroad Museum, Bradford, OH Senior Exhibit Designer - Taylor Studios, Inc. 2009 - 2011 Principal Designer - Pixelary Design, LLC. 2007 - 2009 Senior Exhibit Designer - Display Dynamics, Inc. 2001 - 2007 EXHIBITCONCEPTS.COM | 44 44(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 BPI AUDIO / VISUAL DESIGN – PRODUCTION – INTERGRATION SUBCONTRACTOR 1 Storytelling through IMMERSIVE THEATRICAL ENGAGING INTERACTIVE SOCIAL MEDIA Experiences imagine. what we do. Boston Productions, Inc., 290 Vanderbilt Avenue, Suite One, Norwood, MA 02062 2 4 For over 20 years, BPI has been providing audiovisual design, production, and integration services to museums, zoos and aquariums, visitor centers, corporations, and tourist attractions throughout the United States. Our focus is in telling great stories and sharing unique experiences—entertaining and educational—through immersive, interactive, and linear-based media; and … ... Visitors are at the heart of everything we do. ABOUT BPI Located near Boston MA, BPI boasts a 17,000 square-foot facility, complete with a production studio, prototyping lab, multiple editing suites, and an AV hardware and integration workshop. We also have full-time personnel at satellite offices near San Diego CA, Spokane WA, and Cheyenne WY. Our projects cover a vast array of subject matter, including sports, military history, natural sciences, cultural and social history, corporate subjects, and children’s topics. We’ve produced award-winning films for audiences ranging in size from one to a thousand. And our interactive presentations range from one-on-one touchscreens to venue-wide, immersive group experiences. BPI is a member of the American Alliance of Museums, the Association of Science- Technology Centers, the New England Museum Association, the Association of Zoos and Aquariums, the National Association of Interpretation, the Society for Experiential Graphic Design, the International Association of Amusement Parks and Attractions, and the Themed Entertainment Association. By applying thorough project research, polished production techniques, state-of-the- art presentation schemes, and a collaborative working style to every project, BPI has developed a reputation for exhibit media that is distinctive, memorable, and a joy to experience. Whether a project needs a turnkey solution — from concept through installation — or a singular, specialized service, BPI has the creative and technical skills and experience for every shape, size, and color of project. Let’s imagine together. imagine. what we do. 02 SERVICES Boston Productions has a diverse array of services including Media Design, Creative Direction, Cinematography, Multimedia Production, Interactive Design and Programming, Sound Design and Mixing and complete AV Hardware Integration services. BPI can complete all types of unique media solutions, from concept to installation. Media and Experience Design BPI combines traditional exhibits and multimedia to create fantastical environments and experiences that immerse and engage all visitors. We can envision and develop the full picture. A sampling of our skills and services in media and experience design include: • Conceptual Development • Media Bubble Diagrams • Immersive 4D Theater Development • Narrative Treatments • Interpretive Planning • AV Integration Design & Engineering • Cost Estimating for Software & AV Hardware imagine. what we do. Pre-Production Services BPI is experienced with coordinating our pre-production work with other contractors, such as exhibit designers and fabricators. Pre-Production work includes the delivery of AV treatments, for review and approval. BPI’s pre-production capabilities and services include: • Content & Site Research • Script Writing • Asset Identification • Rights Negotiation • User Interface Design for Interactives • Wireframes / Flow Charts for Interactives • Storyboarding Production Services For both our linear film and interactive software development processes, BPI utilizes a modified agile approach that encourages efficient client participation in the creative process. BPI is prepared to manage and provide the following services: Linear Media • On-Location Cinematography • Studio & Green Screen Filmmaking • Aerial Drone Photography • 4K Raw Productions, Sony F55, Fuji Cabrio Zoom, & Arri Compact Primes • Audio Narration • Asset (Stock Images/Footage) Licensing & Acquisition Interactive Media • Front End Web Development • Content Management System (CMS) Solutions • JAVA, C++, Air, Unity, and Cinder Programming • Multitaction Programming • RFID Programming • Guest Analytics & Client-Facing Custom Dashboards • Mobile Applications Post Production We work with AVID, FinalCut, Adobe Premier, WatchOut, and other industry-preferred software. We are experienced with multi-screen installations, video walls, integration of video with mechanical and special effects, unique monitor orientations, animating archival stills, and motion tracking shots. Our interactive developers and programmers create solid UX design that is engaging and intuitive, as well as dependable and easily maintained. Our services for post-production include: • Rough & Final Editing • Sound Editing • 2D & 3D Animations • Original Music Production • Application Programming Interface (API) Integration • Captioning & Accessibility Testing • Foreign Translations • Scenario-Based Testing & Quality Assurance • DVD, H264 and Other Mastering • WatchOut Programming AV Integration Design BPI conceptualizes the appropriate audio, video, and control hardware necessary for linear and interactive media playback. We develop illustrations necessary for rack design, hardware connections, systems diagrams, and coordination with exhibit casework. We also prepare documents for electrical distribution, points of connection, and access. BPI can manage and provide the following services: • Concept Design & Drawings • Systems Design • Exhibit Design & Architecture Coordination • Design Development & Documentation • Hardware Specifications • Systems Diagrams Engineering • AV Equipment Purchasing • Theatrical Lighting Design & Specifications • Acoustical Specifications Prototyping BPI believes in prototyping early and often. We use our in-house lab to assemble and test AV hardware configurations and local networks. In addition to prototyping hardware systems, we also assess proof-of-concept and evaluate functionality. Our film studio has space to set up large prototypes, video walls and theatrical displays. BPI’s prototyping services include the following tasks: • Assembly • Alpha & Beta Testing • Function & Operations Assessment • Casework & Mounting Coordination AV Installation & Programming We load and adjust our work on playback systems provided by others, but BPI can also serve as the hardware contractor. Installation work includes further testing, troubleshooting, and fine-tuning. BPI’s field technicians work with all aspects of AV installation and onsite integration, from pulling cables and setting up infrastructures, to transporting and mounting all AV equipment. Installation services include: • On-Site Certification Testing • Show-Control Programming • Project Mapping • Operation Manuals & Training • Quality Assurance • Fabrication Coordination • AMX Code Development & Programming • Theatrical Lighting & EFX Rigging & Programming BPI Service and Maintenance BPI understands that media-rich experiences are a large investment, and that continued care of the technology will ensure long-lasting success and visitor enjoyment. BPI can provide the following service and maintenance assistance: • Owner & Volunteer Training • 24-Hour Emergency Service • Telephone Support • Extended Warranties • Yearly Service Plans OUR WORK: IMMERSIVE THEATERS BPI is at the forefront of the industry in developing large-scale immersive presentations that engage audiences and tell memorable stories. Our cutting- edge audio-visual systems — combined with dramatic imagery, surround audio, theatrical lighting installations, and scenic environments — are complemented by our interpretive storytelling skills. At Conner Prairie Interactive History Park, BPI developed and installed a multi-theater immersive presentation. The audience is completely engaged in the true story of General Morgan’s raid during the Civil War. Incorporating falling trees, life-size dioramas, shooting cannons, spinning turntables, and numerous screens, the Raid on Indiana is a truly immersive experience. For the SeaCoast Science Center, we designed, programmed and installed GeoAdventures, a multi-player theatrical presentation. At Tampa Bay History Center, we developed, produced, and installed Coacoochee’s Story, complete with multiple screens, turntables, and scenic dioramas, and Pirate’s Fate, which opened in 2018. And for the National Historic Trails Interpretive Center, we created Footsteps to the West, a multi-screen immersive presentation. Seeing the Elephant is a one-of-a-kind 360-degree film at the Civil War Museum in Kenosha, Wisconsin. The film required over 200 people, including crew, advisors, and reenactors. Eight HD projectors seamlessly thread the moving images around the screen in all directions while 13 channels of audio surround the visitors. Combining entertainment and education at the Niagara Power Vista, BPI’s thrilling 4D motion theater, Power UP!, has audiences laughing and cheering as they splash into the Niagara River, spin through enormous turbines, surge through an electrical generator, and zip along power lines. imagine. what we do. OUR WORK: INTERACTIVE MEDIA BPI develops highly engaging, interactive experiences that tell stories and make learning fun. We combine hands-on tactile interfaces with sophisticated technology, challenging visitors to perform actions that produce eye-popping results. We understand that today’s visitors are not passive observers, but rather active participants, personally engaged in content through a layered and nuanced experience. From tactile levers and gears, to high-tech multi-touch interactivity, visitors are treated to over 25 engaging experiences at the visitor center of the New York Power Authority. On one interactive, visitors place objects on a MultiTaction table to build a community, drawing virtual network connections to transmit clean energy to neighborhoods and businesses. BPI’s integrated RFID system not only gives visitors instant remote access to all their customized exhibit media, but also provides the staff with analytics that track activities and offers data illustrating how visitors are engaging with each exhibit throughout the venue. At the Hershey Story, in addition to developing numerous touchscreen interactives that tell the delicious legacy of Milton Hershey and his chocolate-manufacturing innovations, BPI created Explore Hershey, which allows multiple users to access a detailed 3D virtual model of downtown Hershey. Visitors can explore 360˚ views of rooms inside historic buildings. BPI has created interactive exhibits at six different Money Museums within the Federal Reserve system. On one interactive, visitors can design their own unique dollar bill and share it on social media. On others, guests engage with touchscreens to learn about the intricacies of economic inflation, money lending, and the history of the Federal Reserve. imagine. what we do. OUR WORK: EXPERIENCE DESIGN As an experiential design firm with media production as part of our core capabilities, BPI offers clients a unique set of services that can be selected in any combination. We approach each project with a true sense of collaboration. We are natural storytellers, and we want to help our clients tell their stories. We do so through an artful combination of traditional exhibitry and multimedia. From master planning and conceptual design through final design and fabrication, BPI’s team has the skills and background to create a comprehensive visitor experience. Our AV and media professionals work hand-in-hand with our graphic designers and 3D designers. BPI’s experience design is currently being enjoyed at Hershey’s Chocolate World, where visitors go behind-the-scenes to create their own candy bar. At The Turkey Hill Experience, in a 20,000 square foot space, visitors create their own ice cream flavor and then film a television commercial that can be shared through social media. At The Theodore Roosevelt Inaugural National Historic Site, BPI developed a media- rich walkthrough experience, complete with a role-playing docent. Sounds, sights, and even the smell of coffee, immerse visitors in the time and place where Roosevelt began his unexpected Presidency. At the Indianapolis Children’s Museum, The Power of Children exhibition walks visitors through thematically scenic spaces providing a glimpse into the experiences of Anne Frank, Ruby Bridges, and Ryan White. Our goal with interpretive and spatial design is to create a fantastical environment and experience that individuals can’t get at home, and to tell authentic stories. imagine. what we do. OUR WORK: HARDWARE & INTEGRATION BPI develops robust AV hardware systems for highly interactive, multi- production and multi-disciplinary projects involving complex technologies. We established our AV Systems Integration department more than ten years ago as we recognized the need for early and intricate coordination between AV software and AV hardware on all projects. Our AV Systems Integration department is a key part of every project team, from concept design through installation. Our experience in producing and programming a large variety and complexity of projects directly informs our solutions. BPI’s senior AV integrators are Certified Technology Specialists with extensive backgrounds in specifying, diagramming, purchasing, and installing AV hardware. Additionally, we are licensed resellers and dealers for a number of different hardware suppliers, and we have a dedicated hardware warehouse and prototyping studio. BPI offers a broad spectrum of service and maintenance agreements, because we under- stand that the need for exhibit support extends well beyond opening day. Media-rich, visitor-focused experiences represent a large investment of time, money, and creativity; and a service and maintenance plan is an excellent way for clients to protect these investments and ensure the best possible experience for visitors time and time again. Our plans run concurrently with standard warranties and include the following features: priority service by dedicated technicians, emergency services, on-site support, phone support, remote access support, documentation, and discounted hourly rates. Service plans sometimes also include loan equipment or content upgrades. Every plan is customized to meet each client’s and venue’s particular needs. imagine. what we do. OUR TEAM BPI’s full-service development and production facility has a staff of nearly 30 media and design professionals. In addition to our creative film and interactive experience designers, BPI has an in-house AV hardware integration staff that can specify, engineer, prototype, and install any type of AV hardware system. This assures a seamless integration effort. Our staff includes: • Project Managers • Specifiers & Purchasers • Producers • AV Integrators • Creative Directors • Installation Technicians • Interpretive Developers • Software Programmers • Cinematographers • Quality Assurance Technicians • Video Editors • AMX Programmers • Audio Engineers & Editors • Client Service Specialists • Interactive Developers • Graphic Designers Collaborators We frequently partner with the industry’s most experienced professionals in order to enhance our team. Sometimes serving as the prime contractor and other times as subcontractor, BPI collaborates with fabricators, exhibit design firms, scriptwriters, subject specialists, cost estimators, local technicians, film talent, and more. imagine. what we do. CLIENTS & VENUES Adirondack Museum, NY American Battle Monuments Commission, VA American Museum of Natural History, NY Art Museum of South Texas, TX ATF Atrium Exhibits, DC Boston Historical Society, MA Brooker Creek Preserve, FL Buffalo Science Museum, NY California Science Center, CA Clore Wine & Culinary Center, WA COSI, OH College Basketball Experience, MO The Collings Foundation, MA Congressional Medal of Honor Museum, SC Connecticut Science Center, CT Conner Prairie Interactive History Park, IN CountryMark Visitors Center, IN Dalles Dam Visitor Center, OR Denver Zoo, CO Detroit Zoo, MI Dinosaur State Park, CT The DoSeum, TX Drake Well Museum, PA Eastern Bank, MA ECHO Lake Aquarium & Science Center, VT The Edison Electric Institute, DC EdVenture Children’s Museum, SC The Eisenhower Presidential Library, KS Ellis Island Immigration Museum, NY Erie Canal Discovery Center, NY Erie Maritime Museum, PA Evergreen Exhibitions, TX Exploration Place, KS Explorium, AL Federal Reserve Bank of Atlanta, GA Federal Reserve Bank of Boston, MA Federal Reserve Bank of Chicago, IL Federal Reserve Bank of Cleveland, OH Federal Reserve Bank of Denver, CO Federal Reserve Bank of Kansas City, MO Flint Hills Discovery Center, KS Ford’s Theater, DC Forge Worldwide, MA Fort Collins Museum of Discovery, CO Fort Worth Zoo, TX The Franklin Institute, PA Georgia Aquarium, GA Girl Scouts of Orange County, CA Gray Fossil Site Visitors Center, TN Great Lakes Science Center, OH Hanford Reach Interpretive Center, WA Harness Racing Museum & Hall of Fame, NY Harvard-Smithsonian Center for Astrophysics, MA The Hershey Story, PA High West Distillery, UT Historic Deerfield, MA The Homestead Foundation, WY Hoover Dam Visitors Center, NV Houston Science Center, TX Indianapolis Zoo, IN The International Spy Museum, DC Janet Huckabee River Valley Center, AR JFK Hyannis Museum, MA Johnstown Heritage Discovery Center, PA Kenosha Public Museum, WI imagine. what we do. Ketchikan Immersivision Theater, AK Legoland Theme Parks, CA Levine Museum of the New South, NC Libby Dam Visitors Center, MT Lincoln Park Zoo, IL Lao Niu Children’s Discovery Center, China Maryland Science Center, MD Massachusetts Institute of Technology, MA The Mob Museum, NV Mobile Museum of Art, AL Mount Roberts Tramway, AK The Making of Music, CA Museo del Canal Interoceanico de Panama Museum of the Bible, DC The Museum of Science, MA Museum of Science and Industry, IL Museum of Trade, Finance, & the Fed, LA The National Archives, DC National Association of Music Merchants, CA National Collegiate Basketball Hall of Fame, MO National Historic Trails Interpretive Center, WY National Museum of American History, DC National Museum of the American Indian, DC National Museum of Natural History, DC National Museum of the Pacific War, TX National Park Service, WV New York Power Authority, NY The New York State Museum, NY The Newark Museum, NJ The NC State Museum of Natural Sciences, NC Norman Rockwell Museum, MA Ohiopyle State Park, PA Old State House Museum, MA Old Sturbridge Village, MA Onondaga Historical Society, NY The Peabody Museum at Harvard University, MA The Peabody Museum at Yale University, CT Pennsbury Manor, PA Pennsylvania Historical Commission, PA The Philadelphia Zoo, PA Plimoth Plantation, MA Ralph Stanley Museum & Mountain Music Center, VA Scotts Bluff National Monument, NE The Seacoast Science Center, NH Seneca Falls Urban Cultural Park, NY Sigal Museum, PA Smithsonian Institution, DC Space Center Houston, TX Tampa Bay History Center, FL Texas State Aquarium, TX Theodore Roosevelt National Inaugural Historic Site, NY Thomas Cole National Historic Site, NY Turkey Hill Experience, PA Virginia Historical Society, VA Unitarian Universalist Association, MA University of Illinois Alumni Association, IL University of Utah, UT Washakie Museum and Cultural Center, WY WB Mason Company, MA Weedon Island Preserve, FL West Virginia State Museum, WV Woodlawn Museum, ME Through intricate theater design and riveting storytelling, Coacoochee’s Story brings its audience into Florida’s dense wetlands during the Second Seminole War. This extraordinary immersive theater tells the tale of a Seminole Chief who escaped from prison and a death sentence to lead his people to victory. imagine. what we do. Coacoochee’s Story Tampa Bay History Center Tampa Bay, FL BPI combined vivid scripting, historical battle re-enactments, an original musical score, complex lighting design, and computerized effects to create a unique and engaging audience experience. The set incorporates rich imagery on layered scrims, and video and projection screens nestled in the scenery, large motorized turntables, and trees dripping with Spanish moss. Complex theatrical lighting and strobe effects, dramatic video, large rotating objects, and rich surround sound bring the theater to life as the story unfolds with dramatic intensity. In addition to developing the theater experience and orchestrating a multi-layered media production, BPI specified and integrated all AV hardware and show-control systems for this complex theater presentation. OWNER CLIENT CONTACT & REFERENCE Rodney Kite-Powell, Curator of History Tampa Bay History Center 801 Old Water Street Tampa, FL 813-228 0097 ext. 8984 RKP@tampabayhistorycenter.org EXHIBIT DESIGNER Jonathan Bean & BPI KEY INDIVIDUALS Bob Noll, Creative Director/DP Mike Sullivan, Senior Editor Mike Rafferty, Audio Editor Bob Field, Script Writer PROJECT DURATION Feb 2011 - present PROJECT SIZE 2,000 sq. ft. PROJECT VALUE $1.1 million (Coacoochee’s Story) $500,000 (Pirate Experience now in production) SPECIFIC ROLE ON PROJECT Media design, production, programming, AV integration, set design, set construction, special effects, theatrical lighting, show control programming, specialized motion platform, specialized motion platform integration. SERVICE AREAS AV production, and post-production; project management and coordination; prototyping, show-control programming and AV Integration. I didn’t know this area was so rich with history. The Coacoochee Story Theater was moving! - Yelp Review Conner Prairie takes an innovative approach to conveying history to a multi-generational audience with their critically- acclaimed Civil War Journey. The experience creatively combines historical narrative and vivid storytelling with cutting-edge audiovisual and theatrical technologies for a truly immersive experience. imagine. what we do. CIVIL WAR JOURNEY Conner Prairie Interactive History Park Fishers, IN BPI worked in concert with Conner Prairie and a series of other consultants to design, develop and produce this one- of-a-kind experiential exhibit. Set with great sensitivity in the natural surroundings of Conner Prairie’s outdoor living history experience, Raid on Indiana takes visitors back in time to the Civil War. Led through the exhibition by an interpreter, visitors see the impending cavalry of General Morgan and are asked to rally with the town to protect themselves. In the General Store theater, they watch Morgan’s cavalry come thundering over the bridge through the “windows” and then, through scrims and lighting, actually see the raiders plunder the store. Later, in another theater, they learn about the events that put Morgan’s raid in motion, as the story unfolds through the eyes of the narrators—young Frank and Attia Porter, as well as Albert, a freed slave. The exhibition reaches new levels through a series of artfully executed turntables which reveal life-size dioramas at key moments in time, as well as 4D special effects, such as a tree falling and a cannon firing a cannonball that bursts through the wall revealing the park outside. OWNER CLIENT CONTACT & REFERENCE Cathy Ferree President and CEO at Indiana State Museum & Historic Sites CFerree1@indianamuseum.org 317-319-9909 EXHIBIT DESIGNER Jonathan Bean, 5 Wits, Kraemer Design KEY INDIVIDUALS Bob Noll, Director Jo Throckmorton, Assistant Director Mike Sullivan, Video Editor Mike Rafferty, Sound Editor Mark Dorgan, Creative Director Bob Field, Writer PROJECT DURATION August 2010 to June 2011; Upgrades 2016; continuing Service & Maintenance PROJECT SIZE 1 acre PROJECT VALUE $1,798,100 (plus $49,250 for design under Chadbourne) SPECIFIC ROLE ON PROJECT BPI provided media and AV design, and all production, programming, and testing for the immersive experience and interactive exhibits, plus all scripting, production, and post production for the films and immersive experience. We also handled all AV hardware integration and installation. SERVICE AREAS AV production, and post-production; new media and digital projects; project management and coordination; prototyping, show-control programming and deployment- installation of all interactives and film presentation. BPI continues to work with Conner Prairie through an ongoing service and maintenance plan that includes semi-annual exhibit start-up and shut-down. We have also upgraded some exhibits since the intial installation. I’ve been to Colonial Williamsburg, I’ve been to the South, I’ve been to a lot of places, but I’ve never seen anything like this. It was unbelievable. - Visitor Survey Month 3333- Month 3333 BPI re-imagined this traditional historical house tour into a media-rich, immersive walk-through experience. Using only audio, lighting, and even smells, BPI was able to maintain the historic authenticity of many of the home’s rooms. The orientation area envelops visitors in the 1901 Pan American Exposition, alive with a rich soundscape, artifacts, and working arcade activities. imagine. what we do. National Park Service Theodore Roosevelt Inaugural Historic Site Buffalo, New York Visitors try their hand at shrewd business decisions in the period arcade game, Captain of Industry. A lush film describes the Gilded Age and culminates in dramatic environmental effects, as President McKinley is assassinated. The immersive Issues Object Theatre features a 25’ printed scrim depicting five historic themes that Roosevelt would have to confront in his unexpected Presidency. Show- controlled lighting reveals layered imagery and objects behind the scrim. An audio track brings the whole thing to life. On the second floor, BPI recreated Roosevelt’s White House office, where visitors use a touchscreen embedded into the desk to sign or veto congressional bills. Additional AV interactives encourage visitors to compare contemporary political issues with similar topics from Roosevelt’s presidency. OWNER CLIENT CONTACT & REFERENCE Stanton H. Hudson Jr., Director (716) 884 0095 (716) 228-2345 (mobile) shudson@trsite.org EXHIBIT DESIGNER BPI with fabrication by Hadley Exhibits KEY INDIVIDUALS Bob Noll – Director Mark Dorgan – Project Manager PROJECT DURATION March 2008 - Oct. 2010 PROJECT SIZE 3,500 sq. ft. PROJECT VALUE $622,760 SPECIFIC ROLE ON PROJECT BPI provided exhibit and media design and production for multiple interactives and linear pieces, BPI provided all media design, research and scripting, rights identification and asset negotiation, programming, editing, and testing for the AV exhibits. BPI also provided all AV HW Systems design and integration. SERVICE AREAS AV Media & Interactive Software/ AV Hardware Systems Integration/ Exhibit Design. I have been to many historical places, and let me just say that this one does it RIGHT! - Trip Advisor Review Reference Questionnaire Solicitation: 18-7383 Reference Questionnaire for: Museum Exhibit Design Fabrication and Installation (Name of Company Requesting Reference Information) Boston Productions Inc. (BPI) (Name of Individuals Requesting Reference Information) Name: C.J. Roberts (Evaluator completing reference questionnaire) Company:Tampa Bay History Center (Evaluator’s Company completing reference) Email: roberts@tampabayhistorycenter.org FAX: Telephone: 813-675-8989 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: _Coacoochee’s Story & Pirate’s Fate Completion Date: _CS – 2011; Pirates – November 2017__ Project Budget: _CS - $1 million, Pirates – $500,000__ Project Number of Days: _ CS - 1 yr; Pirates –160 days__ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 09 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 09 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 98 Reference Questionnaire Solicitation: 18-7383 Reference Questionnaire for: Museum Exhibit Design Fabrication and Installation (Name of Company Requesting Reference Information) Boston Productions Inc. (BPI) (Name of Individuals Requesting Reference Information) Name: Cathryn Ferree (Evaluator completing reference questionnaire) Company: Indiana State Museum and Historic Sites (Evaluator’s Company completing reference) Email: cferree@indianamuseum.org FAX: Telephone: 317-234-2772 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Conner Prairie Living History Park__ Completion Date: _Initial project 2011, Upgrades 2016__ Project Budget: _____$1,789,100____________ Project Number of Days: 365 for initial project Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 9 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 99 Reference Questionnaire Solicitation: 18-7383 Reference Questionnaire for: Museum Exhibit Design Fabrication and Installation (Name of Company Requesting Reference Information) Boston Productions Inc. (BPI) (Name of Individuals Requesting Reference Information) Name: Stanton Hundson (Evaluator completing reference questionnaire) Company: Theodore Roosevelt Inaugural Houe (Evaluator’s Company completing reference) Email: shudson@trsite.org FAX: Telephone: (716) 884-0095 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Theodore Roosevelt Site Exhibits Completion Date: __2009; new project underway_ Project Budget: ____$622,760, current exhibit $35,000__ Project Number of Days: ___365 first project; _______ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10+ 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 100 RELEVANT PROJECT INFORMATION SAMPLES OF WORK We have prepared a Vimeo site for you to review some relevant samples. It can be accessed here: https://vimeopro.com/imaginewhatwedo/collier Password: Florida (case sensitive) BPI DEMO REEL “Civil War Journey” Conner Prairie Interactive History Park Fishers, IN Conner Prairie takes an innovative approach to conveying history to a multi-generational audience with their new critically acclaimed “Civil War Jour- ney.” The experience creatively combines historical narrative and vivid story- telling with cutting-edge audiovisual and theatrical technologies. BPI worked in concert with Conner Prairie and a series of other consultants to design, devel- op and produce this one-of-a-kind experiential exhibit. The exhibition utilizes 4D special effects, such as a tree falling and a cannon bursting through the wall to reveal the Park outside. “Pirate’s Fate” Tampa Bay History Center The pirate ship theater “Pirate’s Fate” encompasses a blending of various sections of a pirate ship, like the main deck and the Captain’s quarters, as well as video projection screens on the main sail, on layered scrims, and through illusion techniques of reflected images. During the show, an interactive map table invites the audience to set a course. In addition to developing the theater experience and orchestrating a multi-layered and interactive media production, BPI specified and integrated all AV hardware and show-control systems for this immersive theater presentation. “Coacoochee’s Story” Tampa Bay History Center “Coacoochee’s Story” brings its audience into Florida’s dense wetlands during the Second Seminole War. This immersive theater tells the tale of a Seminole Chief who escaped from prison and a death sentence to lead his people to victory. BPI combined vivid scripting, historic battle re-enactments, an original musical score, complex lighting design, and computerized effects to create a unique and engaging audience experience. The set incorporates rich imagery on layered scrims, video and projection screens nestled in the scenery, large motorized turntables, and trees dripping with Spanish moss. In addition to de- veloping the theater experience and orchestrating a multi-layered media pro- duction, BPI specified and integrated all AV hardware and show-control systems for this theater presentation. Hanford Reach Interpretive Center Richland, WA Exhibits at this center range from the geologic story of the Columbia River basin and an interactive fossil dig that allows visitors to discover remains and assem- ble them into skeletons to the history of the Hanford Engineer Works and its role in national security during World War II and the subsequent Cold War. BPI created several computer interactives including The Living Land exhibit expe- rience that captures the flora and fauna of the National Monument, which is managed by the U.S. Fish and Wildlife Service. Weeks of on-site field production resulted in a collection of “moments” that play across eleven monitors. To learn more about the flora and fauna in all seasons, explore the four interactives with detailed content, photographs and original video production. Other multimedia programs allow visitors to design and print a conservation patch, and explore an interactive timeline showing how a local grassroots effort helped preserve the area for the American public. “Interactive Demo” This piece is a review of several of the interactive multimedia exhibits BPI has developed in recent years. It shows our ability to create both single user and multi-user AV Interactives. BPI provided all creative direction, programming, and development, plus we provided hardware specification, ordering, and integra- tion services. Each interactive was prototyped and tested in our facility prior to installation. Washakie Museum and Cultural Center Worland, WY Exhibits in this center highlight subjects from the geology and paleontology of the Big Horn Basin to the stories of settlers, cowboys and ranchers. One inter- active allows visitors to design their own cattle brand that they can email home. Another exhibit invites vistors to step into a small bunkhouse where they take instruction from the ranch foreman for their own day as a ranch hand. BPI pro- duced all films and interactives and provided hardware specification, integration and continuing service and maintenance. 34 imagine. what we do. Boston Productions, Inc., 290 Vanderbilt Avenue, Suite One, Norwood, Massachusetts 02062 307-329-8942 / bostonproductions.com EXHIBITCONCEPTS.COM | 83 83(;+,%,7'(6,*1)$%5,&$7,21 ,167$//$7,21 &2//,(5&2817<086(806 REQUIREDFORMS Form 1: Vendor’s Non-Response Statement The sole intent of the Collier County Procurement Services Division is to issue solicitations that are clear, concise and openly competitive. Therefore, we are interested in ascertaining reasons for prospective Vendors not wishing to respond to this solicitation. If your firm is not responding to this solicitation, please indicate the reason(s) by checking the item(s) listed below and return this form via email noted on the cover page, or mail to Collier County Government, Procurement Services Division, 3295 Tamiami Trail East, BLDG C-2, Naples, FL 34112. We are not responding to the solicitation for the following reason(s): Services requested not available through our company. Our firm could not meet specifications/scope of work. Specifications/scope of work not clearly understood or applicable (too vague, rigid, etc.) Project is too small. Insufficient time allowed for preparation of response. Incorrect address used. Please correct mailing address: Other reason(s): Name of Firm: ________________________________________________________ Address: ________________________________________________________ City, State, Zip: ________________________________________________________ Telephone: ________________________________________________________ Email: ________________________________________________________ Representative Signature: ________________________________________________________ Representative Name: _____________________________________ Date _____________ Not Applicable 78-8014812629-2 Additional Contact Information Send payments to: (required if different from above) Company name used as payee Contact name: Title: Address: City, State, ZIP Telephone: Email: Office servicing Collier County to place orders (required if different from above) Contact name: Title: Address: City, State, ZIP Telephone: Email: Exhibit Concepts, Inc. Bea Timmermans Accounting Director btimmermans@exhibitconcepts.com 700 Crossroads Ct. Vandalia, Ohio 45377 937-890-7000 ext 2269 INSURANCE AND BONDING REQUIREMENTS Insurance / Bond Type Required Limits 1.Worker’s Compensation Statutory Limits of Florida Statutes, Chapter 440 and all Federal Government Statutory Limits and Requirements Evidence of Workers’ Compensation coverage or a Certificate of Exemption issued by the State of Florida is required. Entities that are formed as Sole Proprietorships shall not be required to provide a proof of exemption. An application for exemption can be obtained online at https://apps.fldfs.com/bocexempt/ For the Purposes of this response. We request to provide Ohio Workers’ Compensation coverage in lieu of Florida at the same required levels. Exhibit Concepts produces and installs exhibits in all 50 states. Since our time on site during exhibit installations is usually limited we require our employees to sign and agree to file any workers’ Comp claims in the state of Ohio. We request the ability to provide Ohio WC coverage at the same level with the agreement that any accident by our employees will be filed through the state of Ohio. 2.Employer’s Liability $__1,000,000_ single limit per occurrence 3.Commercial General Liability (Occurrence Form) patterned after the current ISO form Bodily Injury and Property Damage $__1,000,000__single limit per occurrence, $2,000,000 aggregate for Bodily Injury Liability and Property Damage Liability. This shall include Premises and Operations; Independent Contractors; Products and Completed Operations and Contractual Liability. 4.Indemnification To the maximum extent permitted by Florida law, the Contractor/Vendor shall defend, indemnify and hold harmless Collier County, its officers and employees from any and all liabilities, damages, losses and costs, including, but not limited to, reasonable attorneys’ fees and paralegals’ fees, to the extent caused by the negligence, recklessness, or intentionally wrongful conduct of the Contractor/ Vendor or anyone employed or utilized by the Contractor/Vendor in the performance of this Agreement. 5.Automobile Liability $_1,000,000___ Each Occurrence; Bodily Injury & Property Damage, Owned/Non-owned/Hired; Automobile Included 6.Other insurance as noted: Watercraft $ __________ Per Occurrence United States Longshoreman's and Harborworker's Act coverage shall be maintained where applicable to the completion of the work. $ __________ Per Occurrence Maritime Coverage (Jones Act) shall be maintained where applicable to the completion of the work. $ __________ Per Occurrence Aircraft Liability coverage shall be carried in limits of not less than $5,000,000 each occurrence if applicable to the completion of the Services under this Agreement. $ __________ Per Occurrence Pollution $ __________ Per Occurrence Professional Liability $ ___________ Per claim & in the aggregate Project Professional Liability $__________ Per Occurrence Valuable Papers Insurance $__________ Per Occurrence Company ID Number: 205054 Page 1 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS THE E-VERIFY PROGRAM FOR EMPLOYMENT VERIFICATION MEMORANDUM OF UNDERSTANDING AR TICLE I PURPOSE AND AUTHORITY This Memorandum of Understanding (MOU) sets forth the points of agreement between the Department of Homeland Security (DHS) and Exhibit Concepts, Inc. (Employer) regarding the Employer's participation in the Employment Eligibility Verification Program (E-Verify). This MOU explains certain features of the E-Verify program and enumerates specific responsibilities of DHS, the Social Security Administration (SSA), and the Employer. E-Verify is a program that electronically confirms an employee’s eligibility to work in the United States after completion of the Employment Eligibility Verification Form (Form I-9). For covered government contractors, E- Verify is used to verify the employment eligibility of all newly hired employees and all existing employees assigned to Federal contracts. Authority for the E-Verify program is found in Title IV, Subtitle A, of the Illegal Immigration Reform and Immigrant Responsibility Act of 1996 (IIRIRA), Pub. L. 104-208, 110 Stat. 3009, as amended (8 U.S.C. § 1324a note). Authority for use of the E-Verify program by Federal contractors and subcontractors covered by the terms of Subpart 22.18, “Employment Eligibility Verification”, of the Federal Acquisition Regulation (FAR) (hereinafter referred to in this MOU as a “Federal contractor”) to verify the employment eligibility of certain employees working on Federal contracts is also found in Subpart 22.18 and in Executive Order 12989, as amended. ARTICLE II FUNCTIONS TO BE PERFORMED A.RESPONSIBILITIES OF SSA 1.SSA agrees to provide the Employer with available information that allows the Employer to confirm the accuracy of Social Security Numbers provided by all employees verified under this MOU and the employment authorization of U.S. citizens. 2.SSA agrees to provide to the Employer appropriate assistance with operational problems that may arise during the Employer's participation in the E-Verify program. SSA agrees to provide the Employer with names, titles, addresses, and telephone numbers of SSA representatives to be contacted during the E-Verify process. 3.SSA agrees to safeguard the information provided by the Employer through the E-Verify program procedures, and to limit access to such information, as is appropriate by law, to individuals responsible for the verification of Social Security Numbers and for evaluation of the E-Verify program or such other persons or entities who may be authorized by SSA as governed by the Privacy Act (5 U.S.C. § 552a), the Social Security Act (42 U.S.C. 1306(a)), and SSA regulations (20 CFR Part 401). Company ID Number: 205054 Page 2 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS 4.SSA agrees to provide a means of automated verification that is designed (in conjunction with DHS's automated system if necessary) to provide confirmation or tentative nonconfirmation of U.S. citizens’ employment eligibility within 3 Federal Government work days of the initial inquiry. 5.SSA agrees to provide a means of secondary verification (including updating SSA records as may be necessary) for employees who contest SSA tentative nonconfirmations that is designed to provide final confirmation or nonconfirmation of U.S. citizens’ employment eligibility and accuracy of SSA records for both citizens and aliens within 10 Federal Government work days of the date of referral to SSA, unless SSA determines that more than 10 days may be necessary. In such cases, SSA will provide additional verification instructions. B.RESPONSIBILITIES OF DHS 1.After SSA verifies the accuracy of SSA records for aliens through E-Verify, DHS agrees to provide the Employer access to selected data from DHS's database to enable the Employer to conduct, to the extent authorized by this MOU: Automated verification checks on alien employees by electronic means, and Photo verification checks (when available) on employees. 2.DHS agrees to provide to the Employer appropriate assistance with operational problems that may arise during the Employer's participation in the E-Verify program. DHS agrees to provide the Employer names, titles, addresses, and telephone numbers of DHS representatives to be contacted during the E-Verify process. 3.DHS agrees to provide to the Employer a manual (the E-Verify User Manual) containing instructions on E-Verify policies, procedures and requirements for both SSA and DHS, including restrictions on the use of E-Verify. DHS agrees to provide training materials on E-Verify. 4.DHS agrees to provide to the Employer a notice, which indicates the Employer's participation in the E-Verify program. DHS also agrees to provide to the Employer anti- discrimination notices issued by the Office of Special Counsel for Immigration-Related Unfair Employment Practices (OSC), Civil Rights Division, U.S. Department of Justice. 5.DHS agrees to issue the Employer a user identification number and password that permits the Employer to verify information provided by alien employees with DHS's database. 6.DHS agrees to safeguard the information provided to DHS by the Employer, and to limit access to such information to individuals responsible for the verification of alien employment eligibility and for evaluation of the E-Verify program, or to such other persons or entities as may be authorized by applicable law. Information will be used only to verify the accuracy of Social Security Numbers and employment eligibility, to enforce the Immigration and Nationality Act (INA) and Federal criminal laws, and to administer Federal contracting requirements. 7.DHS agrees to provide a means of automated verification that is designed (in conjunction with SSA verification procedures) to provide confirmation or tentative Company ID Number: 205054 Page 3 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS nonconfirmation of employees' employment eligibility within 3 Federal Government work days of the initial inquiry. 8.DHS agrees to provide a means of secondary verification (including updating DHS records as may be necessary) for employees who contest DHS tentative nonconfirmations and photo non-match tentative nonconfirmations that is designed to provide final confirmation or nonconfirmation of the employees' employment eligibility within 10 Federal Government work days of the date of referral to DHS, unless DHS determines that more than 10 days may be necessary. In such cases, DHS will provide additional verification instructions. C.RESPONSIBILITIES OF THE EMPLOYER 1.The Employer agrees to display the notices supplied by DHS in a prominent place that is clearly visible to prospective employees and all employees who are to be verified through the system. 2.The Employer agrees to provide to the SSA and DHS the names, titles, addresses, and telephone numbers of the Employer representatives to be contacted regarding E-Verify. 3.The Employer agrees to become familiar with and comply with the most recent version of the E-Verify User Manual. 4.The Employer agrees that any Employer Representative who will perform employment verification queries will complete the E-Verify Tutorial before that individual initiates any queries. A.The Employer agrees that all Employer representatives will take the refresher tutorials initiated by the E-Verify program as a condition of continued use of E- Verify, including any tutorials for Federal contractors if the Employer is a Federal contractor. B.Failure to complete a refresher tutorial will prevent the Employer from continued use of the program. 5.The Employer agrees to comply with current Form I-9 procedures, with two exceptions: If an employee presents a "List B" identity document, the Employer agrees to only accept "List B" documents that contain a photo. (List B documents identified in 8 C.F.R. § 274a.2(b)(1)(B)) can be presented during the Form I-9 process to establish identity.) If an employee objects to the photo requirement for religious reasons, the Employer should contact E-Verify at 888-464-4218. If an employee presents a DHS Form I-551 (Permanent Resident Card) or Form I-766 (Employment Authorization Document) to complete the Form I-9, the Employer agrees to make a photocopy of the document and to retain the photocopy with the employee’s Form I-9. The employer will use the photocopy to verify the photo and to assist DHS with its review of photo non-matches that are contested by employees. Note that employees retain the right to present any List A, or List B and List C, documentation to complete the Form I-9. DHS may in the future designate other documents that activate the photo screening tool. Company ID Number: 205054 Page 4 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS 6.The Employer understands that participation in E-Verify does not exempt the Employer from the responsibility to complete, retain, and make available for inspection Forms I-9 that relate to its employees, or from other requirements of applicable regulations or laws,including the obligation to comply with the antidiscrimination requirements of section 274B of the INA with respect to Form I-9 procedures, except for the following modified requirements applicable by reason of the Employer's participation in E-Verify: (1) identity documents must have photos, as described in paragraph 5 above; (2) a rebuttable presumption is established that the Employer has not violated section 274A(a)(1)(A) of the Immigration and Nationality Act (INA) with respect to the hiring of any individual if it obtains confirmation of the identity and employment eligibility of the individual in compliance with the terms and conditions of E-Verify; (3) the Employer must notify DHS if it continues to employ any employee after receiving a final nonconfirmation, and is subject to a civil money penalty between $550 and $1,100 for each failure to notify DHS of continued employment following a final nonconfirmation; (4) the Employer is subject to a rebuttable presumption that it has knowingly employed an unauthorized alien in violation of section 274A(a)(1)(A) if the Employer continues to employ an employee after receiving a final nonconfirmation; and (5) no person or entity participating in E-Verify is civilly or criminally liable under any law for any action taken in good faith based on information provided through the confirmation system. DHS reserves the right to conduct Form I-9 compliance inspections during the course of E-Verify, as well as to conduct any other enforcement activity authorized by law. 7.The Employer agrees to initiate E-Verify verification procedures for new employees within 3 Employer business days after each employee has been hired (but after both sections 1 and 2 of the Form I-9 have been completed), and to complete as many (but only as many) steps of the E-Verify process as are necessary according to the E-Verify User Manual. The Employer is prohibited from initiating verification procedures before the employee has been hired and the Form I-9 completed. If the automated system to be queried is temporarily unavailable, the 3-day time period is extended until it is again operational in order to accommodate the Employer's attempting, in good faith, to make inquiries during the period of unavailability. In all cases, the Employer must use the SSA verification procedures first, and use DHS verification procedures and photo screening tool only after the SSA verification response has been given. Employers may initiate verification by notating the Form I-9 in circumstances where the employee has applied for a Social Security Number (SSN) from the SSA and is waiting to receive the SSN, provided that the Employer performs an E-Verify employment verification query using the employee’s SSN as soon as the SSN becomes available. 8.The Employer agrees not to use E-Verify procedures for pre-employment screening of job applicants, in support of any unlawful employment practice, or for any other use not authorized by this MOU. Employers must use E-Verify for all new employees, unless an Employer is a Federal contractor that qualifies for the exceptions described in Article II.D.1.c. Except as provided in Article II.D, the Employer will not verify selectively and will not verify employees hired before the effective date of this MOU. The Employer understands that if the Employer uses E-Verify procedures for any purpose other than as authorized by this MOU, the Employer may be subject to appropriate legal action and termination of its access to SSA and DHS information pursuant to this MOU. 9.The Employer agrees to follow appropriate procedures (see Article III. below) regarding tentative nonconfirmations, including notifying employees of the finding, providing written referral instructions to employees, allowing employees to contest the finding, and not taking Company ID Number: 205054 Page 5 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS adverse action against employees if they choose to contest the finding. Further, when employees contest a tentative nonconfirmation based upon a photo non-match, the Employer is required to take affirmative steps (see Article III.B. below) to contact DHS with information necessary to resolve the challenge. 10.The Employer agrees not to take any adverse action against an employee based upon the employee's perceived employment eligibility status while SSA or DHS is processing the verification request unless the Employer obtains knowledge (as defined in 8 C.F.R. § 274a.1(l)) that the employee is not work authorized. The Employer understands that an initial inability of the SSA or DHS automated verification system to verify work authorization, a tentative nonconfirmation, a case in continuance (indicating the need for additional time for the government to resolve a case), or the finding of a photo non-match, does not establish, and should not be interpreted as evidence, that the employee is not work authorized. In any of the cases listed above, the employee must be provided a full and fair opportunity to contest the finding, and if he or she does so, the employee may not be terminated or suffer any adverse employment consequences based upon the employee’s perceived employment eligibility status (including denying, reducing, or extending work hours, delaying or preventing training, requiring an employee to work in poorer conditions, refusing to assign the employee to a Federal contract or other assignment, or otherwise subjecting an employee to any assumption that he or she is unauthorized to work)until and unless secondary verification by SSA or DHS has been completed and a final nonconfirmation has been issued. If the employee does not choose to contest a tentative nonconfirmation or a photo non-match or if a secondary verification is completed and a final nonconfirmation is issued, then the Employer can find the employee is not work authorized and terminate the employee’s employment. Employers or employees with questions about a final nonconfirmation may call E-Verify at 1-888-464-4218 or OSC at 1-800- 255-8155 or 1-800-237-2515 (TDD). 11.The Employer agrees to comply with Title VII of the Civil Rights Act of 1964 and section 274B of the INA by not discriminating unlawfully against any individual in hiring, firing, or recruitment or referral practices because of his or her national origin or, in the case of a protected individual as defined in section 274B(a)(3) of the INA, because of his or her citizenship status. The Employer understands that such illegal practices can include selective verification or use of E-Verify except as provided in part D below, or discharging or refusing to hire employees because they appear or sound “foreign” or have received tentative nonconfirmations. The Employer further understands that any violation of the unfair immigration-related employment practices provisions in section 274B of the INA could subject the Employer to civil penalties, back pay awards, and other sanctions, and violations of Title VII could subject the Employer to back pay awards, compensatory and punitive damages. Violations of either section 274B of the INA or Title VII may also lead to the termination of its participation in E-Verify. If the Employer has any questions relating to the anti-discrimination provision, it should contact OSC at 1-800-255-8155 or 1-800-237-2515 (TDD). 12.The Employer agrees to record the case verification number on the employee's Form I-9 or to print the screen containing the case verification number and attach it to the employee's Form I-9. 13.The Employer agrees that it will use the information it receives from SSA or DHS pursuant to E-Verify and this MOU only to confirm the employment eligibility of employees as Company ID Number: 205054 Page 6 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS authorized by this MOU. The Employer agrees that it will safeguard this information, and means of access to it (such as PINS and passwords) to ensure that it is not used for any other purpose and as necessary to protect its confidentiality, including ensuring that it is not disseminated to any person other than employees of the Employer who are authorized to perform the Employer's responsibilities under this MOU, except for such dissemination as may be authorized in advance by SSA or DHS for legitimate purposes. 14.The Employer acknowledges that the information which it receives from SSA is governed by the Privacy Act (5 U.S.C. § 552a(i)(1) and (3)) and the Social Security Act (42 U.S.C. 1306(a)), and that any person who obtains this information under false pretenses or uses it for any purpose other than as provided for in this MOU may be subject to criminal penalties. 15.The Employer agrees to cooperate with DHS and SSA in their compliance monitoring and evaluation of E-Verify, including by permitting DHS and SSA, upon reasonable notice, to review Forms I-9 and other employment records and to interview it and its employees regarding the Employer’s use of E-Verify, and to respond in a timely and accurate manner to DHS requests for information relating to their participation in E-Verify. D.RESPONSIBILITIES OF FEDERAL CONTRACTORS 1.The Employer understands that if it is a Federal contractor subject to the employment verification terms in Subpart 22.18 of the FAR it must verify the employment eligibility of any “employee assigned to the contract” (as defined in FAR 22.1801) in addition to verifying the employment eligibility of all other employees required to be verified under the FAR. Once an employee has been verified through E-Verify by the Employer, the Employer may not reverify the employee through E-Verify. a.Federal contractors not enrolled at the time of contract award: An Employer that is not enrolled in E-Verify as a Federal contractor at the time of a contract award must enroll as a Federal contractor in the E-Verify program within 30 calendar days of contract award and, within 90 days of enrollment, begin to use E-Verify to initiate verification of employment eligibility of new hires of the Employer who are working in the United States, whether or not assigned to the contract. Once the Employer begins verifying new hires, such verification of new hires must be initiated within 3 business days after the date of hire. Once enrolled in E-Verify as a Federal contractor, the Employer must initiate verification of employees assigned to the contract within 90 calendar days after the date of enrollment or within 30 days of an employee’s assignment to the contract, whichever date is later. b.Federal contractors already enrolled at the time of a contract award: Employers enrolled in E-Verify as a Federal contractor for 90 days or more at the time of a contract award must use E-Verify to initiate verification of employment eligibility for new hires of the Employer who are working in the United States, whether or not assigned to the contract, within 3 business days after the date of hire. If the Employer is enrolled in E-Verify as a Federal contractor for 90 calendar days or less at the time of contract award, the Employer must, within 90 days of enrollment, begin to use E-Verify to initiate verification of new hires of the contractor who are working in the United States, whether or not assigned to the contract. Such verification of new hires must be initiated within 3 business days after the date of hire. An Employer enrolled as a Federal contractor in E-Verify must initiate verification of each employee assigned to the Company ID Number: 205054 Page 7 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS contract within 90 calendar days after date of contract award or within 30 days after assignment to the contract, whichever is later. c.Institutions of higher education, State, local and tribal governments and sureties: Federal contractors that are institutions of higher education (as defined at 20 U.S.C. 1001(a)), State or local governments, governments of Federally recognized Indian tribes, or sureties performing under a takeover agreement entered into with a Federal agency pursuant to a performance bond may choose to only verify new and existing employees assigned to the Federal contract. Such Federal contractors may, however, elect to verify all new hires, and/or all existing employees hired after November 6, 1986. The provisions of Article II.D, paragraphs 1.a and 1.b of this MOU providing timeframes for initiating employment verification of employees assigned to a contract apply to such institutions of higher education, State, local and tribal governments, and sureties. d.Verification of all employees: Upon enrollment, Employers who are Federal contractors may elect to verify employment eligibility of all existing employees working in the United States who were hired after November 6, 1986, instead of verifying only those employees assigned to a covered Federal contract. After enrollment, Employers must elect to do so only in the manner designated by DHS and initiate E-Verify verification of all existing employees within 180 days after the election. e.Form I-9 procedures for Federal contractors: The Employer may use a previously completed Form I-9 as the basis for initiating E-Verify verification of an employee assigned to a contract as long as that Form I-9 is complete (including the SSN), complies with Article II.C.5, the employee’s work authorization has not expired, and the Employer has reviewed the information reflected in the Form I-9 either in person or in communications with the employee to ensure that the employee’s stated basis in section 1 of the Form I-9 for work authorization has not changed (including, but not limited to, a lawful permanent resident alien having become a naturalized U.S. citizen). If the Employer is unable to determine that the Form I-9 complies with Article II.C.5, if the employee’s basis for work authorization as attested in section 1 has expired or changed, or if the Form I-9 contains no SSN or is otherwise incomplete, the Employer shall complete a new I-9 consistent with Article II.C.5, or update the previous I-9 to provide the necessary information. If section 1 of the Form I-9 is otherwise valid and up-to- date and the form otherwise complies with Article II.C.5, but reflects documentation (such as a U.S. passport or Form I-551) that expired subsequent to completion of the Form I-9, the Employer shall not require the production of additional documentation, or use the photo screening tool described in Article II.C.5, subject to any additional or superseding instructions that may be provided on this subject in the E-Verify User Manual. Nothing in this section shall be construed to require a second verification using E-Verify of any assigned employee who has previously been verified as a newly hired employee under this MOU, or to authorize verification of any existing employee by any Employer that is not a Federal contractor. 2.The Employer understands that if it is a Federal contractor, its compliance with this MOU is a performance requirement under the terms of the Federal contract or subcontract, and the Employer consents to the release of information relating to compliance with its verification responsibilities under this MOU to contracting officers or other officials authorized to review the Employer’s compliance with Federal contracting requirements. Company ID Number: 205054 Page 8 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS AR TICLE III REFERRAL OF INDIVIDUALS TO SSA AND DHS A.REFERRAL TO SSA 1.If the Employer receives a tentative nonconfirmation issued by SSA, the Employer must print the tentative nonconfirmation notice as directed by the automated system and provide it to the employee so that the employee may determine whether he or she will contest the tentative nonconfirmation. 2.The Employer will refer employees to SSA field offices only as directed by the automated system based on a tentative nonconfirmation, and only after the Employer records the case verification number, reviews the input to detect any transaction errors, and determines that the employee contests the tentative nonconfirmation. The Employer will transmit the Social Security Number to SSA for verification again if this review indicates a need to do so. The Employer will determine whether the employee contests the tentative nonconfirmation as soon as possible after the Employer receives it. 3.If the employee contests an SSA tentative nonconfirmation, the Employer will provide the employee with a system-generated referral letter and instruct the employee to visit an SSA office within 8 Federal Government work days. SSA will electronically transmit the result of the referral to the Employer within 10 Federal Government work days of the referral unless it determines that more than 10 days is necessary. The Employer agrees to check the E-Verify system regularly for case updates. 4.The Employer agrees not to ask the employee to obtain a printout from the Social Security Number database (the Numident) or other written verification of the Social Security Number from the SSA. B. REFERRAL TO DHS 1.If the Employer receives a tentative nonconfirmation issued by DHS, the Employer must print the tentative nonconfirmation notice as directed by the automated system and provide it to the employee so that the employee may determine whether he or she will contest the tentative nonconfirmation. 2.If the Employer finds a photo non-match for an employee who provides a document for which the automated system has transmitted a photo, the employer must print the photo non- match tentative nonconfirmation notice as directed by the automated system and provide it to the employee so that the employee may determine whether he or she will contest the finding. 3.The Employer agrees to refer individuals to DHS only when the employee chooses to contest a tentative nonconfirmation received from DHS automated verification process or when the Employer issues a tentative nonconfirmation based upon a photo non-match. The Employer will determine whether the employee contests the tentative nonconfirmation as soon as possible Company ID Number: 205054 Page 9 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS after the Employer receives it. 4.If the employee contests a tentative nonconfirmation issued by DHS, the Employer will provide the employee with a referral letter and instruct the employee to contact DHS through its toll-free hotline (as found on the referral letter) within 8 Federal Government work days. 5.If the employee contests a tentative nonconfirmation based upon a photo non-match, the Employer will provide the employee with a referral letter to DHS. DHS will electronically transmit the result of the referral to the Employer within 10 Federal Government work days of the referral unless it determines that more than 10 days is necessary. The Employer agrees to check the E- Verify system regularly for case updates. 6.The Employer agrees that if an employee contests a tentative nonconfirmation based upon a photo non-match, the Employer will send a copy of the employee’s Form I-551 or Form I-766 to DHS for review by: Scanning and uploading the document,or Sending a photocopy of the document by an express mail account (furnished and paid for by DHS). 7. The Employer understands that if it cannot determine whether there is a photo match/non-match, the Employer is required to forward the employee’s documentation to DHS by scanning and uploading, or by sending the document as described in the preceding paragraph, and resolving the case as specified by the Immigration Services Verifier at DHS who will determine the photo match or non-match. ARTICLE IV SERVICE PROVISIONS SSA and DHS will not charge the Employer for verification services performed under this MOU. The Employer is responsible for providing equipment needed to make inquiries. To access the E-Verify System, an Employer will need a personal computer with Internet access. AR TICLE V PARTIES A.This MOU is effective upon the signature of all parties, and shall continue in effect for as long as the SSA and DHS conduct the E-Verify program unless modified in writing by the mutual consent of all parties, or terminated by any party upon 30 days prior written notice to the others. Any and all system enhancements to the E-Verify program by DHS or SSA, including but not limited to the E-Verify checking against additional data sources and instituting new verification procedures, will be covered under this MOU and will not cause the need for a supplemental MOU that outlines these changes. DHS agrees to train employers on all changes made to E- Verify through the use of mandatory refresher tutorials and updates to the E-Verify User Manual. Even without changes to E-Verify, DHS reserves the right to require employers to take Company ID Number: 205054 Page 10 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS mandatory refresher tutorials. An Employer that is a Federal contractor may terminate this MOU when the Federal contract that requires its participation in E-Verify is terminated or completed. In such a circumstance, the Federal contractor must provide written notice to DHS. If an Employer that is a Federal contractor fails to provide such notice, that Employer will remain a participant in the E-Verify program, will remain bound by the terms of this MOU that apply to non-Federal contractor participants, and will be required to use the E-Verify procedures to verify the employment eligibility of all newly hired employees. B.Notwithstanding Article V, part A of this MOU, DHS may terminate this MOU if deemed necessary because of the requirements of law or policy, or upon a determination by SSA or DHS that there has been a breach of system integrity or security by the Employer, or a failure on the part of the Employer to comply with established procedures or legal requirements. The Employer understands that if it is a Federal contractor, termination of this MOU by any party for any reason may negatively affect its performance of its contractual responsibilities. C.Some or all SSA and DHS responsibilities under this MOU may be performed by contractor(s), and SSA and DHS may adjust verification responsibilities between each other as they may determine necessary. By separate agreement with DHS, SSA has agreed to perform its responsibilities as described in this MOU. D.Nothing in this MOU is intended, or should be construed, to create any right or benefit, substantive or procedural, enforceable at law by any third party against the United States, its agencies, officers, or employees, or against the Employer, its agents, officers, or employees. E.Each party shall be solely responsible for defending any claim or action against it arising out of or related to E-Verify or this MOU, whether civil or criminal, and for any liability wherefrom, including (but not limited to) any dispute between the Employer and any other person or entity regarding the applicability of Section 403(d) of IIRIRA to any action taken or allegedly taken by the Employer. F.The Employer understands that the fact of its participation in E-Verify is not confidential information and may be disclosed as authorized or required by law and DHS or SSA policy, including but not limited to, Congressional oversight, E-Verify publicity and media inquiries, determinations of compliance with Federal contractual requirements, and responses to inquiries under the Freedom of Information Act (FOIA). G.The foregoing constitutes the full agreement on this subject between DHS and the Employer. H.The individuals whose signatures appear below represent that they are authorized to enter into this MOU on behalf of the Employer and DHS respectively. Company ID Number: 205054 Page 11 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS To be accepted as a participant in E-Verify, you should only sign the Employer’s Section of the signature page. If you have any questions, contact E-Verify at 888-464-4218. Employer Exhibit Concepts, Inc. Victoria L Weimer Name (Please Type or Print) Electronically Signed Title 04/09/2009 Signature Date Department of Homeland Security – Verification Division USCIS Verification Division Name (Please Type or Print) Electronically Signed Title 04/09/2009 Signature Date Company ID Number: 205054 Page 12 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS Information Required for the E-Verify Program Information relating to your Company: Company Name:Exhibit Concepts, Inc. Company Facility Address:700 Crossroads Ct. Vandalia, OH 45377 Company Alternate Address: County or Parish:MONTGOMERY Employer Identification Number:310938752 North American Industry Classification Systems Code:321 Parent Company: Number of Employees:5 to 9 Number of Sites Verified for:2 Are you verifying for more than 1 site? If yes, please provide the number of sites verified for in each State: MISSOURI 1 site(s) Company ID Number: 205054 Page 13 of 13|E-Verify MOU for Employer|Revision Date 10/29/08 www.dhs.gov/E-Verify E-VERIFY IS A SERVICE OF DHS OHIO 1 site(s) Information relating to the Program Administrator(s) for your Company on policy questions or operational problems: Name:Victoria L Weimer Telephone Number: (937) 535 - 0214 Fax Number:(937) 535 - 0314 E-mail Address:vweimer@exhibitconcepts.com Name:Gerald T Spangler Telephone Number: (937) 535 - 0258 Fax Number:(937) 535 - 0358 E-mail Address:jspangler@exhibitconcepts.com EXHIBIT FABRICATION & INSTALLATION G.A. BALL FAMILY HOME COLLIER COUNTY MUSEUMS REQUEST FOR PROPOSAL THANK YOU Solicitation # 18-7383 Museum Exhibit Design, Fabrication & Installation Collier County Museums Proposal Response Prepared for Collier County Due: Friday, August 31, 2018 Proposal Response Prepared for the Collier County Museums Museum Exhibit Design Fabrication and Installation Solicitation #18-7383 TABLE OF CONTENTS No. Description Page Number 1. Cover Letter / Management Structure 2 2. Certified Minority Business Enterprise Certification - N/A 3 3. Business Plan 3 Explus Design-Build Approach 3 Main Street Design Approach for a Typical Project 4 *Approach Includes Duration for Completion of each Phase *Deliverable for Past Project – Example attached as a separate file for the Jekyll Island Museum 4. Projected Cost 11 - 12 5. Experience and Capacity 13 Explus Experience in Design-Build, Exhibit Fabrication and Installation Main Street Design Experience in Exhibition Design Company Overviews and Capabilities Explus Capacity to Complete the Work Explus Financial Strength Past Performance Project Examples: Explus: The Hershey Story: The Museum on Chocolate Avenue 16 Louisiana State University Rural Life Museum 19 Seneca Art and Culture Center, Ganondagan State Historic Park 24 Past Performance Examples: Main Street Design Jekyll Island Museum 27 Visitor center, Main house & Interpretive Gallery - Ulysses S. Grant Nat’l Historic Site 29 Florida: Mission Everglades - Zoo Miami 31 Explus References 33 (4) Completed Reference Questionnaire Forms 34 6. Proposed Team 39 Key Personnel Resumes 40 Letter of Intent from Subcontractor Main Street Design 55 7. Local Vendor Preference - N/A 56 8. Appendix – ALL REQUIRED FORMS 56 1. COVER LETTER / MANAGEMENT STRUCTURE August 31, 2018 Swainson Hall Procurement Manager – Acquisitions Procurement Services Division 3295 Tamiami Trail East, Bldg C-2 Naples, FL 34112 (239) 252-8935 swainson.hall@colliercountyfl.gov Re: RFP Museum Exhibit Design Fabrication and Installation Solicitation No.: 18-7383 Dear Swainson, On behalf of Explus and Main Street Design we would like to thank you for this opportunity to provide our proposal for the design, fabrication, and installation of exhibits for the Collier County Museums. Project Team – Roles and Responsibilities, Services to Provide We have selected Main Street Design located in Cambridge, Massachusetts for our design partner. Explus will act as the Prime Contractor providing Project Management, Estimating, Detailing, Graphic Production, Artifact Mounting, AV Coordination, and all Exhibit Fabrication & Installation services. Main Street Design will be a subcontractor to Explus and will provide all master planning, and exhibit design for each project. An assigned Explus Project Manager, John Reeves, will administer the design-build contract, manage the schedule of all design deliverables, and monitor the budget with support of our Manager of Estimating, David Nuckols. Explus Design-Build Philosophy Working with and collaborating among all team members, Explus will be able to seamlessly transition from the design phase to the final detailed design phase to providing budget checks throughout the entire process, to providing all final drawings needed for fabrication for each individual project. This approach will also save some time in the overall schedule with your desired completion dates, thus preventing the need for any additional time to issue another bid for the fabrication phase. Main Street Design | Design Philosophy Main Street Design believes in a highly inclusive, team-based approach to interpretive planning and design. We pride ourselves on creating experiences with our clients, not simply for them. We will work closely with Explus and the Collier County Museum team to help the County achieve its institutional goals and educational and operational objectives for the new interpretive experiences. Please find enclosed our team’s proposal with all required documentation in support of our qualifications. We wish you the best in your review of our proposal. We look forward to being the selected team, and to working with you to complete this exhibition project. Sincerely, Stephen Barnes Account Executive, Explus sbarnes@explusinc.com (703) 260-0780 ext. 154 2 2. CERTIFIED MINORITY BUSINESS ENTERPRISE CERTIFICATION Certified Minority Business Enterprise Certification is Not Applicable to this Project Team. 3. BUSINESS PLAN THE PROJECT TEAM Explus – Prime Contractor Project Management, Estimating, Detailing, Fabrication & Installation Main Street Design – Subcontractor Exhibit Planning and Design, Graphic Design, Final Digital Artwork All of the anticipated design services for this project will be provided by Explus’ subcontractor for the project, Main Street Design. All fabrication and installation services for the exhibit project will be handled in-house by Explus. EXPLUS APPROACH COMMUNICATIONS Management of all project communications is also an essential aspect of the PM’s responsibility. The multitude of communications within a project – emails, phone calls, meetings, and other forms of documentation such as drawings – require a significant level of effort to organize, track and archive. The PM makes sure that all required documentation is complete, on time, distributed to all necessary parties, and archived. Both hard copy file storage and server based digital file archives are employed. To supplement the PM in this effort, support is provided by the Explus Accounting/Administration Department as required. To deal with the multitude of questions and decisions that characterize the period of detailing and graphic pre-production, Explus has standardized an RFI process. The RFI, or Request For Information, is a format for the submission of questions that helps to consolidate and streamline what can often become a cumbersome aspect of project communication. Questions arising from either an Explus department or subcontractor are channeled through the PM, reviewed and consolidated, and submitted in a standardized format. This enables the PM to review the questions prior to submission, documents the submission and enables the progress of answers to be tracked. The Client or Designer is no longer subjected to a myriad of questions, often redundant or unnecessary, arising from multiple parties and submitted in a variety of formats. THE PROJECT MANAGER’S ROLE The Explus Project Manager serves as a single point of contact and control for the project. The role of the PM is to provide overarching management of all in-house resources and subcontractors working as a part of the Explus project team. The PM’s responsibility includes 3 three critical aspects of the project: Scope – fully understanding all project deliverables, whether exhibit elements or documentation, and making sure they are completed and delivered in a timely manner. Schedule – developing, publishing, distributing and maintaining the project schedule. Budget – control of material, labor and subcontract cost so that the established project budget is met and the Client receives quality and value as expected. BUDGET MANAGEMENT | COST ESTIMATE As a part of all Explus proposals, a complete and detailed cost estimate is prepared by one of our experienced estimators. The estimate document includes a complete breakdown of labor, material and subcontract cost for each individual item. As a supplement to whatever form of pricing is required with the proposal, a Scope Matrix is also prepared and submitted. This document is a complete list of each item as understood by Explus and a brief narrative description of what the item is. This enables the Client to clearly understand what Explus is proposing to deliver and allows for necessary discussion and adjustments to be handled in a timely manner before there is any contention or schedule impact. All items that require additional development at the time of proposal are clearly identified as “allowances” and are closely monitored as the project moves forward and scope is clarified. Final cost estimates for these items are shared with both Client and Designer so any cost savings or overrun can be clearly understood and discussed. MAIN STREET DESIGN: DESIGN APPROACH PHILOSOPHY AND APPROACH Main Street Design believes in a highly inclusive, team-based approach to interpretive planning and design. We pride ourselves on creating experiences with our clients, not simply for them. We will work closely with Explus and the Collier County Museum team to help the County achieve its institutional goals and educational and operational objectives for the new interpretive experiences. Every project is different, but our core principles are quite straightforward: • We arrive early and stay late, especially during the formative stages of a project’s development. We will spend as much time as possible “on the ground” in Collier County, acquainting ourselves with the natural history and cultural heritage of the region and getting to know your communities on an informal basis. • We ask lots of questions and do a lot of listening. We will meet, interview, and learn from a wide range of project participants, especially those who have a personal investment in the outcome of the enterprise. • We encourage engagement at all levels of your organization. Board members and senior administrative personnel, if they have the time and interest, can play a vital role. Equally important, 4 line-level facilities and maintenance staff, docents and volunteers, and others who are too often ignored during a project’s planning and design phases can offer critical insights and “reality checks” if they are given real opportunities to participate. • We serve as the visitors’ advocate. We look at things from a guest’s perspective and try to learn as much as possible about who your target audiences really are, and what assumptions and expectations they might be bringing with them when they arrive. • We consider a variety of learning styles. We believe that in most instances multiple interpretive opportunities should be offered for a project’s key themes, and we seek to identify an appropriate level of redundancy, as well as effective and complementary techniques for delivering your messages. • We believe that enthusiasm is infectious, and that interpretive experiences must be approachable and entertaining. Lecturing guests is counter-productive. Instead, we look for ways to share our own excitement about the subject matter, encouraging inquiry and discovery. • We feel strongly that content drives design. We are committed to a philosophy of “appropriate technology” in the methods and media we propose, and we always strive to match interpretive strategies with project content and context. • We plan and design for long-term sustainability. Simplicity, durability, and operational flexibility are paramount concerns. We propose to pursue a workshop-based approach to fulfilling the specific tasks and deliverables outlined in the Collier County Museum exhibit design RFP. Workshops will incorporate stakeholder and project planning and design team work sessions; site-based design and ground-truthing exercises; executive-level progress reviews and evaluations; and public meetings. During each workshop Main Street Design will work together with Collier County Museum staff, consultants, and community stakeholders to develop and refine interpretive experience concepts and planning parameters for proposed improvements and enhancements. We believe that a workshop-based approach engages both consultants and clients most efficiently and effectively, and reliably provides exceptional results. Our collaboration will enable us not only to develop a shared conceptual vision for the Museums’ new interpretive experiences, but to revise and refine proposed planning and design directions together, yielding greater consensus about the outcomes as well as a more refined overall concept. For the Immokalee Pioneer Museum initiative, for example, for which we have developed a typical work plan and scope of services outlined below, in the period preceding the first scheduled workshop we would undertake detailed research and preparations to ensure that we are fully informed and up to speed on the history of the site and of agriculture in Collier County. Our due diligence will include telephone interviews with subject matter experts and local stakeholders; review and analysis of prior and ongoing planning efforts, reports, and other relevant documents; 5 and research into comparable projects. We will familiarize ourselves with the stories of the families whose engagement with the land comprise the core subject matter for the Museum’s exhibitions, and we will work with the client to identify key individuals and constituencies whose engagement in the planning and design process – as advisors, reviewers, consultants, or participants in community group meetings – may be vital to the project’s success. We will arrive at the first workshop truly ready to hit the ground running. We will work with Explus and Collier County Museum staff to review and evaluate available interpretive resources (facilities, structures, landscapes, exhibits, programs, and staff and volunteers); to conduct community meetings, meet with project stakeholders, and solicit input from advisors and consultants; and to lead and facilitate intensive hands-on brainstorming exercises. As the planning design process proceeds, we will build upon the work completed at each workshop, and on-board decisions made along the way, to create a clear consensus around cohesive overall design directions. Detailed workshop agendas will be established prior to each meeting, but we will strive to remain flexible in order to be able to respond to unanticipated issues and take advantage of unexpected opportunities. Our intent is to refine workshop objectives throughout the planning process to reflect our growing understanding of the Museum’s interpretive assets, and our evolving collective vision, with your team’s active involvement, for its future. Our workshop sessions will be devoted to hands-on development and testing of potential directions for interpretation and visitor experiences on the trail, and to analysis and refinement of effective operational structures that can support those experiences. We will work with you to identify critical issues and opportunities, evaluate strengths and weaknesses, and develop consensus. We will propose and explore new concepts, ideas, and strategies, and we will subject them to stringent critical review. Those that prove most promising will be carried forward for further consideration; the others will be discarded. And as our planning parameters evolve we will begin to define patterns of mutual complementarity among individual project components, leading to a fully integrated plan: not simply a compilation of discrete items but a cohesive and unified vision. Immediately following each workshop we will prepare “work in progress” summary documentation in the form of detailed meeting notes, planning diagrams, sketches and reference images, annotated documents and photographs, and links to other resources. These summaries will be circulated to the full project team for review, and upon approval will form the basis for our ongoing work leading up to the next workshop. Typical Project Scope and Work Plan: Immokalee Pioneer Museum Outlined below is a proposed scope of services, work plan, and duration based schedule for the planning and design of interpretive improvements and enhancements to the Immokalee Pioneer Museum, as described in the Request for Proposal, Solicitation No. 18-7383. This work plan assumes that the project will be undertaken and completed as a single continuous initiative, without interruptions or delays; however, we recognize that the County may authorize work and appropriate funds for the project in phases, so we have provided discrete anticipated durations for each proposed project phase. 6 Our work plan employs an accelerated fabrication strategy which compresses the project schedule, reduces design fees, and improves overall quality. MSD has successfully completed several projects utilizing this approach. In this model, MSD will work with Explus and Collier County Museum staff during the Design Development phase to identify and verify an appropriate Guaranteed Maximum Price for the proposed interpretive improvements. If the GMP is insufficient to achieve any aspects of the approved Schematic Design for the project, we will collaborate with Explus to develop strategies for value engineering, and we will establish protocols for reviewing and confirming these strategies with the County, so as to ensure that the project as fabricated and installed fully achieves their goals. Following the completion of the 100% Design Development package for the project MSD and Explus will begin work on the Production Documents package, with Explus focusing on the preparation of detailed shop drawings while the Main Street team provides ongoing design direction and shop drawing reviews and approvals, as well as continuing content and design development. In our experience, the advantages of the accelerated fabrication bid strategy often extend beyond budget and schedule. By bringing the fabricator on board earlier in the process, when they can still have real input and impact as project design directions are finalized and documented, we can identify cost-effective choices of materials or construction methodologies that will free up funds for other project priorities. Similarly, we are able to take advantage of Explus’s experience and insights into component durability and life-cycle maintenance costs at a time when the design is still sufficiently fungible to be adjusted accordingly. We may also have opportunities to develop selected project components, especially mechanical interactives, as full-size working prototypes that can be revised and refined in real time before they are completed and deployed to the site. In the process, the fabricator gains critical time and flexibility to stage the fabrication and installation sequence in the most efficient way possible. Pre-Design Interpretive Master Planning and Concept Development (1 – 2 months) The purpose of pre-design planning and concept development is to establish a basic conceptual framework for the project as a whole; to define content priorities and individual conceptual directions for each of its major exhibits or zones; to produce an initial interpretive exhibit program and inventory of possible exhibit components; and to develop an associated set of preliminary sketches and drawings. The core work effort required for this process involves active collaboration between Main Street Design and other members of the project team: Collier County Museum staff and advisors, consultants, and community stakeholders; and Explus. Our collaboration will occur in the form of face-to-face brainstorming workshops accompanied by follow-up documentation and development and exchange of ideas. The work completed during this phase enables us to determine the spirit, style and character of each proposed exhibit or zone. It should also yield consensus as to the primary interpretive methodologies to be used, potentially ranging from minimally interpreted environments to intensive, high-technology, media-rich interactive experiences. 7 Anticipated Deliverables: • Preliminary interpretive experience concept narrative • Preliminary interpretive content and experience program worksheets, • Exhibit location and circulation plans, and • Illustrative sketches and renderings • Revised project schedule and phasing plan • Concept-level design and implementation cost estimates • Draft and final Immokalee Pioneer Museum Improvements and Enhancements Concept Report Schematic Planning and Design (3 – 4 months) The Schematic Design phase focuses on further development of each of the core themes and concepts identified during the Pre-Design Interpretive Master Planning and Concept Development phase, with a particular emphasis on articulating and documenting specific feature exhibits and interpretive experiences. A key focus of our efforts during this phase will be on content development and coordination with the Museum’s ongoing community outreach activities and educational programming. During Schematic Design we will delineate specific content priorities, educational goals and objectives, and individual conceptual directions for each of the project’s exhibits or interpretive experiences. The collaborative process initiated during Concept Development will continue during this phase, with on-site planning and design workshops in Collier County and web-based on-board design review and refinement exercises serving as the framework for our efforts, accompanied by follow-up documentation, and advancement and revision of content and design directions by MSD during the intervals between meetings. Anticipated Deliverables: • Revised overall interpretive experience narrative • Interpretive content resource packages • Revised location, adjacency, and circulation plans • Interpretive component dimensional design directions • Analysis of potential architectural modifications and renovations • Analysis of lighting design requirements • Preliminary interpretive component graphic design directions • Preliminary colors and materials studies • Preliminary audiovisual and interactive multimedia program descriptions • Schematic Design-level interpretive component implementation cost estimate • Revised project design and implementation critical path schedule • Project phasing recommendations Design Development (4 – 6 months) During the Design Development phase we will develop, review and revise specific and comparatively detailed exhibit design drawings, descriptions and specifications for all project components. These will be prepared in plan and elevation form, with accompanying perspective or 8 axonometric digital models, and sections, details and notes as needed to clearly indicate the desired design direction of each proposed exhibit for the purposes of evaluating its effectiveness and desirability. Our workshop-based collaborative process will continue during this phase, with regular onsite planning and design workshops at the Museum and web-based meetings accompanied by follow-up documentation. Also during this phase, working with Museum staff and consultants, we will advance the design of required architectural renovations and modifications and the development of design directions and functional requirements for exhibit lighting and for audiovisual and/or interactive multimedia programs. Initial color and materials selections for all project components will be revised and refined, and project graphic design directions will be advanced and tested, including typography and typical layouts, proposed production methods, and guidelines for image selection and interpretive copy writing. Anticipated Deliverables: • Final interpretive experience narrative • Revised interpretive content resource packages • Design Development-level interpretive component dimensional design drawing package • Design Development-level interpretive component graphic design package • Architectural modifications and renovations design directions • Design Development-level lighting design and specifications • Revised audiovisual and interactive multimedia program descriptions and hardware specifications • Design Development-level implementation cost estimate • Revised project implementation critical path schedule Production Documents Phase (3 – 5 months) As noted above, under the accelerated fabrication strategy MSD and Explus will work together, on parallel tracks, to develop the Production Documents package, with Explus focusing on the preparation of detailed shop drawings while MSD pursues detailed content development and final graphic design, and provides ongoing design input and shop drawing review. MSD and Explus will work with the Museum to ensure efficient coordination between any required site improvements or building renovations and the fabrication and installation of interpretive components. We will ensure that all necessary technical specifications; plans, elevations, sections, details; and schedules and notes as required to clearly document design and performance requirements for the new interpretive experiences are approved by the Museum. Colors and materials specifications for all project components will be finalized, as well as graphic design, typography and graphic standards; graphic output methods and techniques; and graphics color specifications. Final exhibit text guidelines will be established, including target word and character counts for all text elements and approved test copy for all typical layouts. Final resource databases for photos, images, commissioned artwork, and objects and artifacts will be completed during this phase of 9 work. All necessary exhibit notebooks or databases and other supporting materials required for project interpretive component production, fabrication and installation will be included in the Production Documents package. Two onsite progress review workshops will be conducted during this phase. Anticipated Deliverables: • Final interpretive experience outline • Final interpretive content development worksheets • Final interpretive design documentation (shop drawings, by Explus) • Final graphic design drawings and specifications • Final exhibit notebooks and/or image and artifact resource databases • Final interpretive copy guidelines • Final colors, materials and finish samples • Final audiovisual/multimedia equipment specifications • Final lighting design drawings and specifications • Final pre-fabrication interpretive component cost estimate • Final Production Documents package Fabrication Support Phase (6 – 8 months) MSD will provide on-going administration, coordination and supervision of the production, fabrication, and installation of the Museum’s new interpretive components and associated improvements. As the designated point of contact between Explus and other members of the total project team, we will ensure that production and fabrication remains on budget and on schedule, and that the completed project, after installation, meets or exceeds the County’s expectations. Services and deliverables to be provided by Main Street Design during the Fabrication Support phase include: Graphic Production Services Comprehensive graphic standards and graphic design directions will have been established for all exhibition graphics and signage elements during the project’s basic design phases. The purpose of post-design graphic production services is to prepare digital production files (“camera ready artwork”) for all interpretive graphics and signage components, and to provide continuing design supervision and coordination as graphic production and fabrication proceeds. Digital files for all graphic surfaces, with hard-copy output for reference, will be submitted for County review and approval prior to fabrication. Interpretive Copy Writing Interpretive copywriting will proceed in tandem with Graphic Production, to ensure that text elements are fully coordinated with graphic design and that minor edits for the purposes of copy- fitting can be efficiently accomplished. Working closely with Museum education and curatorial staff, we will write and edit interpretive text required for all project components, based on the copy guidelines and approved test copy samples developed during the basic design phases. Text is prepared and submitted first in rough draft form, for preliminary content and style review, and then in layout form for final approval prior to production. 10 Image Research and Acquisition: During the Fabrication Support phase we will finalize specific image selections, identify sources and costs/terms of use for all images to be used in the project, and acquire final reproducible images for use in the exhibits as well as any necessary usage rights or permissions. Coordination and Art Direction of Commissioned Artwork MSD will work closely with the Museum to identify and engage appropriate artists (illustrators, sculptors, model makers, cartographers, photographers, etc.) to create any original artworks required for the project. We will direct the work of these contract artists who will provide interim sketches, proofs, models, etc. for review prior to the production of final artwork. Construction Administration Services Throughout the project’s production fabrication, and installation phases we will facilitate active communications among all designated vendors and sub-contractors, and between them and the County’s project team. We will review fabrication samples and make periodic visits to the Explus facility to inspect work-in-progress. We will monitor compliance with established project budgets and schedules, coordinate and directly supervise the installation of exhibits, and conduct a “punch- list” inspection of all project components after installation. INTERPRETIVE PLANNING AND DESIGN DELIVERABLES All design deliverable and the corresponding durations for each phase have been included in the above narrative. SAMPLE REPORTS / DELIVERABLES FOR PAST PROJECTS We have included a Sample Design Submittal for the Jekyll Island Museum by Main Street Design. COST Attached is a proposed cost / fee schedule for a Master Plan Phase. Deliverables are included in the design approach in section 3. Average Cost per Square Foot Provide the company’s average square foot charge for the design, fabrication and installation for a permanent museum project. $______250.00___________ (AVG SQ FT Charge) 11 Fee Proposal Page 1 Main Street Design Fee Proposal Estimate Project:Collier Cty FL EV Mus MP Date:8/27/18 By:MTM Week 1 Week 2 Week 7 Project Total Hrly Rate Hours Fee $Hours Fee $Hours Fee $Hours Fee $Hours Fee $Hours Fee $ PM/Principal/Writer 136.00 12.0 1,632.00 2.0 272.00 28.0 3,808.00 12.0 1,632.00 14.0 1,904.00 68.0 9,248.00 Interp. Planner 85.00 0.0 0.00 0.0 0.00 10.0 850.00 0.0 0.00 7.0 595.00 17.0 1,445.00 Sr. Exhibit Designer 105.00 12.0 1,260.00 2.0 210.00 35.0 3,675.00 12.0 1,260.00 30.0 3,150.00 91.0 9,555.00 Sr. Graphic Designer 105.00 0.0 0.00 0.0 0.00 0.00 0.0 0.00 35.0 3,675.00 35.0 3,675.00 Labor Subtotal 24.0 2,892.00 4.0 482.00 73.0 8,333.00 24.0 2,892.00 86.0 9,324.00 211.0 23,923.00 Travel 1 mtg 1,232.00 1 mtg 1,232.00 2,464.00 2 people 2 people 1 day 1 day Reproductions 0.00 0.00 100.00 0.00 100.00 200.00 Materials 0.00 0.00 50.00 0.00 50.00 100.00 Postage/Del 0.00 0.00 50.00 0.00 50.00 100.00 Phone/Fax 0.00 0.00 25.00 0.00 25.00 50.00 Other 0.00 0.00 25.00 0.00 25.00 50.00 Expense Subtotal 0.00 0.00 250.00 0.00 250.00 500.00 Phase Total 4,124.00 482.00 8,583.00 4,124.00 9,574.00 26,887.00 Weeks 8 - 10 Project Start Workshop Master Plan ReportWork Shop Summary Memo Weeks 3 - 6 Master Plan Development Project Review Workshop 12 5. EXPERIENCE AND CAPACITY OF THE TEAM EXPLUS FIRM HISTORY Explus began in 1979. Owners Ron Beach and Duncan Burt have maintained their active role in overseeing the company’s day to day operations for over 38 years. Explus fabricates interpretive exhibits for a wide range of private, public & non-profit organizations, museums and corporations. Explus has built permanent and traveling exhibits designed by highly talented firms across the United States including projects for the Smithsonian Institution, the National Park Service, Library of Congress and many other prestigious institutions. Project sizes range from single display cases to 20,000 square foot galleries. EXPLUS FACILITY AND SERVICES Explus presently resides in a 52,000 square foot facility in Northern Virginia that houses a fully equipped fabrication facility staffed with experienced, skilled technicians, talented artisans and craftsmen. Explus offers a full range of in-house museum exhibit fabrication services including: Project Management, Detailing, Exhibit Fabrication, Audio-Visual Systems Engineering, Electro- Mechanical Interactive Production, Artifact Mounting, and Exhibit Shipping & Installation. Our firm currently maintains a well-equipped metalworking department, full digital and traditional graphic capabilities, direct printing, nationally recognized artifact mounting, lighting and security specialists, electro-mechanical interactive technicians, in addition to its very experienced cadre of cabinet makers and installation crews. MAIN STREET DESIGN BACKGROUND AND QUALIFICATIONS Main Street Design, based in Cambridge, Massachusetts, was established in 1991. We have completed more than 200 interpretive planning and design projects for visitor centers and museums, zoos, aquariums and botanic gardens, nature centers and wildlife reserves, and select corporate clients. Among our current projects are the new Jekyll Island Museum, off the coast of Georgia; THINK, a hands-on maker space for Science North science museum in Sudbury, Ontario; the Cornell Lab of Ornithology Visitor Center, in Ithaca, New York; the Robins Nature Center at Maymont, in Richmond, Virginia; interpretive master planning for the Huron River Corridor Border-to-Border Trail in Washentaw County, Michigan; the Houston Arboretum & Nature Center; the Houston Zoo’s new Texas Wetlands exhibit; and the Oregon Zoo’s new Polar Passage and Primate Forest exhibits. Main Street is widely recognized for the quality and innovation of its work. Our firm’s ground- breaking Think Tank exhibition at the Smithsonian Institution National Zoo received the Association of Zoos and Aquariums’ top Exhibit Award, and our McNeil Avian Center at the Philadelphia Zoo received both a THEA Award from the Themed Entertainment Association and a Significant Achievement Award from the AZA. We have also been honored with an Award of Merit from the American Association for State and Local History for our work at Cuyahoga National Park in Ohio and an Outstanding Planning Project Award from the American Planning Association for the Erie Canalway Preservation and Management Plan. 13 For over two decades Main Street has concentrated on the interpretation of cultural heritage and natural history themes, and especially on subjects and projects where those themes intersect and overlap. Whether we are working outdoors, at a park or preserve or in a living history setting, or indoors at a museum or visitor center, we are drawn to stories and environments where landscape, climate and biology have influenced culture, and where the history of human interaction with the natural world has something to tell us about ourselves and our surroundings. Main Street’s two principals, Tevere MacFadyen and Michael Mercadante, have over 60 years combined experience directing and coordinating all aspects of interpretive planning, design, production, fabrication and installation. Principals in our firm have a hands-on relationship with all projects. Tevere directs and supervises all programmatic aspects of projects, including interpretive planning and concept development, content research and development, image and artifact selection, and graphic design, while Michael assumes primary responsibility for dimensional design, including exhibit and project-related architectural design. CAPACITY TO DO THE WORK Both Explus and Main Street Design can verify that each firm has sufficient capacity to provide all of the services requested within the specified timeframes. FINANCIAL STRENGTH EXPLUS has operated for the past 39 years on cash flows generated from its projects without having to use our corporate line of credit. We have a solid record of performance and have never failed to complete a project. We are certain that we have the financial capacity to meet all of the financial requirements for the above referenced project. IN-HOUSE WORK PERCENTAGES In-House Coordinated work for the Master Planning, Exhibition and Graphic Design will be 100% in- house by Main Street Design, and Exhibit Detailing, Fabrication and Installation will be 90% in- house by Explus. All required subcontractors are TBD until the project is finalized and all final design is completed. PROJECT SAMPLES FOR MUSEUMS AND HISTORIC SITES Project examples and client references are provided on the attached pages for the following projects:  The Hershey Story: The Museum on Chocolate Avenue  Louisiana State University Rural Life Museum  Seneca Art and Culture Center, Ganondagan State Historic Park  Jekyll Island Museum 14  Visitor center, Main house and Interpretive Gallery - Ulysses S. Grant National Historic Site  Florida: Mission Everglades - Zoo Miami Following the project samples are the (3) requested Reference Forms from our clients. 15 THE HERSHEY STORY: THE MUSEUM ON CHOCOLATE AVENUE The Hershey Story takes visitors on an inspirational journey through the life of Milton S. Hershey, the man, his choco- late company, the town that bears his name, and his generous legacy. The museum explores the rags to riches ac- complishments of an American entrepreneur who used his personal wealth to enrich the lives of others. The Hershey Story uses full-scale original and replica architectural props to lead visitors through the door of Hershey’s birthplace and homestead and past the facades of his first candy shop and factory. Interactive exhibits and static displays detail Hershey’s energy, entrepreneurship and determination and how he eventually revolutionized the production of milk chocolate. In five interconnected theme areas stories are vividly told in computerized sound and scenes. Among them is a demonstration of chocolate making on a circa 1920s conche machine. Services provided: Explus was responsible for project management, detailing, fabrication, and installation of all ex- hibit elements. The Hershey Story: The Museum on Chocolate Avenue Hershey, Pennsylvania $2,250,301 | 10,800 sq ft Bid-Build | November 2007—December 2008 16 THE HERSHEY STORY: THE MUSEUM ON CHOCOLATE AVENUE 17 THE HERSHEY STORY: THE MUSEUM ON CHOCOLATE AVENUE 18 LOUISIANA STATE UNIVERSITY – RURAL LIFE MUSEUM LSU Rural Life Museum Baton Rouge, Louisiana $1,003,074 | 3,900 sq ft Design/Build | March 29, 2012 — May 13, 2015 Explus provided exhibit design, detailing, fabrication and installation of new permanent exhibits for the LSU Rural Life Museum in Baton Rouge. The existing museum focusing on agricultural and rural life in eighteenth and nineteenth century Louisiana was re-designed to accommodate a collection of rural life artifacts focusing on the plantation life, farming, slavery, the Civil War and Reconstruction periods of Louisiana history. 19 LOUISIANA STATE UNIVERSITY – RURAL LIFE MUSEUM 20 LOUISIANA STATE UNIVERSITY – RURAL LIFE MUSEUM 21 LOUISIANA STATE UNIVERSITY – RURAL LIFE MUSEUM 22 LOUISIANA STATE UNIVERSITY – RURAL LIFE MUSEUM 23 SENECA ART AND CULTURE CENTER A new gallery space at Ganondagan State Park Visitor Center opened in October 2015. The permanent exhibition presents the story of Ganondagan with stories about the Seneca and Haudenosaunee people told through five centuries of artistic, cultural, and historical artifacts and contemporary interactive technology. Explus completed all final detailing, exhibit fabrication, graphics production, audio-visual and media coordination, and exhibit installation. Seneca Art and Culture Center | Ganondagan State Historic Site Victor, New York $783,381.00 | 3,278 sq ft Bid/Build | Jan. 30, 2015 - September 30, 2015 24 SENECA ART AND CULTURE CENTER 25 SENECA ART AND CULTURE CENTER 26 Main Street Design start May 2017 status Schematic Design Completed October 2017 size 8,500 sq. ft. proposed budget $3,100,000 Jekyll Island Authority Glynn County, Georgia jekyll island museum The Jekyll Island Authority has engaged Main Street, in partnership with the Weber Group, to create new exhibits and guest experiences for a renovation of the Jekyll Island Museum. As a first stop for nearly everyone who comes to the island, the Museum is well positioned to help even the casual visitor recognize and appreciate Jekyll Island’s interwoven legacies. Our focus is on illustrating how humans have interacted with the island’s diverse natural resources over time, and how people have both shaped and been shaped by those forces. Long a popular tourist destination, this barrier island just off the Georgia coast boasts a remarkably rich mix of cultural heritage and natural history. Beginning with the pre-contact era when First Nations peoples came to the island to harvest fish and shellfish, to the illegal landing of The Wanderer carrying captive men, women and children from Africa in the 1858, through its opulent 19th Century role as a private retreat for the rich and famous, to its present-day status as a National Historic Landmark, Jekyll Island has extraordinary stories to tell. Housed in a Gilded Age era stable, the Museum will be retrofitted to preserve its historical relevance while offering modern conveniences. A large dimensional map in the museum’s lobby functions as a primer to the island’s rich and layered history as well as an orientation and visit-planning tool. Bird models “fly” over the map in the direction of a dynamic changing image display of people past and present exploring the island. Once inside the main gallery visitors are immediately immersed in a dynamic array of exhibits featuring artifact displays, interactive hands-on experiences, rich visuals, historic photographs, architectural models, and multi-media. A key feature of the gallery is a panoramic media display stretching overhead along the length of the gallery. Memorable experiences in the exhibition will include a 1950’s Buick extending from a mural of the causeway to Jekyll Island; a multi-media experience of a 1920’s electric car that bumps along the island’s dirt roads and beaches; a cutaway of a ship allowing visitors to imagine the long journey from Africa to Georgia by those held captive in the hull and listen to poignant personal stories from those who survived the journey only to be sold into slavery; and a Native American zone where visitors explore archaeological evidence of early people hidden in the landscape. 27 VIEW INSIDE MAIN GALLERY • Large-format overhead projection screens animate gallery with constantly cycling multi-image presentation of Jekyll Island nature and culture. • Displays mix artifacts, replicas, and both simple hands-on and multimedia interactive opportunities. • Integrated changeable exhibit components enable regular refreshment of guest experiences, rotation of objects and artifacts. Main Street Design Jekyll Island Authority Glynn County, Georgia jekyll island museum (top) Aerial illustrated plan of the Jekyll Island visitor center lobby and exhibit gallery. (center) Displays mix artifacts, replicas, and both simple hands-on and multimedia interactive opportunities. (bottom left) Vibrant, high impact visuals illustrate the rich mosaic of Jekyll Island experiences while aiding in wayfinding. (bottom right) Freestanding tactile model of the island accomodates multiple guests, enables visit planning and encourages multisensory exploration. This drawing and the resultant constructed works are the property of WeberGroup Inc. and is issued subject to the condition that they are not to be copiedor reproduced either in whole or in part, or used in any manner detrimental to it'sinterest without the express written permission of the copyright holder, inaccordance with Title 17 U.S.C. and the Architectural Works Copyright Act of1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verifyall dimensions contained in these drawings, and to notify the architect of anydiscrepancies or inconsistancies prior to the start of construction. Contractor tonotify architect of any intended change in construction materials, methods, size,etc.,as indicated on drawings for review and approval prior to commencementof such work. WEBER GROUP, INC D E S I G NC O N S T R U C T I O NS P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A YS E L L E R S B U R G, I N D I A N A 4 7 1 7 2T E L 8 1 2 . 2 4 6 . 2 1 0 0F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road,Jekyll Island, GA 31527 EX October 13, 2017 Preliminary Design—Bird’s Eye View from Southwest 01 October 12, 2017 GR.12 Scale: 1/2”=1’-0”Scale: 1/2”=1’-0” Typical Era Title and Era Intro Panels – Elevation Facing North Typical Era Statement and Era Intro Panels (Timeline) – Elevation Facing East12 ARRIVAL EXPERIENCE • Vibrant, high impact visuals illustrate rich mosaic of Jekyl Island experiences, with minimal text. • Design of both interior and exhibits is warm and welcoming, accessible, and flexible. • Freestanding tactile model of island accommodates multiple guests, enables visit planning, encourages multisensory exploration. 28 Main Street Design visitor center, main house and interpretive gallery Ulysses S. Grant National Historic Site St. Louis, Missouri start October 2000 status Project completed June 2007 size 6,500 sq. ft. budget $ 2,225,000 At Whitehaven, the family home of Ulysses S. Grant’s wife Julia Dent Grant, Main Street Design developed and designed exhibits and visitor experiences which explore the life of one of our nation’s most fascinating leaders. As President, General, and statesman, Grant’s career spanned a critical period in United States history, the Civil War and its aftermath. As a person, father and husband, his own struggles and successes refl ected the complexities of the times in which he lived. Interpretive experiences at U.S. Grant National Historic Site are intended to help visitors appreciate the depth and complexity of Grant as a person, not simply a fi gurehead. Project components include a new visitor center featuring in-depth exhibits on Grant’s career, his home and family, and essential themes such as slavery and reconstruction, as well as multimedia interactives and a dramatic audiovisual program designed to challenge visitors’ preconceptions about Grant and engage them in thinking about the connections between past and present. Whitehaven itself, fully restored, is interpreted using innovative audio and video techniques rather than conventional exhibits or period furnishings, bringing the historic house alive in a dramatic and compelling manner. Outside, in the restored cultural landscape, interpretive graphics and period agricultural structures – barns and outbuildings–offer insight into the activities of the farm and Grant’s great interest in horses. Main Street Design served as a consultant to Quinn Evans Architects for this project. 29 Main Street Design (far right) Interpretation in the barn mixes photos, text, and graphics in a multi-layered collage—colorful wallpaper patterns evoke domestic life. (below left and right) Central hub in the barn focuses on the relationship between Grant and his wife Julia. (lower right) “Magic mirror” multimedia program depicts Grant and his father-in-law, a slaveowner, debating abolition. (bottom) Exterior graphic panels explain historic property usage. St. Louis, Missouri Ulysses S. Grant National Historic Site visitor center, main house and interpretive gallery 30 florida: mission everglades Miami, Florida Zoo Miami Main Street provided interpretive planning and design for Florida: Mission Everglades a new group of live animal exhibits, immersive environments, and hands-on interactive opportunities devoted to the ecology, biology, and wildlife of South Florida. Interpretive experiences integrate natural history and cultural heritage themes, addressing the complex interactions between humans and the natural world in a state that has long been a destination for visitors–people, animals, and plants alike. Working closely with Zoo Miami and Zoological Society of Florida staff, and with representatives of the Miami Dade County Parks and Recreation Department, which operates the zoo, Main Street developed content and design for a series of discrete but carefully interconnected interpretive zones. Live animal and habitat exhibits anchor the overall experience and focus on charismatic keystone species such as alligator, crocodile, bald eagle, black bear, and Florida panther. But naturally occurring plants and animals, including both native and exotic species, are also identified and interpreted, enabling us to investigate the complex role of introduced and invasive plants and animals in south Florida’s rich sub-tropical ecology. At the exhibit entrance, guests experience the essential importance of rainfall to the Everglades ecosystem when raindrops from a simulated thunderstorm drum onto the corrugated metal roof overhead. A constructed gator hole explores these animals’ key role in shaping the Everglades environment. And at the panther enclosure, guests can try their hand at tracking the movements of these wide-ranging apex predators. PJA Architects + Landscape Architects provided live animal exhibit design for Florida: Mission Everglades. AECOM were the project architects. start 2008 status Completed 2016 size 4.5 acres budget $23,000,000 total project budget/ $1,000,000 interpretive implementation budget Main Street Design 31 florida: mission everglades Miami, Florida Zoo Miami Main Street Design (top) Colorful branded environmental graphics welcome guests and set the tone for the experience. (center) Panther tracking activity engages guests in hands-on conservation. (bottom left) Species ID’s are simple, informative, and accessible. (bottom right) Treehouse offers kids-only views of animal enclosures. 32 44156 Mercure Circle • Sterling, VA 20166 (703) 260-0780 • Fax (703) 260-0790 PAST PERFORMANCE – CLIENT REFERENCES Project: The Hershey Story: The Museum on Chocolate Avenue Client Name: The M.S. Hershey Foundation Client Contact: Ms. Amy Bischof, Director Address; 9 Chocolate Avenue Hershey, PA 17033 Email: abischof@hersheymuseum.org Phone: (717) 520-5591 Project: LSU Rural Life Museum - Baton Rouge, LA Client Name: Louisiana State University Client Contact: Mr. David Floyd, Museum Executive Director Address: P.O. Box 80498 Baton Rouge, LA 70898 Phone: (225) 765-2437 E-mail: dfloyd@lsu.edu Project: Seneca Art and Culture Center – Victor, NY Client: New York State, Office of Parks, Recreation and Historic Preservation Ganondagan State Historic Park Client Contact: Peter Jemison , Historic Site Manager Address: P.O. Box 239 Victor, NY 14564 Phone: (585) 398-6151 E-mail: g.peter.jemison@parks.ny.gov 33 Reference Questionnaire Solicitation: #18-7383 Reference Questionnaire for: Explus, Inc. (Name of Company Requesting Reference Information) Explus, Inc. (Name of Individuals Requesting Reference Information) Stephen Barnes, Account Executive, Explus, Inc. Name: David Floyd, Director (Evaluator completing reference questionnaire) Company: Lousiana State University – Rural Life Museum (Evaluator’s Company completing reference) LSU – Rural Life Museum Email: dfloyd@lsu.edu FAX: N/A Telephone (225) 765-2437 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: LSU Rural Life Museum - New Exhibits – Fabrication & Installation Completion Date: May 13, 2015 Project Budget: Contract Value: _$1,003,074 Project Number of Days: 1,140 days____ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 9 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 9 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 10 34 Reference Questionnaire Solicitation: #18-7383 Reference Questionnaire for: Museum Exhibit Design Fabrication & Installation (Name of Company Requesting Reference Information) Main Street Design (Name of Individuals Requesting Reference Information) Name: Bruce Piatek (Evaluator completing reference questionnaire) Company: Jekyll Island Authority (Evaluator’s Company completing reference) Email: bpiatek@jekyllisland.com FAX: Telephone: 912 635-5094 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Jekyll Island Museum Mosaic Project Completion Date: 2/21/19 Project Budget: _$1,107,120.00 (exhibit budget only) Project Number of Days: _______461________________ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 9 2 Ability to maintain project schedule (complete on-time or early). 9 3 Quality of work. 9 4 Quality of consultative advice provided on the project. 8 5 Professionalism and ability to manage personnel. 9 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 8 8 Abiltity to manage risks and unexpected project circumstances. 7 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 9 10 Overall comfort level with hiring the company in the future (customer satisfaction). 9 TOTAL SCORE OF ALL ITEMS 87 35 Reference Questionnaire Solicitation: #18-7383 Reference Questionnaire for: Main Street Design, 103 Blanchard Road, Cambridge, MA 02138 (Name of Company Requesting Reference Information) Tevere MacFadyen, Principal, Senior Interpretive Planner (Name of Individuals Requesting Reference Information) Name:William Harlow, Regional Chief Park Historic Architecture & Landscapes, Midwest Region (Evaluator completing reference questionnaire) Company: National Park Service,601 Riverfront Drive, Omaha, NE 68102-4226 (Evaluator’s Company completing reference) Email: bill_harlow@nps.gov FAX: 402-661-1931 Cell 402-319-6549 Telephone: 402-661-1930 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: _Ulysses S.Grant National Historic Site, St. Louis, MO. Design engaging atmospheric media for interiors of historic presidential home. Design entry experience, artifact rich intimate thematic exhibits and associated architectural build out with vivid finishes in historic horse barn based visitor center. Consultation included introductory film experience with visual links to landscape and integrated educational sales area supplementing site media. Outstanding comprehensive media planning, design and facilitation services._ Completion Date: ___June 2007__________________ Project Budget: __$2,225,000____________________ Project Number of Days: __Phased over 7 years_____ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 36 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 100 37 Reference Questionnaire Solicitation: Reference Questionnaire for: Main Street Design (Name of Company Requesting Reference Information) Tevere MacFadyen (Name of Individuals Requesting Reference Information) Name:Carol Kruse (Evaluator completing reference questionnaire) Company:Zoo Miami (Evaluator’s Company completing reference) Email: jck@miamidade.gov FAX: Telephone: 305-251-0400 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Florida: Mission Everglades Completion Date: _December 2017_______________ Project Budget: $33 million (total project)_________ Project Number of Days: _______________________ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 2 Ability to maintain project schedule (complete on-time or early). 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 38 6. SPECIALIZED EXPERTISE OF TEAM MEMBERS THE PROJECT TEAM Explus – Prime Contractor Project Management, Estimating, Detailing, Fabrication & Installation Main Street Design – Subcontractor Exhibit Planning and Design, Graphic Design, Final Digital Artwork All of the anticipated design services for this project will be provided by Explus’ subcontractor for the project, Main Street Design. All fabrication and installation services for the exhibit project will be handled in-house by Explus. EXPERIENCE AND STAFFING The overall Design-Build team will be managed by the Explus Project Manager John Reeves. John coordinates and monitors all phases of the exhibit project from contract oversight and design through shop fabrication and installation, as well manages all subcontractor relationships with related trades. John will be responsible for administrating contract procedures, maintaining lines of communication between Explus, the Design team and the Client team; recruiting and managing subcontractors; and seeing that projects are completed on schedule. John will be the primary point of contact for the Collier County Museums’ project team for the Master planning and Exhibition design all the way through the fabrication & installation phases of the project. John has a broad range of experience in custom production, and civilian and military manufacturing and construction. His experience includes museum project management, purchasing and contract management, and planning & development. He has extensive experience writing and negotiating contracts/agreements, developing budgets, and estimating. KEY PERSONNEL RESUMES The project team organization chart and all resumes are on the following pages. 39 Main Street Design professional experience A registered architect in the Commonwealth of Massachusetts, Michael directs all dimen- sional design aspects of Main Street’s work. He is an experienced designer and project manager who is especially skilled at transforming conceptual directions into buildable designs, and then ensuring that they are properly built. Michael earned his degree in architecture from the University of Notre Dame, where his studies included a year at the University’s architecture program in Rome, Italy. He apprenticed in several architectural oYces before receiving his professional registration, and since 1983 has worked exclusively in the field of interpretive exhibit design. selected projects Access/Ability, Boston Children’s Museum Aquatics Exhibit Master Plan, National Zoological Park, Smithsonian Institution Arctic Voices, Science North Baldwin Hills Scenic Overlook, California State Parks Boston Land and Manufacturing Company Store, Cuyahoga Valley National Park Buffalo Zoo Master Plan, Zoological Society of Buffalo Cal. S Taggart Bighorn Canyon Visitor Center, Bighorn Canyon National Recreation Area Convoy Point Visitor Center, Biscayne National Park Cumberland Visitor Center, C&O Canal National Historical Park Early Home, Visitor Center and Homestead, Andrew Johnson National Historic Site Earth and Rock Galleries, Dynamic Earth Eastern Bank Retail Branch Prototype Experience, Eastern Bank Entrance and Florida: Mission Everglades, Zoo Miami Entryway, Western Expansion, American Biome, and Herpetarium, El Paso Zoo Flexible Workspace Identity and Wayfinding Systems, Manulife Financial Corp. Frazee House, Cuyahoga Valley National Park Giant Panda Museum, Chengdu Research Base of Giant Panda Breeding Grasslands Master Plan, National Zoological Park Grizzly Ridge, Akron Zoo Gulf Coast Visitor Center, Everglades National Park Habitat Hollow, Columbus Zoo and Aquarium Interpretive Master Plan, Fresno Chaffee Zoo Jekyll Island Museum, Jekyll Island Authority John Hancock Museum, John Hancock Life Insurance Company Manulife Asset Management Workspace Identity, Manulife Financial Corporation Maritime Museum of Monterey, Monterey History and Art Association McNeil Avian Center, Philadelphia Zoo michael mercadante principal/project manager 40 Main Street Design Montana Heritage Center Master Plan, Montana Historical Society New Mexico Farm & Ranch Heritage Museum, New Mexico Office of Cultural Affairs Okeeheelee Nature Center, Okeeheelee Park, Palm Beach County Olsen House Visitor Center, Preserve Historic Sleeping Bear Perry’s Victory Visitor Center, Perry’s Victory and International Peace Memorial Prairie, National Zoological Park, Smithsonian Institution Research Center and Veterinary Hospital, Chengdu Research Base of Giant Panda Breeding Robins Nature Center, Maymont Foundation Rocky Flats National Wildlife Refuge Visitor Center, U.S. Fish and Wildlife Service Rocky Mountain Arsenal National Wildlife Refuge Education Center, U.S. Fish and Wildlife Service Sarah Allison Steffee Center for Zoological Medicine, Cleveland Metroparks Zoo The Science of Ripley’s Believe It or Not!, Science North Think Tank, National Zoological Park, Smithsonian Institution Virginia Zoo Master Plan, Virginia Zoo Visitor Center, Main House and Interpretive Gallery, Ulysses S. Grant National Historic Site Visitor Center, Tallgrass Prairie National Preserve Visitor & Education Center, Houston Arboretum & Nature Center Welcome Center at Valley Forge, Valley Forge National Historical Park Wild Like Me, Zoo Atlanta Wildlife Rescue, Science North Zion Visitor Center, Zion National Park education 1980 University of Notre Dame, Bachelor of Architecture 1978 Rome Studies Program, Rome, Italy michael mercadante pg. 2 41 professional experience Tevere serves as Main Street’s lead interpretive planner and exhibit developer, and provides overall design direction and concept development for many of the firm’s projects. An exceptionally capable and flexible workshop leader and facilitator, his talents are particularly valuable in guiding the development of complex initiatives during their critical formative stages. Tevere is an experienced professional writer and editor who published three nonfiction books and numerous feature articles for magazines such as American Heritage, Atlantic Monthly, Audubon, Horticulture, and Smithsonian. selected projects Aquatics Exhibit Master Plan, National Zoological Park, Smithsonian Institution Baldwin Hills Scenic Overlook, California State Parks Boston Land and Manufacturing Company Store, Cuyahoga Valley National Park Boston Nature Center, Mass Audubon Bringing the Heavens to Earth, Adler Planetarium and Astronomy Museum Buffalo Zoo Master Plan, Zoological Society of Buffalo Comprehensive Facility Master Plan, Oregon Zoo Comprehensive Interpretive Planning, Valley Forge National Historical Park Drumlin Farm Wildlife Sanctuary, Mass Audubon Early Spring: Henry Thoreau and Climage Change, The Concord Museum Florida: Mission Everglades, Zoo Miami Florida Wild!, Tampa’s Lowry Park Zoo Freedom Rides Museum, Alabama Historical Commission General Management Plan, Governors Island National Monument Giant Panda Museum, Chengdu Research Base of Giant Panda Breeding Grasslands Master Plan, National Zoological Park Habitat Hollow, Columbus Zoo and Aquarium Hamilton Family Children’s Zoo, Philadelphia Zoo Hudson Museum, University of Maine Iain Nicholson Audubon Center, National Audubon Society Interpretive Master Plan, Brooklyn Botanic Garden Interpretive Master Plan, University of Delaware Botanic Gardens Interpretive Master Plan, Fresno Chaffee Zoo Kids Discovery Zone, Assiniboine Park Zoo McNeil Avian Center, Philadelphia Zoo Montana Heritage Center Master Plan, Montana Historical Society Nature’s Neighborhoods, Franklin Park Children’s Zoo New Mexico Farm & Ranch Heritage Museum, New Mexico Office of Cultural Affairs Polar Passage, Oregon Zoo j. tevere macfadyen principal/senior interpretive developer Main Street Design 42 j. tevere macfadyen pg. 2 Pompeys Pillar National Monument Interpretive Center, Bureau of Land Management Prairie, National Zoological Park, Smithsonian Institution Primate Forest, Oregon Zoo Preservation and Management Plan, Erie Canalway National Heritage Corridor Research Center and Veterinary Hospital, Chengdu Research Base of Giant Panda Breeding Robins Nature Center, Maymont Foundation Rocky Flats National Wildlife Refuge Visitor Center, U.S. Fish and Wildlife Service Rocky Mountain Arsenal National Wildlife Refuge Education Center, U.S. Fish and Wildlife Service St. John’s Archaeological Site, Historic St. Mary’s City Seaports of San Pedro Bay, Aquarium of the Pacific Solar 2 Green Energy Arts and Education Center, Community Environmental Center Texas Wetlands, Houston Zoo Think Tank, National Zoological Park, Smithsonian Institution Trails For People, New York – New Jersey Trails Conference VINS Nature Center, Vermont Institute of Natural Science Virginia Zoo Master Plan, Virginia Zoo Visitor & Education Center, Houston Arboretum & Nature Center Wade in the Water: African-American Sacred Music Traditions Smithsonian Institution Traveling Exhibition Service Watershed Education Center, County of Orange, California Watersheds of San Pedro Bay, Aquarium of the Pacific Welcome Center at Valley Forge, Valley Forge National Historical Park Wellfleet Bay Wildlife Sanctuary, Mass Audubon Wells Reserve Visitor Center, Wells National Estuarine Research Reserve Zion Visitor Center, Zion National Park publications Gaining Ground: The Renewal of America’s Small Farms, Holt Rinehart and Winston Barns, Beams and Boats, Maine Maritime Museum education 1976 Hampshire College, Bachelor of Arts Main Street Design 43 professional experience A founding member of our firm, Penny contributes critical concept design direction to many of Main Street’s most complex and challenging projects. She is an exceptionally content-conscious designer who immerses herself in her projects’ subject matter, ensuring that information and ideas truly inform design. A practicing interpretive exhibit designer for more than 20 years, Penny has worked on every aspect of exhibits, from concept through production. In her quest for effective visitor experiences she finds inspiration in many sources, including contemporary artworks and installations, landscape design, and architecture. 1991-present Main Street Design, Inc. Cambridge, Massachusetts projects Access/Ability, Boston Children’s Museum Aquatics Exhibit Master Plan, National Zoological Park, Smithsonian Institution Arctic Voices, Science North Boston Land and Manufacturing Company Store, Cuyahoga Valley National Park Boston Nature Center, Mass Audubon Buffalo Zoo Master Plan, Zoological Society of Buffalo Castle Clinton Interpretive Plan Center at High Falls, Rochester Urban Cultural Park City Life: Past and Present, New Haven Colony Historical Society Columbine Visitor Contact Station, Coronado National Forest Comprehensive Facility Master Plan, Oregon Zoo Drumlin Farm Wildlife Sanctuary, Mass Audubon Early Spring: Henry Thoreau and Climate Change, The Concord Museum Entrance and Florida: Mission Everglades, Zoo Miami Folk Art Center Master Plan, Southern Highland Craft Guild Frazee House, Cuyahoga Valley National Park Freedom Rides Museum, Alabama Historical Commission Gulf Coast Visitor Center, Everglades National Park Habitat Hollow, Columbus Zoo and Aquarium Hamilton Family Children’s Zoo, Philadelphia Zoo Hudson Museum, University of Maine Iain Nicholson Audubon Center, National Audubon Society Interpretive Master Plan, Brooklyn Botanic Garden Interpretive Master Plan, Fresno Chaffee Zoo Jekyll Island Museum, Jekyll Island Authority Madera County Fossil Discovery Center, Madera County Resource Management Agency Main House Exhibit, James A. Garfield National Historic Site Main Street Design penny perez senior exhibit designer 44 McNeil Avian Center, Philadelphia Zoo Montana Heritage Center, Montana Historical Society Nathan and Polly Johnson House, New Bedford Historical Society Nature’s Neighborhoods, Franklin Park Children’s Zoo Okeeheelee Nature Center, Okeeheelee Park, Palm Beach County Perry’s Victory Visitor Center, Perry’s Victory and International Peace Memorial Pompeys Pillar National Monument Interpretive Center, Bureau of Land Management Research Center and Veterinary Hospital, Chengdu Research Base of Giant Panda Breeding Robins Nature Center, Maymont Foundation Rocky Flats National Wildlife Refuge Visitor Center, U.S. Fish and Wildlife Service Solar 2 Green Energy Arts and Education Center, Community Environmental Center The Science of Ripley’s Believe It or Not!, Science North Trails For People, New York – New Jersey Trails Conference VINS Nature Center, Vermont Institute of Natural Science Virginia Zoo Master Plan, Virginia Zoo Visitor & Education Center, Houston Arboretum & Nature Center Wade in the Water: African-American Sacred Music Traditions, Smithsonian Institution Traveling Exhibition Service Waquoit Bay National Estuarine Research Reserve, Massachusetts Department of Environmental Management Watershed Education Center, County of Orange, California Welcome Center at Valley Forge, Valley Forge National Historical Park Wellfleet Bay Wildlife Sanctuary, Mass Audubon Zion Visitor Center, Zion National Park 1988-1991 Professional Consulting Jeff Kennedy Associates, Somerville, Massachusetts Krent-Paffet Associates, Boston, Massachusetts Zalisk Martin Associates, Inc., Boston, Massachusetts 1982-1988 Joseph A. Wetzel, Associates Boston, Massachusetts education 1982 University of Colorado, Bachelor of Environmental Design 1980 Parsons School of Design, Communications Design Main Street Design penny perez pg. 2 45 professional experience Cheryl developed an aYnity for exhibitions and environmental graphics while serving as a senior designer for Cloud and Gehshan Associates in Philadelphia. She combines an eye for detail with a highly attuned sensitivity to the spatial aspects of exhibits. Cheryl has designed and managed complex signage and identity projects, exhibitions, and collateral print materials. In addition to her responsibilities at Main Street, she has taught at the Art Institute of Boston and lectured on exhibition and environmental design at the Rhode Island School of Design. 2000-present Main Street Design, Inc. Cambridge, Massachusetts projects Access/Ability, Boston Children’s Museum Baldwin Hills Scenic Overlook, California State Parks Cal. S Taggart Bighorn Canyon Visitor Center, Bighorn Canyon National Recreation Area Comprehensive Facility Master Plan, Oregon Zoo Early Spring: Henry Thoreau and Climate Change, The Concord Museum Entryway, Western Expansion, American Biome, and Herpetarium, El Paso Zoo Flexible Workspace Identity and Wayfinding Systems, Manulife Financial Corp. Hamilton Family Children’s Zoo, Philadelphia Zoo Interpretive Master Plan, Brooklyn Botanic Garden Interpretive Master Plan, University of Delaware Botanic Gardens Manulife Asset Management Workspace Identity, Manulife Financial Corporation Rocky Mountain Arsenal National Wildlife Refuge Education Center, U.S. Fish and Wildlife Service St. George’s Heritage Interpretation Programme, St. George’s Foundation St. John’s Archaeological Site, Historic St. Mary’s City Texas Wetlands, Houston Zoo Upper Missouri River Breaks National Monument Interpretive Center, Bureau of Land Management Visitor Center, Main House and Interpretive Gallery, Ulysses S. Grant National Historic Site Visitor Center, Tallgrass Prairie National Preserve Visitor & Education Center, Houston Arboretum & Nature Center Wellfleet Bay Wildlife Sanctuary, Mass Audubon education 2000 Rhode Island School of Design Master of Fine Arts in Graphic Design 1993 University of Michigan, Bachelor of Fine Arts Main Street Design cheryl burke senior graphic designer 46 Main Street Design amy perron keene interpretive planner/exhibit developer professional experience As a staff exhibit developer and content coordinator, Amy provides critical content support for Main Street’s designers and graphic designers. Amy’s education and experience in free- choice learning environments, children’s environmental design, evaluation, and visitor research offers valuable insight in understanding how people learn and what inspires and compels them to change the way they make meaning out of the world. 2007-present Main Street Design, Inc., Cambridge, Massachusetts projects Cal. S Taggart Bighorn Canyon Visitor Center, Bighorn Canyon National Recreation Area Entrance and Florida: Mission Everglades, Zoo Miami Grizzly Ridge, Akron Zoo Hamilton Family Children’s Zoo, Philadelphia Zoo JHFN Recognition Hall, John Hancock Life Insurance Company McNeil Avian Center, Philadelphia Zoo Montana Heritage Center Master Plan, Montana Historical Society Rainforest Interpretive Graphics, Fresno Chaffee Zoo Rocky Flats National Wildlife Refuge Visitor Center, U.S. Fish and Wildlife Service Rocky Mountain Arsenal National Wildlife Refuge Education Center, U.S. Fish and Wildlife Service Seaports of San Pedro Bay, Aquarium of the Pacific Texas Wetlands, Houston Zoo Visitor Center, Tallgrass Prairie National Preserve Waterhseds of San Pedro Bay, Aquarium of the Pacific Wells Reserve Visitor Center, Wells National Estuarine Research Reserve 2007 Philadelphia Zoo, Philadelphia, PA Conservation and Education Intern 2006 Bronx Zoo, Bronx, NY Visitor Studies and Evaluation Intern education 2007 Antioch New England Graduate School, Masters of Science in Environmental Studies, Environmental Education 2007 National Association of Interpretation, Graduate Scholarship Recipient 2002 Keene State College, Bachelor of Science in Environmental Science 47 professional experience Julie has served as a graphic designer for Main Street since 1998. During that time she has provided graphic design direction for projects ranging from National Park Service visitor centers to non-traditional, highly affective immersive environments. As a graphic designer, Julie is especially concerned about creating effective and engaging mechanisms for transmitting information, and her strong sense of color and style often influence overall project design. 1998-present Main Street Design, Inc. Cambridge, Massachusetts projects Arctic Voices, Science North Boston Nature Center, Mass Audubon Cumberland Visitor Center, C&O Canal National Historical Park Drumlin Farm Wildlife Sanctuary, Mass Audubon Eastern Bank Retail Branch Prototype Experience, Eastern Bank Entrance and Florida: Mission Everglades, Zoo Miami Grizzly Ridge, Akron Zoo Habitat Hollow, Columbus Zoo and Aquarium Iain Nicholson Audubon Center, National Audubon Society JHFN Recognition Hall, John Hancock Financial Services John Hancock Museum, John Hancock Life Insurance Company McNeil Avian Center, Philadelphia Zoo Montana Heritage Center Master Plan, Montana Historical Society Nature’s Neighborhoods, Franklin Park Children’s Zoo Perry’s Victory Visitor Center, Perry’s Victory and International Peace Memorial Polar Passage & Primate Forest, Oregon Zoo Pompeys Pillar National Monument Interpretive Center, Bureau of Land Management Research Center and Veterinary Hospital, Chengdu Research Base of Giant Panda Breeding Robins Nature Center, Maymont Foundation Rocky Flats National Wildlife Refuge Visitor Center, U.S. Fish and Wildlife Service Seaports of San Pedro Bay & Watersheds of San Pedro Bay, Aquarium of the Pacific The Science of Ripley’s Believe It or Not!, Science North VINS Nature Center, Vermont Institute of Natural Science Wayfinding and Orientation Graphics, Fresno Chaffee Zoo education 1987 University of Cincinnati, Bachelor of Science in Design Main Street Design julie steinhilber senior graphic designer 48 professional experience A long time member of the Main Street team, Kezia served as a staff exhibit developer from 2004 to 2007 before leaving to travel in South America and pursue her passion for audio as a freelance producer of radio documentaries. Since 2011 she has been a consulting interpretive planner and content developer for our firm while continuing her work in audio as an independent producer of oral histories and podcasts for museums and other institutions. 2011-present Main Street Design, Inc. Cambridge, Massachusetts projects Early Spring: Henry Thoreau and Climate Change, The Concord Museum Florida Wild!, Tampa’s Lowry Park Zoo Jekyll Island Museum, Jekyll Island Authority Polar Passage & Primate Forest, Oregon Zoo Robins Nature Center, Maymonwwt Foundation Stratford Middle School, Arlington Public Schools Visitor & Education Center, Houston Arboretum & Nature Center 2011-present Independent Audio Producer and Exhibit Developer projects The Handel and Haydn Society Bicentennial Exhibition, Boston Public Library Adirondack Museum Audio Tour and Kids Audio Tour, Adirondack Museum, Blue Mountain Lake, NY The Drinking Gourd Project, Robbins House, Concord, MA The Best Workman in the Shop Soundscape, The Concord Museum Hurricane Katrina Oral Histories, Louisiana State Museum 2009-2011 Christopher Chadbourne & Associates, Boston, Massachusetts projects National Museum of the United States Army 2004-2007 Main Street Design, Cambridge, Massachusetts projects Feline House, Milwaukee County Zoo Wild Like Me, Zoo Atlanta Upper Missouri River Breaks National Monument Interpretive Center, Bureau of Land Management 2003-2004 Amaze Design, Boston, Massachusetts education 2016 Whole Being Institute, Certificate in Positive Psychology 2002 Salt Institute for Documentary Studies, Certificate in Radio Production 1999 Barnard College, BA Urban Studies Main Street Design, Inc. kezia simister Consulting Interpretive Planner and Exhibit Developer 49 JOHN REEVES, PROJECT MANAGER John has a broad range of experience in custom production, civilian and military manufacturing and construction. His experience includes museum projects, production, purchasing and contract management, planning & development. He has extensive experience writing and negotiating contracts/agreements, developing budgets, and estimating. EDUCATION -Graduated William Tennent High School -Attended Bucks County Community College-63 Credits -Attended Delaware Valley College-MRP and Operations Management-6 Credits -Attended Chubb Institute-Power Point, Access & MS Word - Attended Sandler Sales Institute-Select Course- President’s Club Sales Training -Crowles, Rinaldi, Judkins & Korus-Short Course- Construction Law -C.D. Stewart Behavioral Org Laboratory-One week 60 hour comp training -Turner Construction Project Management School -Northern Virginia Technology Center - Fast Track Training PROFESSIONAL HISTORY July 2015 – Present, Project Manager, Explus, Inc. Dulles, Virginia June 2013 - June 2015, Museum Liaison, Capitol Museum Services October 2010 – June 2013, Project / Development Manager, Gangbox.com June 2010 - September 2010, Capture / Proposal Manager, HCI | Integrated Solutions May 2008 – April 2010, Custom Planning, Development & Project Manager, Blair Incorporated May 2005 – May 2008, Custom Planning, Development and Project Manager, Atlantic Skyline June 2003 - May 2005, Project Manager / Purchasing Agent, Design & Production Inc. January 2001 – May 2003, Contracts Manager, Explus, Inc. May 1999 - June 2000, Director of Contracts and Planning, Explus, Inc. November 1997 – May 1999, Manager of Contracts & Estimating, Explus, Inc. August 1991 - October 1997, Production and Contracts Manager, Universal Services Associates March 1990 - April 1991, Purchasing and Materials Manager, Logics, Inc. 1988 – 1990, Purchasing and Materials Manager, Applied Systems Research RELEVANT PROJECTS  National Aquarium, Baltimore, MD - $97,581  Washington Builders Congress, Craftsman Hall of Fame - Washington, DC - $89,318  Permian Basin Petroleum Museum - Midland, TX - $2.4M • Meijer Heritage Center Exhibits, Grand Rapids, MI - $817K • Delmarva Discovery Center - Otter Experience - $230,000 • Miami Zoo - Miami, Florida - $175,000 • U.S. Naval Academy Museum - Women in the Naval Academy, Annapolis, MD - $110,000 • U.S. Naval Academy Museum - History of the US Naval Institute, Exhibit Annapolis, MD - $110,000 RELEVANT PROJECTS, PREVIOUS EMPLOYERS • Interactives for NAUTICUS • Art Gallery at the US Diplomacy Center, US Department of State • AUSA 6th Floor Renovation Project • AUSA Conference Suite Renovation • U.S. Army Exhibit at The Pentagon • Train Exhibits at the Dulles International Airport • Naval I.C.E. Command Exhibit at The Pentagon • Mobile Access Product Demonstration Lobby • Agility Lobby - Arlington, Virginia • EADS Trade Show / Traveling exhibit • MPRI Lobby and Conference Room Renovation 50 DAVID NUCKOLS, MANAGER OF ESTIMATING As a cornerstone of Explus, and head of the estimating department, David’s 30+ years of experience & maturity is utilized to prepare highly detailed project estimates for competitive bids, budgets, as well as value engineering options. He comfortably interfaces with designers, clients, and subcontractors. EDUCATION B.S., Business Administration, Old Dominion University, Norfolk, VA PROFESSIONAL HISTORY 1988–Present: Manager of Estimating, EXPLUS, Incorporated 1993–Present: Cost Consultant, EXPLUS Incorporated, Sterling, VA 1986–1988: Project Manager, Design and Production, Inc., Lorton, VA Responsible for managing custom exhibitions through various stages –from design, detailing, fabrication, art production, purchasing through installation. Supervised all subcontractors, provided estimating for material content and labor hours, and adhered to contract compliance. 1983-1986: Marketing Assistant Star Expansion Company, Mountainville, NY Responsible for marketing, customer service, training, pricing, inventory, standards and office procedures. RELEVANT PROJECTS To varying degrees, Mr. Nuckols works on literally every single project that comes through the doors of Explus. EXPERIENCE As head of the estimating department, David supervises one other estimator. On a daily basis, he also prepares detailed project estimates containing overall project costing, labor hours, level of effort and material content for competitive bids, budget determination, and value engineering of exhibit projects. He maintains current information on subcontractors and suppliers and contacts them for quotes, and also provides job- costing information and details on expected level-of-effort to our Explus Project Managers. He regularly interfaces with designers, detailing and fabrication departments to identify alternate methods or materials that will allow for more efficient production. At various times, David has also acted as a Project Manager and as the company’s purchasing manager. David is a cornerstone of Explus and we value and respect his expertise highly. David’s services also provide for developing consulting services to major museum exhibition design firms. He is responsible for providing total project estimates from schematic design through final design, budgeting, and value engineering services. He has consulted for design firms in the Eastern U.S. such as Gallagher & Associates; Christopher Chadbourne & Associates; MFM Design; The Design Minds; Lee H. Skolnick Architecture + Design Partnership; Main Street Designs; Riggs Ward Design; Jeff Kennedy & Associates; Chermayeff & Geismar, Inc./Metaform; Gerard Hilferty & Associates. 51 DAVID GLOVER, EXHIBIT DETAILER With over 20 years’ experience in exhibit design & detailing, David oversees workflow, as well as his own hands-on engineering, and is also adept at guiding value-engineering efforts for maximum production efficiency. He participates in kick-off meetings and the prototyping phase of the exhibit production process. EDUCATION Solihull Technical College, UK Computeach International Foundation, UK Light Hall School – UK CERTIFICATIONS: City & Guilds of London Institute: Computer Aided Drafting, Computer Aided Engineering – Part 2 & 3 City & Guilds of London Institute: Computer Literacy Computeach – BASIC Programming PROFESSIONAL HISTORY 2003-Present: Lead Detailer EXPLUS Incorporated, Sterling, VA 2000 – 2002: CAD Operator / 3D Visualizer Silver Knight Exhibitions Ltd., UK 1999 – 2000: CAD Draftsman / 3D Visualizer Reflections Ltd., UK 1998 – 1999: CAD Draftsman Mining & Piling Ltd, UK EXPERIENCE As a Detailer, David engineers museum projects and guides value-engineering efforts for maximum production efficiency. David participates in the prototyping phase of the exhibit production process. He produces detailed and as-built drawings for all museum, visitor center and corporate clients. RELEVANT PROJECTS  National Museum of the Marine Corps  Virginia Historical Society: An American Turning Point, Richmond, Virginia  Civil War 150th History Mobile, Traveling  Children’s Museum of Virginia, Portsmouth, Virginia  Florida Museum of Natural History: Butterflies Phase II, Tallahassee, Florida  Florida Museum of Natural History: Dug Out Canoes , Tallahassee, Florida  Mount Vernon Estate & Gardens: Discovering the Real George Washington Traveling Exhibit  The Circus Museum at the John and Mable Ringling Museum of Art, Florida  University of Virginia – John Paul Jones Arena Basketball Hall of Fame, Charlottesville, Virginia  New-York Historical Society: Slavery in New York, New York, New York  Louisiana State Museum, Baton Rouge, Louisiana  Presque Isle Visitor Center, Erie, Pennsylvania  Reginald F. Lewis Museum of African American History & Culture, Baltimore, Maryland  National WWI Museum at Liberty Memorial, Kansas City, Missouri  Old Red Museum of Dallas County History & Culture, Dallas, Texas 52 JEFFREY BURTON, GRAPHICS PRODUCTION MANAGER With over 20+ years of experience in digital printing and production, Jeff is a talented problem solver with a solid understanding of composition and an eye for detail. He interfaces directly with Clients, Designers, as well as vendors to assure the highest possible quality. EDUCATION Bachelor’s Degree Photographic Communications Rochester Institute of Technology, Rochester, NY PROFESSIONAL HISTORY 2014–Present: Graphics Department Manager EXPLUS Incorporated, Sterling, VA 1997 to 2014: Digital Printing Analyst Specialty Graphic Imaging Association Fairfax, VA 2008 to Present: Faculty, Digital Photography Workhouse Arts Center, Lorton, VA 1991 to Present: Partner Moose & Chick Fine Art Photography & Reproduction (Formerly Eastern Light Photography) Oak Hill, VA 1996-1997: Pre-Press Specialist United Litho, Ashburn, VA 1995-1996: Production Manager, Digital Department, EPPIX Inc., Fairfax, VA 1992-1995: Production Specialist Dodge Color, Washington, DC EXPERIENCE Jeff manages the personnel and operations of the Explus Graphic and Art Production departments and serves as the primary, technical point of contact for all graphic issues on all projects. He oversees the production of all photographic images - including all final graphic media, the submittal process -- including review & approvals. Jeff is responsible for coordinating and cataloging receipt of all exhibit graphics in various formats. Prepares graphic schedules for tracking purposes, develops panel layouts, graphic asset storage, high-resolution scan quality review, and digital file conversions for digital output, and as needed, he creates original graphic art. Jeff is a talented problem solver with a solid understanding of composition and an eye for detail. He interfaces directly with Clients, Designers, as well as vendors to assure the highest possible quality. Jeff’s mature understanding of the high quality expectations of the museum exhibit industry adds to the ease of his department’s production efforts. RELEVANT PROJECTS AT EXPLUS • World Bank Group Visitor Center, Washington, DC • LSU Water Campus Interpretive Center, Baton Rouge, Louisiana • National Museum of the Marine Corps, Triangle, Virginia • Western Reserve Historical Society: Cleveland Starts Here, Cleveland, Ohio • Permian Basin Petroleum Museum, Midland, Texas • National World War II Museum - Campaigns of Courage Pavilion: The Road to Berlin, New Orleans, Louisiana 53 MANNY ORTIZ, FABRICATION TEAM LEAD SUPERVISOR With over 35 years of experience in exhibit fabrication, Manny is an integral team member and lends his management and technical skills to each and every exhibit project at Explus. EDUCATION Degree in Drafting, Instituto Tecnico commercial de Puerto Rico, 1975. Degree in Cabinetmaking, Miguel Such Vocational School, Puerto Rico, 1973. PROFESSIONAL HISTORY 1997-Present: Exhibit Fabrication Team Leader EXPLUS, Incorporated, Sterling, VA 1993-1997: President and Shop Supervisor Manny’s Exhibits & Woodcraft, Inc., Herndon, VA 1985-1992: Shop Supervisor Gallery Productions, Inc., Alexandria, VA 1977-1985: Group Leader/Exhibit Specialist Design and Production Inc., Lorton, VA EXPERIENCE Manny uses his advanced knowledge of woodworking and cabinetmaking to fabricate exhibits and custom furnishings for museums and visitor centers, traveling exhibits, marketing centers and product demonstration rooms. He is highly skilled in working with wood, plexiglass, fabric, metals, and finishing materials, and over the course of his career has directed the production of more than two thousand exhibit projects of various scope and size. He is extremely proficient in the fabrication of complex climate controlled cases and large display systems. RELEVANT PROJECTS  Permian Basin Petroleum Museum, Midland, Texas  Operation Finale: The Capture and Trial of Adolf Eichmann, Maltz Museum of Jewish Heritage  Reginald Lewis Museum of African American History and Culture, Baltimore, Maryland  “Slavery” New York Historical Society, New York, New York  Thunder Road, USA, Dawsonville, Georgia  Waquoit Bay Visitor Center, Boston, Massachusetts  African Voices: Smithsonian Institution, National Museum of Natural History, Washington, DC  American Jazz Museum, Kansas City, Missouri  Newseum, Washington, DC  The National Museum of the Civil War Soldier at Pamplin Park, Petersburg, Virginia  Tennessee Gateway at Volunteer Landing, Knoxville, Tennessee  Joliet Historical Museum, Joliet, Illinois  Peabody Essex Museum, Salem, Massachusetts  Vikings: The North Atlantic Saga, Smithsonian Institution, National Museum of Natural History, Washington, DC  The General Douglas MacArthur Memorial Museum in Norfolk, Virginia 54 LETTER OF INTENT August 30, 2018 Steve Barnes Explus 44156 Mercure Circle Sterling, Virginia 20166 Dear Steve, Main Street Design, Inc. is pleased to confirm our intent to provide interpretive planning and design services for the Collier County Museum in Naples, Florida as part of the Explus team. This is an exciting and challenging initiative, and we would welcome the opportunity to work with you on it. Main Street Design, Inc. (MSD) based in Cambridge, Massachusetts, is an award-winning interpretive planning and exhibition design firm with a focus on cultural heritage and natural history projects. We specialize in creating experiences that engage guests in active, open-ended explorations of complex subject matter – from the evolution and biology of thinking to the management and conservation of urban water resources – for free-choice learning environments where education, entertainment, and visitor satisfaction are parallel priorities. Main Street Design has had a longstanding successful working relationship with Explus spanning the entire 28 year history of our firm. Our firm’s experience interpreting the natural history and cultural heritage of Florida is broad and deep, ranging from the Gulf Coast Visitor Center at Everglades National Park to, most recently, Zoo Miami’s latest flagship exhibition, Florida: Mission Everglades. Main Street Design is flexible, responsive, and dedicated to providing authentic and compelling visitor experiences. We are passionate about our work but mature enough not to let passion cloud our vision. We believe that the most successful interpretive experiences emerge out of a dialogue between consultants, clients, and project context. We feel certain that working together with the talented team at Explus, as well as with Collier County Museum staff and local advisors and stakeholders, we will be able to develop new interpretive experiences for the Museum that are as accessible as they are engaging, as entertaining as they are stimulating, and as delightful as they are informative. Thank you for your consideration. We look forward to working with you. Michael T. Mercadante President, Senior Interpretive Designer Main Street Design, Inc. 55 7. LOCAL VENDOR PREFERENCE Local Vendor Preference is Not Applicable 8. APPENDIX: FORMS All required forms are enclosed. 56 Exhibit Design Package 100% Design Development June 1, 2018 100% Design Development EX-01 June 1, 2018 Scale: 1/4"=1'-0" Overall Exhibit Floor Plan1 EX-01 TA-6 TA-3 TA-3 LINE OF WOOD BEAM FRAMING ABOVE(SHOWN DASHED), TYP. ZONE 1 Welcome to Jekyll Island ZONE 2 Ticketing & Gallery OverviewZONE 6 Jekyll Island Plantation ZONE 3 The Gallery ZONE 4A Year Round Beach Resort ZONE 5 Gilded Age on Jekyll Island ZONE 7 Europeans Arrive ZONE 8 Native Americans on Jekyll Island 1 EX-09 1 EX-03 2 EX-02 1 EX-02 2 EX-02 1 EX-02 100% Design Development EX-02 June 1, 2018 Scale: 1/4"=1'-0" Overall Building Section - West2 EX-02 Scale: 1/4"=1'-0" Overall Building Section - East1 EX-02 ZONE 1 Welcome to Jekyll Island ZONE 6 Jekyll Island Plantation ZONE 3 The Gallery ZONE 4A Year Round Beach Resort ZONE 5 Gilded Age on Jekyll Island ZONE 7 Europeans Arrive ZONE 8 Native Americans on Jekyll Island ZONE 1 Welcome to Jekyll Island ZONE 6 Jekyll Island Plantation ZONE 3 The Gallery ZONE 4A Year Round Beach Resort ZONE 5 Gilded Age on Jekyll Island ZONE 7 Europeans Arrive ZONE 8 Native Americans on Jekyll Island 100% Design Development EX-03 June 1, 2018 TA-3 TA-3 ZONE 1 Welcome to Jekyll Island ZONE 2 Ticketing & Gallery Overview ZONE 4A Year Round Beach Resort1 .1.1 Welcome1 .1.2 Wayfinding1.1.3 Programs & Events1 .2 Here is Jekyll Island1 .3 Donor Recognition1.4 Bird Migration2.1 Ticketing Desk2 .2 Gallery Title & Entrance3 .1A Story in Silhouettes3.2 Overhead Media (above)4.5 Jekyll Habitats: Playscape4.1 Era Intro.4.4 Coastal Playground for All4 .2 Historic Car4 .3 Self Sustaining Island 1 EX-04 3 EX-04 2 EX-04 1 EX-08 Seating Seating Seating 1 EX-07 1 EX-05 Scale: 3/8"=1'-0" Lobby Exhibit Floor Plan1 EX-04 100% Design Development EX-04 June 1, 2018 Scale: 3/8"=1'-0" Lobby Elevation - South3 EX-04 Scale: 3/8"=1'-0" Lobby Elevation - North1 EX-04 2 EX-07 1 EX-33 Scale: 3/8"=1'-0" Lobby Elevation - East2 EX-041 .1.1 Welcome1 .1.2 Wayfinding1 .1.3 Programs & Events1 .3 Donor Recognition1.4 Bird Migration4.5 Jekyll Habitats: Playscape1 .1.2 Wayfinding 20" Monitor (typ. of 5) 32" Monitor (mtd. vertically 7'-1 1/2"Existing building wall to be partially covered with driftwood planks 18'-2" 1 EX-06 75" Monitor (mtd. vertically Existing building wall to be partially covered with driftwood planks 8'-8" This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 JekyllIslandTHE LAND, THE PEOPLE, THE WILDLIFE We’re a tiny island bursting with stories of people and wildlife from the Native American time period to the present. Come explore with us! This gallery is made possible by The Leavy Family Brunswick News Publishing Company Restrooms Multi-Purpose Room Outdoor Classroom Ticketing Museum Gallery Trolly Tours Gift Shop MOSAiC 1 EX08 2.2 Gallery Title and Entrance— Elevation Scale: 3/4"=1'-0" See 4/EX-35 for more info. See 1/EX-35 for more info. See 2/EX-35 for more info. See 3/EX-35 for more info. June 1, 2018 EX-08 100% Design Development 2’-6”3’-2.5” 100% Design Development EX-09 June 1, 2018 Scale: 3/8"=1'-0" Gallery Exhibit Floor Plan1 EX-09 ZONE 2 Ticketing & Gallery Overview ZONE 6 Jekyll Island Plantation ZONE 5 Gilded Age on Jekyll Island ZONE 7 Europeans Arrive ZONE 8 Native Americans on Jekyll Island ZONE 4A Year Round Beach Resort2 .1 Ticketing Desk2 .2 Gallery Title & Entrance3 .1A Story in Silhouettes3 .2 Overhead Media (above)4.5 Jekyll Habitats: Playscape4.1.1 Title4 .4.1 Opening the Island4.1.2 Era Statement4.1.3 Era Overview4 .2.1 Historic Car4 .2.2 Music4 .2.3 Causeway Mural4 .3.1 Recreation & Restoration4 .3.2 Preserving Nature & Attracting Visitors4 .3.3 State Era Oral History Station4.4.2 St. Andrews Beach4 .4.3 Desegregation5.1.1 Title5 .1.2 Era Statement5.1.3 Era Overview6.1.1 Title6 .1.2 Era Statement6.1.3 Era Overview8 .1.1 Title8 .1.2 Era Statement8.1.3 Era Overview7 .1.1 Title7 .1.2 Era Statement7.1.3 Era Overview SeatingSeatingSeatingSeatingSeatingSeatingSeating5.2.2 Cruising Around5 .2.1 Drive the Red Bug5 .3.1 Finney & DuBignon5 .3.2 Joining the Club5.3.3 Feature Club Member5 .4.1 Designing the Club5.4.2 Landscape Design5 .5.1 Traveling to Jekyll5 .5.2 San Souci5.5.3 Faith Chapel5.5.4 Conservation & Preservation5 .5.5 Build Your Own Dream Home5 .5.6 Private Cottages5 .6.1 Listen In!5.6.2 First Transcontinental Call5 .7 End of an Era5 .8.1 Thrill of the Chase5 .8.2 Trophy Sport5 .9.1 Leisure5 .9.2 At Play: Home Videos5.9.3 Club Era Audio Station5 .10 .1 Dinner & Dancing5 .10 .2 Period Music5 .10 .3 Try on Period Clothing5 .11 .1 Workers & Staff6.2.1 The Wanderer6.2.2 The Hull6 .2.3 Soundscape Inside the Hull6 .3.1 The Mess Kettle6 .3.2 The Wanderer Painting6 .3.3 Overview of Wanderer Story6 .3.5 What Happened to the Survivors?6.3.4 Arrival at Jekyll Island6 .3.6 The Kettle6 .3.7 Oral History Station6 .3.8 Oral History Station6 .4.1 Enslaved Peoples' Lives & Resistance6 .4.2 Civil War6 .5.1 Gullah Geechee6 .6.1 Who Were the DuBignons6.6.2 Slave Labor6.6.3 Cotton Gin7.2 Getting Around7 .3.2 French & Spanish Explorers7.3.1 Contact with Native Americans7 .3.3 British Settlers: Claiming Georgia7 .4.1 Horton House & Site Interactive7 .4.2 What Do We Know About Horton7 .4.3 Who Wah William Horton? Rebecca?7.4.4 Conflict Between English & Spanish7 .4.5 Indentured Servants7 .4.6 Archeological Discoveries7.4.7 Tough Tabby7 .4.8 Georgia's First Brewery8.2 (above) Getting Around8.3.1 The Island Then & Now8 .4.1 The Midden8.4.4 - .5 Interactive Drawers8 .4.6 - .8 Interactive Sliders8 .5.1 Livelihood Mural8.5.2 Living Off the Land8 .5.3 Pottery Patterns8 .5.4 Who Were the Timucua?8.6.1 Wattle & Daub: Exterior Structure8.6.2 Wattle & Daub: Inside the Structure8 .6.3 Wattle & Daub Soundscape 100% Design Development EX-10 June 1, 2018 Scale: 3/8"=1'-0" Gallery Exhibit Floor Plan1 EX-10 1 EX-21 ZONE 2 Ticketing & Gallery Overview ZONE 6 Jekyll Island Plantation ZONE 5 Gilded Age on Jekyll Island ZONE 7 Europeans Arrive ZONE 4A Year Round Beach Resort ZONE 8 Native Americans on Jekyll Island 1 EX-11 1 EX-19 2 EX-21 2 EX-19 1 EX-17 1 EX-15 1 EX-14 2 EX-12 2 EX-17 2 EX-15 2 EX-14 1 EX-12 1 EX-20 1 EX-18 4 EX-24 5 EX-25 3 EX-25 3 EX-23 1 EX-25 1 EX-24 5 EX-23 1 EX-13 1 EX-23 9 EX-23 7 EX-23 5 EX-23 sim. 100% Design Development EX-11 June 1, 2018 Scale: 3/8"=1'-0" Overall Gallery Wall Elevation - West1 EX-11 Contour cut silhouetted illustration of 1/4" MDF, painted (color TBD) and applied to existing building wall; smooth all exposed edges This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLL ISLAND MUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 Welcome Wall LOFT PARTITION FRAMING (BEYOND) NEW REINFORCED CONCRETE SLAB 5/8" GWB CEILING (OVER 'RC-1' RESILIENT CHANNELS) ACOUSTIC BATTS OR R11 (3 1/2") BATTS 75" monitor A4.1 A(1) A4.1 A(2) A5.1 1 SIM A5.1 5 A5.1 6 A4.1 A(2) LOFT PARTITION FRAMING (BEYOND)5/8" GWB CEILING (OVER 'RC-1' RESILIENT CHANNELS) ACOUSTIC BATTS OR R11 (3 1/2") BATTS A5.1 6 A5.1 5 A5.1 1 SIM CONSTRUCTIONProgram & Events 75” Monitor LOBBY EAST ELEVATION Driftwood wall Build out to face of monitor Welcome GraphicSilk screen words on driftwood wall, [for location only]Wayfinding [for location only] 32" monitor 13" monitors 20" monitors Donor Wall LOBBY SOUTH ELEVATION Major Donors32” Monitor+$25,000 Donors 20” Monitors Driftwood Slats PRE S E R V E C O N S E R V E EDUC A T E J E K Y L L I S L A N D F O U N D A TIO N The Jekyll Island Foundation is deeply grateful to the donors who made this project possible L O B BY N AME HERE PROTEC T • Dr if twood slats create a weat hered yet elegant location for recognizing and appreciating donors• An ar tful ar rangement of monitors, wit h sync hronized text (donor names) and imager y (contemporar y and histor ic), integrated into t he slats• One large monitor f eatures donors of t he highest level • Five smaller monitors f eature additional donors and may be by donation level • A brief t hank you message from t he Jekyll Island Foundation incor porated in t he t he wooden slat wall • Words from t he Foundation’s mission pr inted onto t he slats suc h as: educate, preser ve, conser ve, etc. • Lobby donor ’s name included beneath t he array of monitors 1/4”= 1’0” Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud exerci tation ullamcorpe COLORFUL WARBLERS POSITIONED ALONG THE ATLANTIC FLYWAY, JEKYLL ISLAND PROVIDES VITAL RESTING AND FEEDING PLACES FOR MIGRATORY BIRDS SALT MARSH Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud MARITIME FOREST Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis HERE FOR THE HABITATS BEACHES AND DUNES Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis ATLANTIC FLYWAYJEKYLL ISLAND A BIRD’S PARADISE HEADLINE HERE Long-billed Curlew American Avocet Piping Plover Red Knot Whimbrel Chuck-will’s-widow Eastern Kingbird Scarlet Tanager Summer Tanager Tree Swallow Chimney Swift Baltimore Oriole Orchard Oriole Bobolink Black and White Warbler Blackburnian Warbler Black-throated Blue Warbler Magnolia Warbler Palm Warbler Worm-eating warbler American Redstart Yellow Warbler Ovenbird Indigo Bunting Rose-breasted Wood Thrush Yellow-billed Cuckoo Peregrine Falcon Sandhill Crane MOSAiC Restrooms Multi-Purpose Room Outdoor Classroom Ticketing Museum Gallery Trolly Tours Gift Shop 1 EX29 1.1.1 Welcome and Orientation, 1.1.2 Wayfinding, 1.1.3 Programs and Events—Elevation Scale: 3/4"=1'-0" 1.1.1 See EX-30 for more info. 1.1.2 See EX-22 for similar mounting condition. See EX/30 for more info about graphic 1.1.3 Monitor See EX-04 for more info. June 1, 2018 EX-29 100% Design Development This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 Welcome Wall LOFT PARTITION FRAMING (BEYOND) NEW REINFORCED CONCRETE SLAB 5/8" GWB CEILING (OVER 'RC-1' RESILIENT CHANNELS) ACOUSTIC BATTS OR R11 (3 1/2") BATTS 75" monitor A4.1 A(1) A4.1 A(2) A5.1 1 SIM A5.1 5 A5.1 6 A4.1 A(2) LOFT PARTITION FRAMING (BEYOND)5/8" GWB CEILING (OVER 'RC-1' RESILIENT CHANNELS) ACOUSTIC BATTS OR R11 (3 1/2") BATTS A5.1 6 A5.1 5 A5.1 1 SIM CONSTRUCTIONProgram & Events 75” Monitor LOBBY EAST ELEVATION Driftwood wall Build out to face of monitor Welcome GraphicSilk screen words on driftwood wall, [for location only]Wayfinding [for location only] 32" monitor 13" monitors 20" monitors D onor Wall LOBBY SOUTH ELEVATION Major Donors32” Monitor+$25,000 Donors 20” Monitors Driftwood Slats PRE S E R V E C O N S E R V E EDUC A T E J E K Y L L I S L A N D F O U N D A TIO N The Jekyll Island Foundation is deeply grateful to the donors who made this project possible L O B BY N AME HERE PROTEC T • Dr if twood slats creat e a weat hered ye t elegant location f or recognizing and appreciating donors• An ar tful ar rangement of monitors, wit h sync hronized t ext (donor names) and imager y (cont em porar y and histor ic), int egrat ed int o t he slats• One large monitor f eatures donors of t he highest level • Five smaller monit ors f eature additional donors and may be by donation level• A br ief t hank you message from t he Jeky ll Island Foundation incor porat ed in t he t he wooden slat wall• Words from t he Foundation’s mission pr int ed onto t he slats suc h as: educate, preser ve, conser ve, e tc.• Lobby donor ’s name included beneat h t he ar ra y of monitors 1/4”= 1’0” Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud exerci tation ullamcorpe COLORFUL WARBLERS POSITIONED ALONG THE ATLANTIC FLYWAY, JEKYLL ISLAND PROVIDES VITAL RESTING AND FEEDING PLACES FOR MIGRATORY BIRDS SALT MARSH Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud MARITIME FOREST Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis HERE FOR THE HABITATS BEACHES AND DUNES Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis ATLANTIC FLYWAYJEKYLL ISLAND A BIRD’S PARADISE HEADLINE HERE Long-billed Curlew American Avocet Piping Plover Red Knot Whimbrel Chuck-will’s-widow Eastern Kingbird Scarlet Tanager Summer Tanager Tree Swallow Chimney Swift Baltimore Oriole Orchard Oriole Bobolink Black and White Warbler Blackburnian Warbler Black-throated Blue Warbler Magnolia Warbler Palm Warbler Worm-eating warbler American Redstart Yellow Warbler Ovenbird Indigo Bunting Rose-breasted Wood Thrush Yellow-billed Cuckoo Peregrine Falcon Sandhill Crane MOSAiC Restrooms Multi-Purpose Room Outdoor Classroom Ticketing Museum Gallery Trolly Tours Gift Shop 2 EX30 1.1.2 Welcome and Orientation—Wayfinding (Front) Scale: 1 1/2"=1'-0" 1 EX30 1.1 Welcome and Orientation—Elevation Scale: 1 1/2"=1'-0" 3 EX30 1.1.2 Welcome and Orientation—Wayfinding (Back) Scale: 1 1/2"=1'-0"2'-9"June 1, 2018 EX-30 100% Design Development 2'-9"RestroomsMulti-Purpose RoomOutdoor ClassroomTicketing Museum Gallery Trolly Tours Gift Shop RestroomsMulti-Purpose RoomOutdoor ClassroomTicketing Museum Gallery Trolly Tours Gift Shop Painted aluminum with white vinyl lettering. Paint color TBD 1 2-sided graphic required. 1'-10" Lettering is routed into 6” driftwood planks to a depth of 1/4” and painted. Paint color TBD Lettering is routed into 6” driftwood planks to a depth of 1/4” and painted. Paint color TBD Lettering is routed into 6” driftwood planks to a depth of 1/4” and painted. Paint color TBD Painted aluminum with white vinyl lettering. Paint color TBD 6’-8" from edge of wall 1'-10"4 1/4"4 1/4"4 1/4"16"3’-9" to FFRestrooms Multi-Purpose Room Outdoor Classroom Ticketing Museum Gallery Trolley Tours Gift Shop This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527USS WandererBeaches Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh. Freshwater Ponds Consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet. Salt Marsh Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh. Maritime Forest Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh.Horton HouseConsectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet.The Wanderer MemorialLorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh.Dubignon CemeteryConsectetuer adipiscing elit, sed diam nonummy nibh euismod.St. Andrews BeachLorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna 999999999999999999999999999999999999 1. ST. ANDREWS BEACH 2. WANDERER MEMORIAL 3. DUBIGNON CEMETERY 4. HORTON HOUSE 5. JEKYLL ISLAND CLUBHOUSE 6. DUBIGNON COTTAGE 7. FAITH CHAPEL 8. INDIAN MOUND COTTAGE 9. DRIFTWOOD BEACH 10. MARITIME FOREST 11. HORTON POND WILDLIFE VIEWING AREA 12. ST. ANDREWS BEACH OVERLOOK 13. PLANTATION OAK 14. GLORY BEACH 15. TIDELANDS NATURE CENTER 16. JEKYLL ISLAND MUSEUM 17. GEORGIA SEA TURTLE CENTER 18. SKEET HOUSE 19. SPACE FOR 2 MORE 20. MORGAN CENTER 21. 4H CAMP (FORMERLY DOLPHIN CLUB) 22. GOLF COURSE PLACES TO VISIT ON THE ISLAND Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat ut wisi enim ad minim veniam quis trud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo. HABITATHIGHLIGHTSLorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat ut wisi enim ad minim veniam quis trud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo.CULTURALHISTORY 1. ST. ANDREWS BEACH 2. WANDERER MEMORIAL 3. DUBIGNON CEMETERY 4. HORTON HOUSE 5. JEKYLL ISLAND CLUBHOUSE 6. DUBIGNON COTTAGE 7. FAITH CHAPEL 8. INDIAN MOUND COTTAGE 9. DRIFTWOOD BEACH 10. MARITIME FOREST11. HORTON POND WILDLIFE VIEWING AREA12. ST. ANDREWS BEACH OVERLOOK13. PLANTATION OAK14. GLORY BEACH15. TIDELANDS NATURE CENTER 16. JEKYLL ISLAND MUSEUM 17. GEORGIA SEA TURTLE CENTER 18. SKEET HOUSE 19. SPACE FOR 2 MORE 20. MORGAN CENTER 21. 4H CAMP (FORMERLY DOLPHIN CLUB) 22. GOLF COURSE PLACES TO VISIT ON THE ISLANDJekyll Island HISTORIC DISTRICT Jekyll Island Club National Historic Landmark YOU ARE HERE VILLA OSPO HOLLYBOURNE CHEROKEE GOULD CASINO VILLA MARIANNA JEKYLL ISLAND CLUB AND HOTEL BAKER-CRANE CARRIAGE HOUSE SANS SOUCI INDIAN MOUND MISTLETOE GOODYEAR THE OLD INFIRMARY CHICOTA RUINS FAITH CHAPEL CRANE WHARF MOSS MOSAIC P P P P P P P P P HISTORIC DISTRICT ENLARGED 2 EX31 1.2 Here Is Jekyll Island—Plan View Scale: 3"=1'-0" See 1/EX-32 for more info. See 1/EX-32 for more info. See 4/EX-32 for more info. See 4/EX-32 for more info. June 1, 2018 EX-31 100% Design Development See 2/EX-27 for style reference for map 3D color tactile island model. Color 1: Overall Island: Medium Green TBD Color 2: Golf Course: Dark Green TBD Color 3: Beaches: Light Tan TBD Color 4: Roads: Light Gray TBD Color 5: Bike Paths: Yellow TBD Color 6: Wetlands Spring Green TBD See EX-05 for more info about base of map See 3/EX-32 for more info.See 2/EX-32 for more info. on map numbers See 3/EX-27 for acrylic water treatment This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 USS Wanderer Horton House Consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet. The Wanderer Memorial Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh. Dubignon Cemetery Consectetuer adipiscing elit, sed diam nonummy nibh euismod. St. Andrews Beach Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna 2 EX32 1.2 Here Is Jekyll Island—Numbered Disks—Plan View Scale: 2X full scale 4 EX32 1.2 Here Is Jekyll Island—Map Key—Plan View Scale: half of full scale 3 EX32 1.2 Here Is Jekyll Island—Historic District Inset—Plan View Scale: half of full scale 1 EX32 1.2 Here Is Jekyll Island—Graphic Rail—Plan View Scale: half of full scale 3'-0"0'-9"3'-0"0'-6"1'-9"1'-0"R: 3/8” June 1, 2018 EX-32 100% Design Development 1. ST. ANDREWS BEACH 2. WANDERER MEMORIAL 3. DUBIGNON CEMETERY 4. HORTON HOUSE 5. JEKYLL ISLAND CLUBHOUSE 6. DUBIGNON COTTAGE 7. FAITH CHAPEL 8. INDIAN MOUND COTTAGE 9. DRIFTWOOD BEACH 10. MARITIME FOREST 11. HORTON POND WILDLIFE VIEWING AREA 12. ST. ANDREWS BEACH OVERLOOK 13. PLANTATION OAK 14. GLORY BEACH 15. TIDELANDS NATURE CENTER 16. JEKYLL ISLAND MUSEUM 17. GEORGIA SEA TURTLE CENTER 18. SKEET HOUSE 19. SPACE FOR 2 MORE 20. MORGAN CENTER 21. 4H CAMP (FORMERLY DOLPHIN CLUB) 22. GOLF COURSE PLACES TO VISIT ON THE ISLAND Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat ut wisi enim ad minim veniam quis trud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo. CULTURALHISTORY 1/8” powder-coated aluminum graphic. 6 Required. Solid surface Avonite Tango F1-7552 satin. With etched and filled numbers. 26 total required. 1/8” powder-coated aluminum graphic. 1 Required. Direct print second surface on clear acrylic 2 Required. Jekyll Island Club National Historic Landmark YOU ARE HERE VILLA OSPO HOLLYBOURNE CHEROKEE GOULD CASINO VILLA MARIANNA JEKYLL ISLAND CLUB AND HOTEL BAKER-CRANE CARRIAGE HOUSE SANS SOUCI INDIAN MOUND MISTLETOE GOODYEAR THE OLD INFIRMARY CHICOTA RUINS FAITH CHAPEL CRANE WHARF MOSS MOSAIC P P P P P P P P P Countersink and mechanically fasten numbers into map model. Threaded insert This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 Welcome Wall LOFT PARTITION FRAMING (BEYOND) NEW REINFORCED CONCRETE SLAB 5/8" GWB CEILING (OVER 'RC-1' RESILIENT CHANNELS) ACOUSTIC BATTS OR R11 (3 1/2") BATTS 75" monitor A4.1 A(1) A4.1 A(2) A5.1 1 SIM A5.1 5 A5.1 6 A4.1 A(2) LOFT PARTITION FRAMING (BEYOND)5/8" GWB CEILING (OVER 'RC-1' RESILIENT CHANNELS) ACOUSTIC BATTS OR R11 (3 1/2") BATTS A5.1 6 A5.1 5 A5.1 1 SIM CONSTRUCTIONProgram & Events 75” Monitor LOBBY EAST ELEVATION Driftwood wall Build out to face of monitor Welcome GraphicSilk screen words on driftwood wall, [for location only]Wayfinding [for location only] 32" monitor 13" monitors 20" monitors Donor Wall LOBBY SOUTH ELEVATION Major Donors32” Monitor +$25,000 Donors 20” Monitors Driftwood Slats PRE S E R V E C O N S E R V E EDUC A T E J E K Y L L I S L A N D F O U N D A TIO N The Jekyll Island Foundation is deeply grateful to the donors who made this project possible L O B BY N AME HERE PROTEC T • Dr if twood slats create a weat hered yet elegant location for recognizing and appreciating donors• An ar tful ar rangement of monitors, wit h sync hronized text (donor names) and imager y (contemporar y and histor ic), integrated into t he slats• One large monitor f eatures donors of t he highest level • Five smaller monitors f eature additional donors and may be by donation level • A brief t hank you message from t he Jekyll Island Foundation incor porated in t he t he wooden slat wall • Words from t he Foundation’s mission pr inted onto t he slats suc h as: educate, preser ve, conser ve, etc. • Lobby donor ’s name included beneath t he array of monitors 1/4”= 1’0” Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud exerci tation ullamcorpe COLORFUL WARBLERS POSITIONED ALONG THE ATLANTIC FLYWAY, JEKYLL ISLAND PROVIDES VITAL RESTING AND FEEDING PLACES FOR MIGRATORY BIRDS SALT MARSH Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud MARITIME FOREST Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis HERE FOR THE HABITATS BEACHES AND DUNES Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis ATLANTIC FLYWAYJEKYLL ISLAND A BIRD’S PARADISE HEADLINE HERE Long-billed Curlew American Avocet Piping Plover Red Knot Whimbrel Chuck-will’s-widow Eastern Kingbird Scarlet Tanager Summer Tanager Tree Swallow Chimney Swift Baltimore Oriole Orchard Oriole Bobolink Black and White Warbler Blackburnian Warbler Black-throated Blue Warbler Magnolia Warbler Palm Warbler Worm-eating warbler American Redstart Yellow Warbler Ovenbird Indigo Bunting Rose-breasted Wood Thrush Yellow-billed Cuckoo Peregrine Falcon Sandhill Crane MOSAiC Restrooms Multi-Purpose Room Outdoor Classroom Ticketing Museum Gallery Trolly Tours Gift Shop 1 EX33 1.4 Bird Migration—Elevation Scale: 3/4"=1'-0" See EX-34 for more info. 4'-0"6'-6"2'-0"1'-3" June 1, 2018 EX-33 100% Design Development This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud exerci tation ullamcorpe COLORFUL WARBLERS POSITIONED ALONG THE ATLANTIC FLYWAY, JEKYLL ISLAND PROVIDES VITAL RESTING AND FEEDING PLACES FOR MIGRATORY BIRDS SALT MARSH Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud MARITIME FOREST Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis HERE FOR THE HABITATS BEACHES AND DUNES Lorem ipsum dolor sit amet, cons ectetuer adipis cing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis ATLANTIC FLYWAYJEKYLL ISLAND A BIRD’S PARADISE HEADLINE HERE Long-billed Curlew American Avocet Piping Plover Red Knot Whimbrel Chuck-will’s-widow Eastern Kingbird Scarlet Tanager Summer Tanager Tree Swallow Chimney Swift Baltimore Oriole Orchard Oriole Bobolink Black and White Warbler Blackburnian Warbler Black-throated Blue Warbler Magnolia Warbler Palm Warbler Worm-eating warbler American Redstart Yellow Warbler Ovenbird Indigo Bunting Rose-breasted Wood Thrush Yellow-billed Cuckoo Peregrine Falcon Sandhill Crane .25” powder-coated aluminum graphic. 1 Required. 1 EX34 1.4 Bird Migration—Elevation Scale: 3"=1'-0" 4'-0"6'-6".5"1.5" June 1, 2018 EX-34 100% Design Development 1 EX34 1.4 Bird Migration—Elevation Scale: 3"=1'-0" Standoff from existing chimney 1 Required. This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 JekyllIslandTHE LAND, THE PEOPLE, THE WILDLIFE We’re a tiny island bursting with stories of people and wildlife from the Native American time period to the present. Come explore with us! This gallery is made possible by The Leavy FamilyBrunswick News Publishing Company RestroomsMulti-Purpose RoomOutdoor ClassroomTicketingMuseum GalleryTrolly ToursGift ShopMOSAiC 3 EX35 2.2 Gallery Title and Entrance—Elevation Scale: 1 1/2”=1’-0” 1 EX35 2.2 Gallery Title and Entrance—Elevation Scale: 3"=1'-0" 4 EX35 2.2 Gallery Title and Entrance—Elevation Scale: 1 1/2”=1’-0” 2 EX35 2.2 Gallery Title and Entrance—Elevation Scale: 3”=1’-0” June 1, 2018 EX-35 100% Design Development 2'-11"0’-7.25”2’-11”2’-4”1'-0"1’-10”3'-3"0’-8”1'-9"0’-9”1’-0”1'-2" 7.5"1’-11.25”1'- 9 "2’-2.5”2’-4”2’-2.5”2'- 1 " 1'- 6 " 1'- 6 " 1'-0" 8” This gallery is made possible by The Leavy Family Brunswick News Publishing Company Vinyl lettering, 2 custom colors, one standard. 1 Required. Vinyl lettering, 1 standard color 1 Required. Translucent vinyl applied to second surface. Final template for cutting film to be provided at later date. 4 pigs required. Translucent vinyl applied to second surface. Final template for cutting film to be provided at later date. 7 pheasants required. 3 to be applied to adjacent perpendicular wall. (Not sure) Glass jointFar left edge of glass This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-36 Scale: 3”= 1”-0” Scale: 3”= 1’-0” Typical Club Title Panel Typical Club Era Statement Panel Typical Club Era Primary Color Palette The Island is transformed into a luxurious and exclusive winter retreat for northern millionaires and their families. Scale: half of full-scale Typical Club Era Graphic Rail PANTONE 7423C PANTONE 716 C PANTONE 265 C Lure of the Hunt Once an exclusive island resort Jekyll Island becomes a state park open to the public and rich with natural and cultural history. Adipsapi enienisquo blauda doluptate molut ex es quam ipient atquatecti blaccus delia plabor alite sinullo repeles et a ex enderro venecta spelitiassi inus aut magnat delecum voluptatem et venecuptus, odipsum accum eat aut estiber orporiatem re aut molore Idebisquati rere earum am hilluptatia dolu ptam, si testrne ojtent. “ Many of the ladies, wives of members and guests, are crack shots, and may well be proud of their achievements afield.” New York Times January 12, 1898 Hunting was a favorite pastime for men and women. As a New York Times article boasted in 1898, “many of the ladies are crack shots.” The game warden, pictured above, regularly stocked the island with wildlife from near and far. Pheasants were imported from as far away as England. eGilded 1886 -1942 Ag e 1 XX00 3 XX00 2 XX00 4 XX00 30” 30” 68” 36” 24” 9” This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-37 30” 30” 68” 36” 24” Typical State Title Panel Typical State Statement Panel Once an exclusive island resort Jekyll Island becomes a state park open to the public and rich with natural and cultural history. 9” Typical State Graphic Rail PANTONE 7465 C PANTONE 307 C PANTONE 7465 C 1948 - Present State Park for All Rich With Natural History Once an exclusive island resort Jekyll Island becomes a state park open to the public and rich with natural and cultural history. Adipsapi enienisquo blauda doluptate molut ex es quam ipient atquatecti blaccus delia plabor alite sinullo repeles et a ex enderro venecta spelitiassi inus aut magnat delecum voluptatem et venecuptus, odipsum accum eat aut estiber orporiatem re aut molore Idebisquati rere earum am hilluptatia dolu ptam, si testrne ojtent. Teatis derorem et fugia ipidebitem as iuntotas. Ris entur tui sus re viduciu sapitae et quis molum lanis Teatis derorem et fugia ipidebitem as iuntotas. Ris entur tui sus re viduciu sapitae et quis molum lanis Ris entur tui sus re viduciu sapitae et quis molum lanis eatis derorem et fugia ipidebitem as iuntotas. Tectorepel et as re re ma dolorum quiandistrum que perum eos et veles aut qui dero molor adiorecabore volest que lab idelit reritius autaspe. Ris entur tui sus re viduciu sapitae et quis molum lanis eatis derorem et fugia ipidebitem as iuntotas. Scale: 3”= 1”-0” Scale: 3”= 1’-0” Scale: half of full-scale 1 XX00 3 XX00 2 XX00 Typical State Era Primary Color Palette4 XX00 This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-38 Typical Plantation Title Panel Typical Plantation Statement Panel Four generations of DuBignons, dependent on slave labor, cultivate the soil and an illicit slave ship thrusts the island onto the national stage. Typical Plantation Graphic Rail 1779 - 1862 LIFEPLANTATION Prosperity in the Soil Four generations of DuBignons, dependent on slave labor, cultivate the soil and an illicit slave ship thrusts the island onto the national stage. Adipsapi enienisquo blauda doluptate molut ex es quam ipient atquatecti blaccus delia plabor alite sinullo repeles et a ex enderro venecta spelitiassi inus aut magnat delecum voluptatem et venecuptus, odipsum accum eat aut estiber orporiatem re aut molore Idebisquati rere earum am hilluptatia doluptam, si test ent. Tectorepel et as re re ma dolorum quiandistrum que perum eos et veles aut qui dero molor adiorec. Tectorepel et as re re ma dolorum quiandistrum que perum eos et veles aut qui dero molor adiorec. “ Arciatiatest et quaepel maio ommodicia porehen itatis a dolupta tiscipis as voluptur aut as sum ad quo illorep uditaquatiae doluptas autent venimin cus de ati comnia consequis perum quostotatur.” New York Times January 12, 1898 PANTONE 157 C PANTONE 7735 C PANTONE 5835 C Scale: 3”= 1”-0” Scale: 3”= 1’-0” Scale: half of full-scale 1 XX00 3 XX00 2 XX00 Typical Plantation Era Primary Color Palette4 XX00 30” 30” 68” 36” 24” 9” This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-39 Typical Colonial Title Panel Typical Colonial Statement Panel The English colonize Georgia and British Major William Horton and his indentured servants put down roots on Jekyll Island. 9” Typical Colonial Graphic Rail 1562 - 1778 Europeans CLAIM THE ISLAND PANTONE 2305 C PANTONE 290 C PANTONE 2765 C Claiming Georgia The English colonize Georgia and British Major William Horton and his indentured servants put down roots on Jekyll Island. Adipsapi enienisquo blauda doluptate molut ex es quam ipient atquatecti blaccus delia plabor alite sinullo repeles et a ex enderro venecta spelitiassi inus aut magnat delecum voluptatem et venecuptus, odipsum accum eat aut estiber orporiatem re aut molore Idebisquati rere earum am hilluptatia doluptam, si test ent.Strum que perum ectorepel et as re re ma dolorum quiandieos et veles aut qui dero molor adiorec. Tectorepel et as re re ma dolorum quiandistrum que perum eos et veles aut qui dero molor adiorec. Rue perum eos et veles aut qui dero molor adioreectorepel et as re re ma dolorum quiandistrumc. Scale: 3”= 1”-0” Scale: 3”= 1’-0” Scale: half of full-scale 1 XX00 3 XX00 2 XX00 Typical Colonial Era Primary Color Palette4 XX00 30” 30” 68” 36” 24” 9” This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-40 Typical Native American Title Panel Typical Native American Statement Panel The Timucua tribe live on the island’s abundant natural resources for thousands of years before Europeans colonize the area. Typical Native American Graphic Rail 2500 BC-500 NativeAmericans The Timucua Tribe The Timucua tribe live on the island’s abundant natural resources for thousands of years before Europeans colonize the area. Adipsapi enienisquo blauda doluptate molut ex es quam ipient atquatecti blaccus delia plabor alite sinullo repeles et a ex enderro venecta spelitiassi inus aut magnat delecum voluptatem et venecuptus, odipsum accum eat aut estiber orporiatem re aut molore Idebisquati rere earum am hilluptatia doluptam, si test ent. Distrum que perum eos et veles aut qui dero molor adiorecabore vole ectorepel et as re re ma dolorum quiandistrum que perum eos et veles aut qui dero molor adiorecabore volest que lab idelit reritius autaspe. T adiorecabore volest que lab idelit reritius autaspe. ectorepel et as re re ma dolorum quiandistrum que perum eos et veles aut qui dero molor Rm que perum eos et veles aut qui dero molor adiorecaboectorepel et as re re ma dolorum quiandistrure volest que lab idelit reritius auta toen maoen m spe. PANTONE 2305 C PANTONE 290 C PANTONE 2765 C Scale: 3”= 1”-0” Scale: 3”= 1’-0” Scale: half of full-scale 1 XX00 3 XX00 2 XX00 Typical Colonial Era Primary Color Palette4 XX00 30” 30” 68” 36” 24” 9” This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-41 Scale: 3”= 1”-0” Typical Club Introduction Panel Scale: half of full-scale Typical Artifact Case Story Panel PLESSY V. FERGUSON SANCTIONING SEGREGATION MOMENTS IN WORLD HISTORY WRIGHT FLYER TAKES FLIGHT UNITED STATES ENTER WORLD WAR I WOMEN ALLOWED TO VOTE FIRST MOTION PICTURE RELEASED WORLD WAR II BEGINS Escape from the Busyness and business Rate mit onctatiis mosete molupta tone dolupta sapieni entiunt rem consequ ibuste qui iscienditia sint assimpo toeh ritates idessequam nullorro. Rate mit onctatiis mosete molupta tone dolupta sapieni entiunt rem consequ ibuste qui iscienditia sint assimpo toeh ritates idessequam nullorro. dolupta sapieni entiunt dolupta sapieni entiunt Rate mit onc sapieni entiunt The Gilded Age on Jekyll Island The late 1800s ushered in a new destiny for Jekyll Island. The country’s elite and influential millionaires from New York, Philadelphia, and Chicago flocked to the island seeking an escape from busyness and business. They built an exclusive Hunting Club and enjoyed tennis, golf, and bicycling, fine food and entertainment. And, they were catered to by hundreds of seasonal and year round workers from near and far. Rate mit onctatiis mosete molupta tone dolupta sapieni entiunt rem consequ ibuste qui iscienditia sint assimpo toeh ritates idessequ toemeonq am nullorro. 24” 30” In the early years members traveled to this remote Southern island to relax and hunt. The island was regularly stocked with doves, wild turkeys, boar, alligator, and pheasants. Lure of the Hunt 1 XX00 2 XX00 40” 32.5” This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-42 Typical Artifact Labels Scale: full-size 6”6” 6” 6” 4” 2” 4” 8.5” Single Artifact Label That Accomodates Two Lines Multiple Artifacts Label with List Otius neratum ocet ped quatinc tib tonuscia volor suntem. Multusperum pra reunumus renatus patume imilnem adducit ad nostiam to caterum praunumiolor sum ia vetes! 1. Otius neratum ocetped quatinc tiberen 2. Multusperum pranc tiberen 3. Patume imilnem adducit ad nostiam 4. Ratume imilnem adducit ad nostiam to 5. Ritped quatinc tiberen tius neratumoc 6. Tedducit ad nostiam miolor sum Artifact Label with Caption Otius neratum ocet ped quatinc tib tonuscia volor suntem. Multusperum pra reunumus renatus patume imilnem adducit ad nostiam to caterum praunumiolor sum ia vetes! Artifact Label with Thumbnail Photo Otius neratum ocet ped quatinc tib tonuscia volor suntem. Multusperum pra reunumus renatus patume imilnem adducit ad nostiam to caterum praunumiolor sum ia vetes! Artifact Label with Photo Otius neratum ocet ped quatinc tib tonuscia volor suntem. Multusperum pra reunumus renatus patume imilnem adducit ad nostiam to caterum praunumiolor sum ia vetes! Scale: half of full-size Typical Instructional Panel 12.5” Take a Spin In The Red Bug! Hop in, grab the wheel, and explore the island. Most club members owned a Red Bug electric car, like this one. Members enjoyed cruising along island roads and racing on the beach. Scale: half of full-size Typical “Touch and Feel” Panel 9” 9” RED FOX Multusperum pra, unumus renatus patume imilnem adducit ad nostiam to Catium ia vetes! Otius neratum ocet ped quatinc tibuscia volor suntem. Et vercidi cus sum, to ommolestet aut hilitate suntinime desed. What animal wears this fur? LIFT & TOUCH FEEL 1 XX00 2 XX00 3 XX00 NOTE: Graphic shown here are to be used throughout all exhibit eras. This drawing and the resultant constructed works are the property of Weber Group Inc. and is issued subject to the condition that they are not to be copied or reproduced either in whole or in part, or used in any manner detrimental to it's interest without the express written permission of the copyright holder, in accordance with Title 17 U.S.C. and the Architectural Works Copyright Act of 1990, P.L. 101-650, Title VII sect. 70 et. seq. Drawings are not to be scaled. It is the responsibility of the contractor to verify all dimensions contained in these drawings, and to notify the architect of any discrepancies or inconsistancies prior to the start of construction. Contractor to notify architect of any intended change in construction materials, methods, size, etc.,as indicated on drawings for review and approval prior to commencement of such work. WEBER GROUP, INC D E S I G N C O N S T R U C T I O N S P E C I A L T Y F A B R I C A T I O N S w w w . w e b e r g r o u p i n c . c o m 5 2 3 3 P R O G R E S S W A Y S E L L E R S B U R G, I N D I A N A 4 7 1 7 2 T E L 8 1 2 . 2 4 6 . 2 1 0 0 F A X 8 1 2 . 2 4 6 . 2 1 0 9 DATE: DRAWN BY: CHECKED BY: PROJECT NO. SHEET REVISIONS 103 Blanchard Road Cambridge, MA 02138 JEKYLLISLANDMUSEUM 100 Stable Road, Jekyll Island, GA 31527 June 1, 2018 EX-00 100% Design Development June 2018 EX-43 abcdefghijklm nopqrstuvwxyz ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890 abcdefghijklm nopqrstuvwxyz ABCDEFGHIJKLMNO PQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNO PQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNO PQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNO PQRSTUVWXYZ 1234567890 abcdefghijklm nopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUV WXYZ 1234567890 abcdefghijklm nopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUV WXYZ 1234567890 abcdefghijklmnopqrs tuvwxyz 1234567890 Stud - Regular Gotham - Bold Yana - Bold Carta Marina - Bold Ronnia - Light Ronnia - Light Ronnia - Regular Typical Title Font for the Club Era Typical Title Font for the State Era Typical Title Font for the Plantation Era Typical Title Font for the Colonial Era Typical Title Font for Plantation Era Typical Body Copy Fonts for all Eras Madrone Std - Standard 1 2 3 4 5 6 2315 W. MAIN STREET . RICHMOND, VA 23220 TEL (804 ) 254-1740 . FAX (804) 254-1742 INFO@RIGGSWARD.COM . RIGGSWARD.COM PLANNING . RESEARCH . EXHIBITS . GRAPHICS 1 Cover Letter/Management Summary 2 Certified Minority Business Enterprise 3 Business Plan 10 Cost of Services to the County 14 Experience and Capacity of the Firm 62 Specialized Expertise of Team Members 78 Local Vendor Preference 79 Attachment A: Required Forms 85 Attachment B: Sample Deliverable TABLE OF CONTENTS August 30, 2018 Swainson Hall, Procurement Manager Procurement Services Division 3295 Tamiami Trail East, Bldg C-2 Naples, Florida 34112 Mr. Hall: The Riggs Ward Design (RWD) team is honored and excited to submit our qualifications to the Collier County Board of County Commissioners Procurement Services Division (Collier County) for exhibition design and fabrication services. We understand that the four projects described in the RFP will require a varied set of skills and our team is capable of providing the highest quality work and level of service available in the industry. Riggs Ward Design has a full in-house staff that includes experts with educational backgrounds and expertise in planning, history, architectural history, museum studies, graphic design, architecture, and media development. For the exhibition projects in Collier County, we have also chosen to team with Building Four Fabrication (BLDG4) to complete fabrication and installation services. RWD has worked with BLDG4 on another large project, which has allowed us to build a collegial and successful partnership over the years. Together, our team brings to this effort the following key attributes: 1. Our extensive experience with museums and visitor-oriented sites. We are aware of the intrinsic and unique needs these facilities require to operate effectively and to sustainably deliver their stories in a compelling manner. 2. The value we place on client-designer relationships. RWD wants to be your partner in creating an authentic, engaging, and intuitive visitor experience that draws new and repeat visitors. 3. Our in-house media design services. We see the importance of seamlessly integrating media within the visitor experience. We also provide exhibition maintenance to each of our clients post-installation. 4. Our passion for telling stories in 3-D. We challenge ourselves with the highest standards of quality and design to produce outcomes that raise the bar. As you will see, the majority of the projects featured in this proposal demonstrate our depth of experience working with objectives and content very similar to that of the Collier County projects. The Riggs Ward team will work as an extension of your organization and become a vocal advocate for each project within the community. You will find that many of our references will proclaim that we are the most professional, organized, and enjoyable firm that they have ever worked with on any project. Should you have any questions or concerns, please contact me at 804.254.1740 ext. 207 or via email at bward@riggsward.com. We look forward to hearing from you! Best regards, L. Brent Ward Principal, Authorized Contact 2315 W. Main Street, Richmond VA 23220 TEL 804.254.1740, FAX 804.254.1742 www.riggsward.com, info@riggsward.com WWW.RIGGSWARD.COM | 2 CERTIFIED MINORITY BUSINESS ENTERPRISE Riggs Ward is a Certified Small Business Enterprise by the Virginia Department of Small Business and Supplier Diversity (DSBSD). The small and micro certification number is 8623. WWW.RIGGSWARD.COM | 3 Riggs Ward believes that the new exhibits created for Collier County should be comprised of motivational experiences and treasured artifacts that leave indelible impressions upon each new and returning visitor. RWD shall do this by working with and listening to the Collier County Team and stakeholders to design interpretive exhibits and interactives that captivate as well as educate. Our proven creative methodology will ensure that all visitors are exposed to the county’s vibrant cultural heritage—whether it is through natural history, transportation, or the exploration of a cultural landscape. We intend to develop exhibits that tastefully replace outdated displays, evoke excitement for the topics on display, and entice further learning and exploration of Collier County’s rich history. The Riggs Ward team is ready to work with the Collier County Team to develop, design, and implement new concepts and exhibits that successfully meet the goals set forth in the Request for Proposal. Our designs will be a constant celebration of Collier County’s heritage and the region as a whole. BUSINESS PLAN WWW.RIGGSWARD.COM | 4 UNDERSTANDING OF PROJECT We understand that Collier County is experiencing a transition in which contemporary designs and learning opportunities are sought. These new exhibition efforts seek to update the displays found at the Collier Museum, Museum of the Everglades, Naples Depot Museum, Marco Island Historical Museum, and Immokalee Pioneer Park, further ensuring the County’s status as a visible and valuable educational resource. In order to do so, the County has requested assistance in enhancing both current and temporary exhibits through planning, conceptual design, casework, audio visual and interactive components, and custom fabrication/installation. Our team recognizes the expertise that your museum staff has, and will utilize your knowledge to inspire our designs and drive the content. While we expect regular contact reports, telephone calls, and use of the Internet to improve communications with your team, our firm does not believe that this is a substitute for face-to-face communications. Our plan is to work in partnership by involving the museum staff in all stages of the exhibit development. This will allow for a system of checks and balances along the critical path to completion. PROPOSED APPROACH RWD focuses on the human element of the visitor experience. Our proven methodology encourages participation and gives the highest value to the input of local experience while crafting a multiple-option/common- sense approach. Our continued analysis throughout the planning process looks at a variety of perspectives and presents different avenues to address each theme. RWD does not follow a formulaic trajectory for every project. This gives our clients the ability to understand how even small decisions can have major impacts on the way content is developed; the way visitors consume time and the quality of the visitor experience. RWD understands that our clients have an incredibly wide range of visitors to attract, engage, educate, entertain and ultimately satisfy. The research, planning and development of the visitor experience need not be a complicated one. There are simple truths to planning for visitors, informing them and helping them feel welcome. Using relevant demographic projections (for the current and future visitor), RWD will create award-winning designs that will be fresh and inviting for many years to come. Please see our detailed design process by phase on the following pages. STRENGTH AND CREATIVITY OF DESIGN IDEAS WWW.RIGGSWARD.COM | 5 Phase 1: Programming Phase 2: Schematic Design The Programming Phase consists of a kick-off meeting that introduces the project’s scope, schedule, budget, process philosophy, and implementation plan to the entire project team. The Project Manager will be the primary contact person for RWD, and will work directly with the Collier County Team to develop an agenda for the meeting. The Project Manager will facilitate this meeting and will review the approach with the Collier County Team to establish specific dates for each phase of the project. The Project Manager will also review methods for managing the project including a project website. The site will contain contact information, meeting notes, schedules, budgets, and milestone deliverables that can be accessed at any time. The initial meeting will include a walkthrough of the site, as well as an active review and analysis of existing interpretive materials. Photographs and measurements will be taken of the specified galleries in order to create detailed fabrication drawings. All electrical, ventilation, entries, lighting, fixtures, switches, security systems, structural supports, artifacts, assets, and miscellaneous elements will be inspected and noted to avoid any complications during fabrication/installation of the exhibit elements. After the meeting, RWD will prepare a statement of goals that clarify project objectives, both aesthetic and educational, and a description of the group vision for the exhibit design. The report will include a narrative response to the comments made by those in the meeting, as well as a visual record of any information presented by the design team and the stakeholders. RWD will create draft bubble diagrams for space allocations that represent potential exhibit themes. During the Schematic Design Phase, RWD will build upon responses from the Programming Phase. RWD will provide the Collier County Team with different preliminary concept overviews for the exhibition, including identifying key themes and central focal pieces. These concept overviews may include updated bubble diagrams, draft site plans, draft floor plans, draft space allocations, and narrative descriptions of the proposed designs. The Collier County Team will provide RWD with an artifact notebook and draft exhibit script during this phase. RWD will provide color sketches of a potential exhibit approach. This visual representation will provide an invaluable tool for communicating potential designs to all stakeholders and will build upon the narrative concepts previously developed. Draft label copy approaches, draft graphic design approaches and advanced visuals of the exhibition design elements will be reviewed and actively brainstormed by the project team. The preliminary to-scale graphics will include options for typefaces, color, and materials while demonstrating the 3-30-3 rule for interpretation. Flowcharts will be developed for any recommended A/V components. This package will also include a preliminary list of artifacts and images. The final deliverable will include a review of the budget and schedule. 1 2 PLAN OF APPROACH WWW.RIGGSWARD.COM | 6 Phase 3: Design Development Phase 4: Construction Documents Upon approval of the Schematic Design Package, RWD will begin to prepare the Design Development Package. The package will include CAD drawings to show layouts and elevations for exhibit components. RWD will incorporate all changes as approved by the Collier County Team in this and previous phases to lead toward consensus for the final exhibition details. All other components such as floor plans and sketches shall be refined to reach their final stage of development during this phase. RWD will create a cohesive package that includes a color board of material finishes and indicates the design intent for each graphic component located throughout the exhibit. Typographic examples, sample illustrations, colors, materials, and images will be presented and assigned to relevant exhibit and graphic drawings. If specified in the contract, RWD will assist in locating, acquiring, and securing copyright releases of images that are not in the Collier County collection. Final graphic dimensions and fabrication techniques will also be included in the graphic schedule. All other components such as floor plans, sketches, audio/visual pieces, and interactives shall be refined to reach their final stage of development during this phase. The budget estimate and schedule will be further refined. Upon approval of the Design Development Phase, RWD will prepare plans, elevations, and section drawings for each component that identify materials, finishes, colors, and hardware. A set of outline specifications identifying project parameters for BLDG4 will also be prepared during this phase. RWD’s Project Manager will review all construction documents to ensure a high level of accuracy, completeness, uniformity, and timeliness in submissions to the Collier County Team and the subsequent release of work to BLDG4. The fabrication drawings will identify clearly each exhibit element through the use of reference numbers. The drawings will detail construction methods and materials of each element, lighting (existing and planned), electrical outlets/boxes/circuits and associated power loads, and the location of all A/V equipment, wiring, and switches. Artifact mount drawings will also be included to show the details of how each artifact will be displayed. During this phase, the Collier County Team will work with RWD to collect all necessary imagery sufficient for final production. Proofs will be developed for each graphic panel. The artifact list will be refined. Production schedules will be developed for all materials, finishes, graphic panels, artifact mounts, and A/V hardware. The project budget and schedule will be updated to reflect the latest set of drawings. 3 4 PLAN OF APPROACH WWW.RIGGSWARD.COM | 7 Phase 5: Construction Administration This phase begins with a kick-off meeting with BLDG4 on- site. During this meeting, RWD will review the construction drawings, specifications, materials and finishes, and graphics with BLDG4 to guarantee that the fabrication conforms to the construction documents. Throughout this phase, RWD will provide clarifications to BLDG4 and review shop drawing and graphic sample submittals. RWD may also conduct shop visits to review work in progress. RWD will be present during on-site installation to ensure compliance with the design and quality intent. At the conclusion of the exhibit installation, a walk-through inspection will be conducted with the Collier County Team during which a “punchlist” of corrective actions will be generated. After final acceptance and approval of the installed exhibits, BLDG4 will deliver the close-out documents including maintenance and operational manuals, warranties, replacement parts, special tools, digital files for graphics, etc. 5 PLAN OF APPROACH WWW.RIGGSWARD.COM | 8 • Atlanta History Center• Bethlehem Steel Visitor Center• Big Talbot Island State Park• Black History Museum & Cultural Center of Virginia• Boy Scouts of America• City of Hampton, Virginia• City of Raleigh Museum• Contemporary Art Center of Virginia• County of Henrico, Virginia• Currituck Heritage Park• George W. Bush Presidential Library & Museum • Historic Christ Church• Historic Columbia Foundation: Woodrow Wilson Family Home• Historic Jefferson School • Kennecott Mines National Historic Landmark • Kislak Center at Miami-Dade College• Library of Congress• Library of Virginia• Mecklenburg County Parks & Recreation• National Park Service: Natchez Trace Parkway• North Carolina Aquariums• North Carolina Division of Parks & Recreation• North Carolina State University• Northwest Louisiana Scenic Byway • Ohio Department of Natural Resources • Outer Banks Center for Wildlife Education• Roanoke Island Festival Park • Sam Rayburn Library and Museum • Shenandoah River State Park Raymond “Andy” Guest Visitor Center • South Carolina Department of Parks, Recreation & Tourism• St. Charles County Heritage Museum• Town of Breckenridge, Colorado• University of Miami• University of Texas at Austin• University of Texas Dolph Briscoe Center for American History• University of Virginia• US Army Museums• US House of Representatives• Valentine Richmond History Center• Virginia Sesquicentennial of the American Civil War Commission• Virginia Museum of Fine Arts• West Virginia University • Whalehead Club• Woodrow Wilson Presidential Library & Museum SELECT CLIENT LIST RWD has completed exhibit design and fabrication projects for the following clients within the past 7 years: WWW.RIGGSWARD.COM | 9 DETAILED TIMELINE Phase Description Start Date End Date Calendar Days Phase I: Programming 9/17/18 10/17/18 30 Initial Charette Meeting 9/24/18 Delivery of all existing assets by the Collier County Team Review of Phase I by Collier County Team 10/17/18 10/31/18 14 Phase II: Schematic Design 10/31/18 12/30/18 60 Presentation of Schematic Design Package to the Collier County Team 12/30/18 Review of Phase II by Collier County Team 12/30/18 1/13/19 14 Phase III: Design Development 1/13/19 3/14/19 60 Design meeting to review comments from Schematic Design Package 1/13/19 Presentation of 100% Design Package to the Collier County Team 3/14/19 Review of Phase III by Collier County Team 3/14/19 3/28/19 14 Phase IV: Construction Documents 3/28/19 6/26/19 90 Design meeting to review comments from Design Development Package 3/28/19 Presentation of 70% Construction Documents to Collier County Team 4/25/19 Presentation of 100% Construction Documents to Collier County Team 6/26/19 Review of Phase IV 100% Submittal by Collier County Team 6/26/19 7/10/19 14 Phase V: Construction Administration 7/10/19 12/7/19 150 Kick off meeting with selected Contractor TBD On-site Installation Meetings (2)TBD Exhibit Complete 12/7/19 RWD has created the following proposed timeline for an exhibition for Collier County, such as the Naples Depot Museum project. Please note that we are willing to work with the Collier County team to further refine the schedule as needed. 30 14 60 14 60 14 90 14 150 9/5/18 10/5/18 11/4/18 12/4/18 1/3/19 2/2/19 3/4/19 4/3/19 5/3/19 6/2/19 7/2/19 8/1/19 8/31/1 9 9/30/1 9 10/30/1 9 11/29/19 12/29/1 9 Phase I: Programming Initial Charette Meeting Delivery of all existing assets by the Collier County Team Review of Phase I by Collier County Team Phase II: Schematic Design Presentation of Schematic Design Package to the Collier County Team Review of Phase II by Collier County Team Phase III: Design Development Design meeting to review comments from Schematic Design Package Presentation of 100% Design Package to the Collier County Team Review of Phase III by Collier County Team Phase IV: Construction Documents Design meeting to review comments from Design Development Package Presentation of 70% Construction Documents to Collier County Team Presentation of 100% Construction Documents to Collier County Team Review of Phase IV 100% Submittal by Collier County Team Phase V: Construction Administration WWW.RIGGSWARD.COM | 10 EXAMPLE WORK PRODUCT RWD has provided an example Schematic Design Report as an attachment to this proposal. COST OF SERVICES TO THE COUNTY We have provided a projected total cost for the 8,000 square foot Naples Depot Museum Project. This price is based on our current understanding of the scope of work. Estimated calendar day durations and the schedule of values and deliverables can be found on the previous page. Please note that these allocations are preliminary, and we welcome the opportunity to meet with Collier County staff to collaboratively generate concepts for the various locations. We have very clear ideas for enlivening the spaces to make them entertaining and vibrant for visitors.Sample Fee Schedule for the Naples Depot Museum Project Phase Estimated Hours Fees Phase I: Programming 537 $51,000 Phase II: Schematic Design 716 $68,000 Phase III: Design Development 1,074 $102,000 Phase IV: Construction Documents 1,253 $119,000 Subtotal (Design Fees)$340,000 Fabrication Allocation (Based on 8,000 sf)$2,000,000 Total (Design, Fabrication, Installation)$2,340,000 Reimbursables* Travel (Roundtrip from Richmond to Fort Myers)$450 Rental Car $150 Lodging $247 Per Diem $64 $911 *Please note that these reimbursable expenses represent the costs for one traveler. More detailed reimbursable costs will be provided upon the development of the meeting schedule. Schedule of Current Hourly Billing Rates Rate Project Manager/Principal $150 Senior Exhibit Designer $120 Exhibit Designer $90 Interactive Media Developer $85 Graphic Designer $80 Researcher and Evaluator $75 BLDG4: Project Manager $110 BLDG4: Fabricator $65 BLDG4: Installation Technician $65 Blended Hourly Rate $95 Average Square Foot Cost*Rate Average square foot charge for the design, fabrication and installation for a permanent museum project.$250 - $450 *Please see the following pages for more information about exhibit fabrication and programming costs. WWW.RIGGSWARD.COM | 11 1BUILDING FOUR FABRICATION, LLC. Exhibit Budget Scenarios Over the years we have been involved in numerous projects of this type, and we have been able to come up with a rough guideline to forecast general cost associated with fabrication and installation phases. In most cases, the price of an exhibition can range anywhere from $175 to $650+ per square foot. The most common budget range for museum like yours is probably in the $175 - $250 per square foot range. The per square foot industry standards depend primarily on the services required and the level of interactivity, richness of materials, and extent of audio-visual components desired. In addition to basic structures and graphics, the mid-range budget would provide active vignettes, hands-on interactives, plus button-activated audio repeaters with off-the-shelf speakers. A bit higher and you're moving into the territory of moving images; original video production can run $1,000 per finished minute, inclusive of all production-related expenses, exclusive of cabinetry and equipment. Using stock footage saves money, but museum-quality (durable) equipment is still a cost factor. Computer interactive costs start at a minimum price of $25,000 (production only) and go up from there. In the $375/$400 per square foot and higher range and you are in the world of immersive environments, lots of hands-on exhibits, touch screen interactives, audio repeaters with high quality speakers designed to prevent sound bleed, and theater-quality presentations. In order to simplify the presentation of these budgets, we have created three scenarios: Traditional Exhibitions, Themed Vignettes, and Immersive Environments. Each of these three levels would share the same exhibit topics, storyline, and overall tone; however, each level utilizes different exhibit delivery systems, levels of technology, and materials. Each of the following budgets includes the planning, design, project management, fabrication, and installation costs to produce and install the exhibit. Scenario 1: Basic Exhibits $175+ per square foot Basic Exhibits tell stories in a mixed environment of themed text rails, graphic panels, and artifact cases, which will utilize natural and external lighting. The exhibits could suggest a contextual setting for the content and enhance the interpretive experience of the visi- tor. Much of the information that is presented as mechanical or electronic interactives in Scenarios 2 and 3 will take the form of text and graphics. Low-tech interactive exhibits will be of a hands-on/ mechanical variety and will be used in limited quantities. Limited use of audio can be achieved at this budget level only if production costs are kept to a minimum. WWW.RIGGSWARD.COM | 12 2BUILDING FOUR FABRICATION, LLC. Scenario 2: Themed Vignettes $250+ per square foot Themed Vignettes will put the visitor in a contextual setting with stylized fragments of structures, floor treatments, graphics, and murals. These will replace the full reproduc- tions, scenic groundwork, and walk-through dioramas of the immersive environment (Scenario 3). Interactive exhibits will still be of a hands-on/mechanical variety but will be used in lesser quantities than in Scenario 3. A good mix of interactive exhibits are possible with this budget, combining hands-on/mechanical interactives such as flipbooks, discov- ery drawers and doors, sliders, and wheels presenting information in the form of hands-on puzzles and games. Stock or existing multi-media programming could be achieved within this budget. Audio/visual will be used less extensively than in Scenario 3. Existing video delivered to monitors set into text rails or graphic panels would replace original produc- tions. Audio can dramatically supplement graphics and artifacts with music, oral histories, sound effects, or environmental sounds. Limited use of themed floor and/or ceiling treat- ments and/or environmental graphics could be utilized in this scenario. Scenario 3: Immersive Environment $375+ per square foot Immersive Environments will put the visitor in a contextual setting for the material to be interpreted. Lifelike structures, fiberglass reproductions, and scenic groundwork with walk- through dioramas leave little to the imagination. The highest-level of interactive exhibits are possible in this scenario, combining hands-on/mechanical interactives such as flip- books, discovery drawers and doors, sliders, and wheels, with highly interactive, electronic, multi-media exhibits presenting information in the form of hands-on puzzles and games. Computer interactives, audio and video will be used extensively throughout supplement- ing text, graphics, and artifacts. Video presentations could play on monitors set into text rails or graphic panels. Audio, perhaps triggered by infrared sensors, could deliver oral histories, news reports, sound effects, atmospheric music, or environmental sounds. All areas will be rich with interactive elements produced using unique finishes and special materials. Artifact cases could feature microclimate technology, conservation quality, and specialty lighting. In general, luxurious finishes and materials can be used (hardwood or metals instead of lami- nates, for example). Graphic banners, ceiling treatments, and specialized lighting complete this immersive environment. On the page below, we show a matrix listing the type of elements you may get for each scenario. Please realize that this matrix is illustrative – having a budget below $200 per square foot certainly doesn’t mean you cannot receive elements listed in the “Themed Vignettes” category. WWW.RIGGSWARD.COM | 13 3BUILDING FOUR FABRICATION, LLC. Exhibit Budget Matrix WWW.RIGGSWARD.COM | 14 EXPERIENCE AND CAPACITY OF THE FIRM American Library Association Black History Museum & Cultural Center Blenheim House and Visitor Center Cathedral of the Sacred Heart City of Durham, North Carolina City of Fairfax Museum and Visitor Center City of Greenwood, South Carolina City of Greensboro Parks & Recreation Department City of Hampton, Virginia City of North Myrtle Beach Contemporary Art Center of Virginia Council for America’s First Freedom County of Henrico, Virginia Currituck Heritage Park Danville Science Center Fort DeRussy Fort Fisher Fort Lewis Army Museum George W. Bush Presidential Library Historic Christ Church Historic Jarvisburg Colored School Library of Congress Library of Virginia National Bean Market Museum National Library of Medicine National Park Service North Carolina Aquariums North Carolina Division of Parks & Recreation North Carolina State University Outer Banks Center for Wildlife Education Pamplin Historic Park Pemberton Historic Park Richmond Historic Riverfront Foundation Science Museum of Virginia Shenandoah Valley Battlefields Foundation Smithsonian Institution South Carolina Department of Parks, Recreation & Tourism Steamboat Era Museum University of Miami University of Texas University of Virginia U.S. Army Center of Military History U.S. House of Representatives Valentine Richmond History Center Virginia Association of Museums Virginia Center for Architecture Virginia Historical Society Virginia Tech Woodrow Wilson Presidential Library SELECT CLIENT LIST Riggs Ward Design (RWD) is an award-winning studio located in Richmond, Virginia. Over the past 20 years, our team has provided exhibition and interactive design, strategic master planning, research, content analysis, and storyline development for established, new, and emerging cultural institutions. RWD’s services also include exhibit casework, retail environments, indoor and outdoor interpretive experiences, multimedia presentations, as well as brochures, catalogs, and fundraising materials. Our unique range of services combined with our staff of established and well- respected professionals will provide your institution with a single source for all of its design needs. RWD is committed to giving our clients the highest quality creative product and service available, while honoring a commitment to the art of design. WWW.RIGGSWARD.COM | 15 Creative Development Riggs Ward has experience designing and creating meaningful experiences for a wide range of visitors. We are eager to ascertain the needs of the people who visit your site on a yearly basis. Using aesthetic treatments and advanced display techniques, we are able to highlight artifacts and connect them to the stories that are unique to the various exhibit themes. Research & Interpretation RWD can conduct research in order to determine details about visitors to Collier County cultural sites. In the past, we have created questionnaires for local tourism destinations, school representatives, and similar cultural institutions in order to gain a better understanding of typical visitors and the needs and expectations of the community. RWD consults with local and national sources to obtain demographic data to ensure that the exhibits are accessible to all members of the community. RWD is able to provide the Collier County Team with a written report to analyze and summarize the research in its entirety. If requested, RWD can work with the Collier County Team to develop the overall themes, subthemes, messages, and asset “wish” lists for each project. Architectural Renderings Our drawings are generated using Vectorworks and SketchUp and include plan, elevation and section drawings that identify materials, finishes, colors and hardware. RWD’s Project Manager will review all shop and coordination drawings to ensure a high level of accuracy, completeness, uniformity, and timeliness in submissions and the subsequent release of work to production. The fabrication drawings identify clearly each exhibit element through the use of reference numbers. The drawings detail construction methods and materials of each element, lighting (existing and planned), electrical outlets/boxes/circuits and their associated power loads, and the location of all A/V equipment, wiring, and switches. Artifact mount drawings are included to show the details of how each artifact will be displayed. Graphic Design RWD creates cohesive packages that indicate the design intent for each graphic component in the exhibit. Typographic examples, sample illustrations, colors, materials, and images are presented and assigned to relevant exhibit and graphic drawings. If specified in the contract, RWD can assist in locating, acquiring, and securing copyright releases of images that are not in the Collier County collections. Final graphic dimensions and fabrication techniques are included in the graphic schedule package. QUALIFICATIONS WWW.RIGGSWARD.COM | 16 Design of Interactive & Immersive Exhibit Components RWD has extensive background in developing and fabricating hands-on and computer interactives. Examples of interactives that we have created include: hoisting cargo, outdoor flip panels that highlight native species, stereoscope displays, and push- button interactives that allow visitors to better understand the amount of water pressure needed to erode rock. Our hands-on interactives are always designed to be durable and cost-conscious. Mike Radtke, Senior Exhibit Designer, worked as a detailer for Hadley Exhibits—an industry leader in hands-on exhibit development. RWD deploys large and small format media in almost every exhibit we have designed and managed during fabrication and installation. Our team has worked with experiential theater, interactive motion activated video, introductory theaters, Leap Motion interactives, iBeacon technology, projected touchscreen displays, and many other immersive technologies. Exhibit Lighting RWD has background in the areas of lighting design and artifact conservation concerns. RWD also uses top lighting experts from external firms. RWD is able to design and install systems that limit light and UV levels to create natural, seamless experiences. For example, RWD’s creation of a temperature and humidity controlled, waterproof case was developed to house one of 12 original copies of the Magna Carta at the Virginia Museum of Contemporary Art. Light levels were limited to five foot-candles. Mobile Technology Development Mobile technology is changing the way visitors interact with museums. With instant access to the Internet, apps, and an endless stream of data in our pockets, museums must prepare for the future of an increasingly technology-driven society. RWD has designed a number of mobile interactives, which have helped to supplement visitors’ experiences at many sites throughout the country. Installation RWD is qualified to conduct construction and fabrication administration during on-site installation to ensure compliance with the design and quality intent. At the conclusion of each exhibit installation, a walkthrough inspection is conducted with the Client during which a “punchlist” of corrective actions is generated. We install: • Signage • Waysides • Kiosks • Artifact mounts • Electronics & A/V Components • Graphics • Custom Casework • Diorama & scenic environments QUALIFICATIONS WWW.RIGGSWARD.COM | 17 Artifact Security and Conservation Techniques RWD is fortunate to have members of its team who have worked extensively with collection objects while being employed at museums such as the Strong Museum (Rochester, NY), The Buffalo and Erie County Historical Society (Buffalo, NY) and the Valentine History Center (Richmond, VA). Such familiarity enhances our working relationship with our clients, due to the sensitivity we bring to any project. As an example, one of our founding Principals, Brent Ward, has worked for a university, a library, and a museum. Starting as an intern at the Virginia Historical Society while in college, Brent was taught to accession a rare collection of glass plate negatives by the museum staff. He then went on to work as an interpretive specialist in the Wickham House/Valentine Museum at the Valentine Richmond History Center and at Tredegar Civil War Iron Works. Sustainable Design Techniques The Riggs Ward Team aims to develop exhibitions that utilize recycled and energy-efficient materials in an effort to provide museums and other cultural institutions with sustainable alternatives for exhibits. RWD believes that it is our responsibility as a design firm to influence change in exhibit design and fabrication methods with creative solutions for “green” visual displays. The challenge of using recycled, reclaimed, and renewable materials in exhibit design offers opportunities for creativity and innovation. Accessibility and ADA Compliance Guidelines RWD has experience in designing exhibits that meet ADA requirements. RWD’s projects regularly meet the criteria outlined by the ADA with respect to accessibility, reach, clearances, signage size, legibility and contrast. In addition, RWD’s projects comply with state and local building and fire codes. The Development of Fundraising Materials RWD can provide Collier County with preliminary concept overviews for the interpretive exhibitions, including identifying key themes and central focal points within the gallery spaces. These concept overviews may include building models, bubble diagrams, floor plans, space allocations and narrative descriptions of the proposed designs. Depending upon contract details, RWD may provide black and white or color sketches of potential exhibit approaches. These visual representations provide an invaluable tool for communicating potential designs to all stakeholders. QUALIFICATIONS WWW.RIGGSWARD.COM | 18 The RWD team will collaborate with the Collier County Team on all aspects of exhibit development in an energetic, creative, and professional manner. Project Management RWD’s will assign a senior team member to manage the project. The Project Manager shall be the primary point of contact for the Collier County Team and shall manage all aspects of the exhibition designs while overseeing submittals. The Project Manager will plan, review, track progress, and guarantee quality control throughout all phases of the project. Our Project Managers have worked on many projects to ensure that they are completed on time, on budget, and with the best quality results. Routine Budget Analysis RWD will perform budget analyses for the entirety of the project. We will do our best to suggest products and design solutions that are within your budget, without sacrificing quality. If there are any indicators that we may exceed the budget, the RWD Project Manager will proactively make adjustments as needed. Quality Assurance RWD constantly updates its design and technology skills to increase our awareness of visitor influences and needs. We employ thorough in-house review processes and project post mortems. Using visitor profiles, focus groups, and exhibit evaluations, our team will create exhibits that will achieve desired educational and emotional goals. Subcontract Management System RWD shall take a multi-faceted approach to efficiently and effectively complete the Collier County projects. The first facet is, of course, the planning, exhibit, and media design provided only by RWD associates. All aesthetic concerns shall be resolved by RWD, including 3D exhibit components, structures for electronic media and interactives, printed graphics, case security, platforms, exhibit identities, documentation, specifications, and all interior architectural elements. Building Four Fabrication, LLC (BLDG4) shall collaborate as the other facet, providing custom fabrication and installation expertise. BLDG4’s Project Manager shall report directly to the RWD Project Manager. BLDG4’s profile and qualifications can be found on the following page. RWD selects subcontractors based on their problem solving abilities, qualifications, and experience. Our staff firmly believes that our combined breadth of professionalism, creativity, and experience will produce the best results for this project. RWD TEAM | 19 Company Background and Experience Building Four Fabrication, LLC is a full service exhibits and display firm, specializing in custom fabricated visual environments. Our highly experienced staff has taken hundreds of projects from concept to realization. Those projects range from interior and exterior exhibits, signage, graphics, custom art and display projects. BLDG 4 maintains a reputation for high quality and on-time installations and works directly with Architects, Designers, Developers, Facility Managers, General Contractors, Management and Marketing Coordinators. As a turn-key exhibit company, BLDG4 has the capacity to be involved in all phases of a project’s development. We pride ourselves in providing the highest quality product for our clients. With over 30 years combined exhibit design and fabrication experience, our owners guarantee that your project will be everything you envision. Our skilled team of designers, carpenters, metal workers, scenic painters, audio-visual technicians, and many other artists have created hundreds of designs and spaces throughout the US. With our offices in both Atlanta, GA and Austin, TX, as well as a new 12,000 sq. ft. fabrication facility, we have the capacity to handle any size project. You can be confident in our ability to produce the highest quality product, on time and within your budget. Our goal is to bring your vision to life while providing the highest standards of customer service. Ownership: Michael Lewis Principal/Director of Operations Rudy Rocha Principal/Director of Projects Frank Yoculan Principal/Art Director Physical Address: Building Four Fabrication, LLC 3555 Broad Street Chamblee, GA 30341 Mailing Address: Building Four Fabrication, LLC 3555 Broad Street Chamblee, GA 30341 Other Company Locations: Building Four Fabrication, LLC 3550 Lakeline Blvd. Ste 170 Leander, TX 78641 Telephone | 404.551.4450 Email | info@buildingfour.com RWD TEAM | 20 FABRICATION | OUR FACILITY Building Four Fabrication has a 13,000 square foot exhibit fabrication facility. The facility is dedicated to custom fabrication; including plastic, metal, fiberglass and woodworking. Our 3 axis computer controlled router allows us create repeatable, complex pieces in an efficient manner. We adhere to custom grade quality standards for materials and workmanship defined by the Architectural Woodwork institute, National Park Service’s Standard Fabrication Specifications, and the American Association of Museums. As a turn-key design and fabrication firm, we provide most of our project required services in house, giving BLDG4 control over fabrication QUALITY, SCHEDULE and VALUE. RWD TEAM WWW.RIGGSWARD.COM | 21 PROJECT SAMPLES We are enlivened by the ability to create immersive experiences, environmental graphics and exhibits for institutions with rich contextual themes. The RWD team brings over twenty years of experience in the design and execution of displays of similar scale, complexity, and scope as the Collier County projects. Over 75% of our work is coordinated “in house.” The following projects effectively demonstrate: • Our capabilities related to visitor services, planning, and impactful design for public venues; • Our ability to showcase history and cultural heritage while integrating learning opportunities; • Our in-house media development capabilities; • Other qualifications as they relate to the goals expressed in the RFP. EXHIBITION AND MEDIA DESIGN EXPERIENCE (RWD) THE LIBRARY OF CONGRESS Over thirty projects with varying themes and the “New Visitor Experience” THE CITY OF HAMPTON, VIRGINIA Permanent and Temporary Exhibition Design GRAVEYARD OF THE ATLANTIC MUSEUM Master Planning and Permanent Exhibition Design ST. CHARLES COUNTY HERITAGE MUSEUM Permanent Exhibition Design THE KISLAK CENTER AT MIAMI DADE COLLEGE Culture and Change in the Early Americas Permanent Exhibition and Interactive Media THE ATLANTA HISTORY CENTER Master Planning, Permanent Gatheround: Stories of Atlanta Exhibition and Interactive Media MERCHANTS MILLPOND STATE PARK Permanent Exhibition NORFOLK BOTANICAL GARDENS Wayfinding and Interpretive Signage BIG TALBOT ISLAND STATE PARK Interpretive Planning and Signage OUTER BANKS CENTER FOR WILDLIFE EDUCATION Permanent Exhibition BLACK HISTORY MUSEUM OF VIRGINIA In Pursuit of Freedom, Justice, and Equality Permanent Exhibition and Interactive Media ROANOKE ISLAND FESTIVAL PARK Permanent Exhibition JEFFERSON SCHOOL AFRICAN AMERICAN HERITAGE CENTER Permanent Exhibition and Mobile Walking Tour FABRICATION EXPERIENCE (BLDG4) DISCOVERY PLACE Interactive Dinosaur Crate ATLANTA HISTORY CENTER Barbecue Nation Exhibition FORT STEWART MUSEUM 3rd Infantry Division Museum DON PRATT MUSEUM Permanent Exhibition at Fort Campbell LANDMARK INN STATE HISTORIC SITE Permanent Exhibition OKLAHOMA STATE FAIR AGtropolis Adventure WWW.RIGGSWARD.COM | 22 PROJECT SAMPLES Library of Congress New Visitor Center Experience The Library of Congress has worked with Riggs Ward staff members on over thirty projects with varying themes throughout 100,000 sf of exhibit space. One of those projects is New Visitor Experience, focusing on integrating new technologies into the Library and creating new exhibition galleries. RWD worked closely with the Library to achieve a balance of new exhibition elements with traditional pieces such as the cases designed specifically for the Library by Michael Graves. Interactive stations that allow visitors to electronically record items of personal interest throughout their visits are central elements included in each gallery. The goal of the project was to increase the Library’s relevance to patrons and to update its image as a must-see, practical, personal, and modern destination. RWD’s designs helped the Library to achieve this goal, from design of a new orientation desk to signage to interactive exhibitions to traditional artifact and panel displays. One of two new reception desks WWW.RIGGSWARD.COM | 23 PROJECT SAMPLES Interactive stations, placed throughout the exhibit, allow visitors to electronically record items of personal interest. Above, left to right: Screen collage display; Visitors use the passport interactives within the Kislak exhibition. Below: Collage of screens with real time facts about the Library and an overview of collections WWW.RIGGSWARD.COM | 24 PROJECT SAMPLES A longhouse recreation allows visitors to explore the building techniques and living spaces that were typical to the Powhatan Indians. Riggs Ward Design and Color-Ad developed exhibits for the new Hampton History Museum to tell the city’s rich story to visitors. The museum is located in the heart of the city’s historic district and houses exhibits, as well as the administration and collections departments. The new Hampton History Museum includes nine permanent galleries arranged in chronological order showing the 400 years of development of the city and surrounding areas as the oldest continuous English-speaking settlement in America. Artifacts drawn from the city’s extensive collection highlight the diverse contributions of the early villages through the emergence of the modern city as a center of air and space research. An interesting twist to Hampton’s history is it’s strong parallels to American history so that it is relevant to people from all over the United States. Riggs Ward Design provided all exhibit design services, including the master plan, thematic development, dioramas, artifact layouts, construction drawings, graphic design, multimedia design. Color-Ad managed the fabrication and installation. RWD also designed the retail areas that generate revenue for the museum expansion and operations. The City of Hampton, Virginia Hampton History Museum & Visitors Center WWW.RIGGSWARD.COM | 25 PROJECT SAMPLES Above: A re-creation of the Hampton Ruins Below, left to right: Visitors view exhibits in the Port Hampton Gallery; A view of the 17th Century Gallery display case. Artifacts drawn from the city’s extensive collection highlight the diverse contributions of the early villages through the emergence of the modern city as a center of air and space research. WWW.RIGGSWARD.COM | 26 PROJECT SAMPLES Visitors will enter the “underwater” gallery and will be able to select videos highlighting underwater sites from a submersible ROV. Riggs Ward Design is excited to be working with the North Carolina Department of Cultural History and North Carolina Maritime Museums to create exhibit designs for the 7,000 square foot Graveyard of the Atlantic Museum in Hatteras, NC. The project is currently in the design development phase. The exhibits will highlight the thousands of vessels and mariners who lost a desperate struggle against the forces of war, piracy and nature off the North Carolina Coast. The exhibits will immerse visitors through scale, environmental graphics, and sound. North Carolina’s unique maritime history will be further emphasized through interactive experiences that reveal artifacts, preservation techniques, weather prediction technologies, and modern lifesaving tools. Graveyard of the Atlantic Museum (In Progress) Master Planning and Permanent Exhibit Design WWW.RIGGSWARD.COM | 27 PROJECT SAMPLES Above: Visitors move from the sunken ship structure into the main exhibit gallery, which is flanked by artifact displays in shipping containers. Bottom, left to right: Interactive coastal maps in the ship’s hull; Abstract wave forms and a lifeboat, suggesting the turbulent waves of a storm. Casework below the waves allow vistas into the displays beneath. WWW.RIGGSWARD.COM | 28 PROJECT SAMPLES St. Charles County Heritage Museum Permanent Exhibition Design A view of the exhibits in the barn gallery space. St. Charles County Parks and Recreation Department hired Riggs Ward to design approximately 3,200 square-feet of exhibits in their new Heritage Museum, a renovated historical home and a recent addition. The new facility and its exhibits focus on the cultural contributions made by past residents of St. Charles County, Missouri. Riggs Ward helped the museum dedicate distinct spaces for both permanent and temporary exhibits. The first portion of the permanent displays, located in the main house, introduces visitors to the site and the families who once lived in the historical home and began using the property as a community space in the early 1800s. Other displays in the house feature information related to archeological research done in the area, a history of Native American cultures in the area, and the life and work of a prolific photographer who lived and worked in St. Charles in the late 1800s. WWW.RIGGSWARD.COM | 29 PROJECT SAMPLES Above, left to right: Agricultural and craft-making artifacts; A printing display Below: A view of the graphic panels, artifacts, and rail displays throughout the barn gallery. WWW.RIGGSWARD.COM | 30 PROJECT SAMPLES The Kislak Center at Miami Dade College Culture and Change in the Early Americas Exhibition and Interactives The main gallery includes custom casework, large projections, and graphic displays. The Kislak Foundation—a nonprofit cultural institution that collects, conserves, researches and interprets rare books, maps, and cultural artifacts of the Americas—asked Riggs Ward to design the inaugural exhibition, Culture and Change in the Early Americas, in the new and highly anticipated Kislak Center. Located in MDC’s National Historic Landmark Freedom Tower in downtown Miami, the Kislak Center exhibition opened to the public on May 21, 2018. Permanent exhibits and interactive media throughout the exhibition space present a multidimensional view of the cultural change and adaptation that has occurred throughout the Western Hemisphere. The Kislak Center boasts access to over 3,000 Pre-Columbian and early American artifacts held in the Jay I. Kislak Collection, considered to be one of the largest collections of its kind. The exhibition tastefully blends traditional museum design with innovative media in order to engage students, researchers, and visitors of all backgrounds. Riggs Ward’s goal for the project was to design a space that would let the Kislak collection speak for itself while also providing interactive opportunities to spark observation, research, and meaningful discourse. The exhibition uses interactive media as a tool from which the perspectives and people that shaped the modern world can be viewed. WWW.RIGGSWARD.COM | 31 PROJECT SAMPLES Above: A large 86” interactive map table allows visitors to compare historic maps with real geographical features to highlight changing perspectives and the advancement of knowledge over time. Below: Located between artifact displays in the second gallery, separate interactives invite visitors to explore the Kislak collection of books and to learn more about the collection of Conquest of Mexico paintings by Hernán Cortés. WWW.RIGGSWARD.COM | 32 PROJECT SAMPLES The Atlanta History Center Gatheround: Stories of Atlanta Exhibition and Interactives Riggs Ward designed “Gatheround: Stories of Atlanta” for the newly renovated Atlanta History Center, which opened in the summer of 2016. “Gatheround: Stories of Atlanta” is a thematically organized exhibition that explores the city’s history as told from the perspective of numerous individuals. The exhibit is divided into four themes: Politics and Justice, Family and Community, Urban Growth and Change, and Cultural Life, creating an inclusive environment for the visitor to connect with history and share their stories. Hands-on activities, such as lifting a kettle like a washerwoman, and museum theater interpreters, bring the exhibit to life for all ages. Motivated by the idea of inclusion, RWD developed a series of media interactives to offer the visitor an opportunity to engage critically, intellectually, and emotionally with history. A “Share Your Story” recording booth invites visitors to share a story and picture by providing a quiet place to reflect and respond to the exhibit. Visitors can explore the stories left by others in the media wall, a hub of historical and contemporary stories. Throughout the exhibit, digital kiosks expand on the exhibit content in approachable and fun ways, whether offering a quiz to find out which Atlanta neighborhood matches your personality or seeing yourself become part of a historical photograph. An introductory video, located on the outer wall of the interactive hub, welcomes visitors to the exhibit. WWW.RIGGSWARD.COM | 33 PROJECT SAMPLES Above and below: The exhibit themes and artifact displays radiate from the gallery’s central hub interactive, which also acts as a recording booth and searchable database of historical and contemporary stories. Left: An interactive map/data visualization allows users to explore and manipulate data related to the city. Various types of visualizations, such as circle packing, 3-D height maps, and 3-D arc maps illustrate the content in educational and compelling ways. WWW.RIGGSWARD.COM | 34 PROJECT SAMPLES Riggs Ward collaborated with Frank Harmon Architect to design Merchants Millpond State Park Visitors Center, where 1,500 square feet of exhibits highlight the wetland ecology, biodiversity, and cultural history of the region. In particular, the exhibits focus on the comparison between unique features of coastal pond, southern swamp forest, pine woodland, and mixed hardwood forest ecosystems within the park’s 3,300 acres. Dioramas of each of the four distinct natural communities are arranged in rows, enabling visitors to view them separately, making connections between the different plant and animal life associated with each, or to view them collectively in a single vista as they explore the grounds. Many of the dioramas represent scenes not visible in the wild, such as the inside of a beaver lodge in the coastal pond diorama. Interactives include a hollowed out cypress tree where visitors go inside to discover the creatures that live in the tree trunk. View of the main gallery space, which highlights various wildlife habitats. North Carolina Division of Parks & Recreation Merchants Millpond State Park Visitors Center FEATURED IN WWW.RIGGSWARD.COM | 35 PROJECT SAMPLES Above: Visitors can view the inner-workings of a beaver dam in the freshwater wetland exhibit. Below: Close-up view of a Bobcat diorama WWW.RIGGSWARD.COM | 36 PROJECT SAMPLES Norfolk Botanical Gardens Wayfinding and Interpretive Environmental Graphic Design RWD provided planning and design services for an improved visitor experience at the Norfolk Botanical Gardens. The scope of work included: entry ticketing analysis, campus identification signs, directional signs, regulatory signs, and various interpretive signs. Throughout the process, RWD consulted with local specialists to determine appropriate ticketing techniques and has applied those findings to the new entry experience. RWD finalized the overall look and feel of the tram stops and all signage families including typographic specifications, colors, materials, and finishes for each graphic component. In addition, RWD is currently designing and programming a mobile application to guide visitors throughout the site. Above: RWD designed the tram stops that provide visitors with both site information and a place to rest. WWW.RIGGSWARD.COM | 37 PROJECT SAMPLES Above and below: RWD created circulation plans, directional signage, and identification signage to improve traffic flow and interpretation throughout the site. WWW.RIGGSWARD.COM | 38 PROJECT SAMPLES Big Talbot Island State Park (In Progress) Wayfinding and Interpretive Environmental Graphic Design The North Florida Land Trust (NFLT) contracted Riggs Ward for interpretive site development at the Grand Site, a large Mississippian Period shell ring located in Big Talbot Island State Park. In order to create a new public access trail to the Grand Shell Ring, RWD and Southeastern Horizons (a local archaeologist) analyzed the site, its natural setting, past archaeological survey reports, and local and regional history to develop an interpretive program and site plan that maximize the educational experience for the general public and minimize intrusion on the archaeological setting. RWD focused predominately on the interpretation and circulation of the site. RWD developed a parking area plan, an accessible trail plan, a short boardwalk leading to a low observation platform, and several interpretive and tactile learning opportunities such as an archeological flipbook and rubbing stations for school groups. Above: One of the interpretive wayside panels connects Timucuan history to related archaeological findings from the site. WWW.RIGGSWARD.COM | 39 PROJECT SAMPLES 12 MAY 20172315 W. MAIN STREET • RICHMOND, VA 23220TEL 804-254-1740 • FAX 804-254-17422.01SIGN TYPESBIG TALBOT ISLAND TRAIL IMPROVEMENTSNORTH FLORIDA LAND TRUSTELEVATION: SIGN TYPES NOT TO SCALE 1 -12 MAY 20172315 W. MAIN STREET • RICHMOND, VA 23220TEL 804-254-1740 • FAX 804-254-17422.01SIGN TYPESBIG TALBOT ISLAND TRAIL IMPROVEMENTSNORTH FLORIDA LAND TRUSTELEVATION: SIGN TYPES NOT TO SCALE 1 - Above and below: RWD designed an interpretive signage family, interactive rubbing panels, and a boardwalk overlook that extends into the shell mound. The overlook includes a tactile map and an archaeological flipbook of findings. WWW.RIGGSWARD.COM | 40 PROJECT SAMPLES Graphically-rich introduction panels portray the overall look and feel of the exhibition. Riggs Ward worked with Truelove Fabrication to incorporate a 8,000 gallon freshwater aquarium within the main gallery. Riggs Ward designed the 5,000 square foot permanent exhibition, “Life by Water’s Rhythms,” in the Outer Banks Center for Wildlife Education. The gallery features a 8,000 gallon freshwater aquarium with regional species of fish from the Currituck Sound, dramatic wildlife habitat dioramas, one of the nation’s largest collections of artisan-made working decoys, hands-on and computer interactives, as well as interpretive displays informing visitors of the region’s centuries-old hunting and fishing heritage. Upon opening in the summer of 2006, this new facility joined the Whalehead Club historic mansion (also featuring exhibits designed by Riggs Ward) and the Currituck Beach Lighthouse in the beautiful 39-acre, sound front Currituck Heritage Park. North Carolina Wildlife Resources Commission Outer Banks Center for Wildlife Education WWW.RIGGSWARD.COM | 41 PROJECT SAMPLES Above: A gallery dedicated to the organization’s decoy collection. Below, left to right: A combination of cast figures, interactives, and graphics provide context for the artifacts on display while also highlighting key takeaway messages; Touchscreen interactives and hands-on exhibits provide additional information on the local fishing heritage. WWW.RIGGSWARD.COM | 42 PROJECT SAMPLES The timeline multi-user touch interactive Riggs Ward worked with the Black History Museum and Cultural Center of Virginia to develop their inaugural exhibit In Pursuit of Freedom, Justice, and Equality. The exhibit explores the experience of black Virginians through the theme of resistance. The scope of this project included text and media development, exhibit design, graphic design, and interactive media development. Riggs Ward developed nine separate interactive experiences for In Pursuit of Freedom, Justice, and Equality; each interactive augments a physical exhibit component to offer visitors a breadth of opportunities to learn about black history. The Emancipation Stories interactive is positioned underneath the sculptural Emancipation Oak, which we designed and installed to represent the oak tree in Hampton, Virginia where the Emancipation Proclamation was first read and where free woman Mary S. Peake taught African Americans to read. Also in the exhibit is a Civil Rights interactive, which tells the stories of people who advocated for change during the Civil Rights Movement and then asks a series of engagement questions to the visitor based on the stories. Black History Museum of Virginia In Pursuit of Freedom, Justice, and Equality Permanent Exhibition WWW.RIGGSWARD.COM | 43 PROJECT SAMPLES Above: The “Emancipation Stories” interactive, which is located beneath the sculptural “Emancipation Tree,” tells the stories of the individuals who pursued freedom. Left: A visitor explores the “Massive Resistance” touchscreen interactive. WWW.RIGGSWARD.COM | 44 PROJECT SAMPLES Roanoke Island Festival Park North Carolina Department of Cultural Resources Riggs Ward worked with Roanoke Island Festival Park to enhance the existing 8,000 square foot Roanoke Adventure Museum and to update and expand topical content, incorporating existing core exhibits, implementing “Family Learning” concepts into the overall museum experience and increasing the diversity, frequency and quality of hands- on and interactive exhibits. Riggs Ward worked closely with the Roanoke Island Festival Park staff on programming and planning exhibits and activity stations, improving guest traffic flow and more fully integrating the museum experience into the overall educational program at Roanoke Island Festival Park. Large graphics introduce visitors to the interactive exhibit space. WWW.RIGGSWARD.COM | 45 PROJECT SAMPLES The 8,000 sf exhibit space consists of multiple hands-on experiences, such as a pulley interactive, a pirate clothing dress- up station, and nets for children to cast out of a boat. Above: Artifact displays are complemented by large-scale graphics that guide visitors throughout the themed exhibit spaces. Bottom, left to right: A pulley interactive allows visitors to experience the strength needed to lift cargo; View of a hands-on interactive zone. WWW.RIGGSWARD.COM | 46 PROJECT SAMPLES Riggs Ward Design worked with the Jefferson School, a culturally important African American high school, to create a walking tour mobile phone application. The app guides visitors through relevant sites using both a historic and a present- day map, while also allowing them to explore biographies and images of people who contributed to the school’s history. Historic Jefferson School Walking Tour Charlottesville, Virginia Top to Bottom: A historic image of a chemistry classroom, Two screen-shots of the mobile application: one allows the user to read a more detailed biography and the other shows a historic map of the site. WWW.RIGGSWARD.COM | 47 PROJECT SAMPLES BUILDING FOUR FABRICATION PREVIOUS PROJECT Discovery Place Science INTERACTIVE DINOSAUR CRATE Location: Charlotte, NC Date: May 2018 Designed and fabricated by Building Four Fabrication as a playful way to generate buzz for an upcoming exhibition, the dinosaur crate features a roaring dinosaur raring to escape the crate in which it was being transported. Patrons and visitors encounter the crate on the street in busy Downtown Charlotte. Pneumatic components coincide with audio of an angry dinosaur to shake the crate and pop up boards, creating a fun and frightful experience. WWW.RIGGSWARD.COM | 48 PROJECT SAMPLES BUILDING FOUR FABRICATION DISCOVERY PLACE SCIENCE Interactive Dinosaur Crate WWW.RIGGSWARD.COM | 49 PROJECT SAMPLES BUILDING FOUR FABRICATION PREVIOUS PROJECT Atlanta History Center BARBECUE NATION Location: Atlanta, GA Date: May 2018 Barbecue Nation is a temporary exhibition that explores how barbecue has come to claim the heart of America, and how it connects us to cultures around the world. The exhibition includes historic photos, advertising images, vintage grills, cookbooks, menus, and scenic recreations of a pit smoker, a Native American barbacoa, and the façade of an iconic barbecue joint. In addition to fabricating the exhibit components and scenic elements, BLDG4 was also contracted to design and fabricate many of the hands-on interactive elements found in the exhibition. The interactives were used to supplement the didactic panels and reader rails and helped create more educational opportunities for a younger audience. Patrons come away from the exhibition with a better understanding of the story of barbecue and even how barbecue tells us a lot about us. WWW.RIGGSWARD.COM | 50 PROJECT SAMPLES BUILDING FOUR FABRICATION ATLANTA HISTORY CENTER Barbecue Nation Photos courtesy of Atlanta History Center WWW.RIGGSWARD.COM | 51 PROJECT SAMPLES BUILDING FOUR FABRICATION PREVIOUS PROJECT FORT STEWART MUSEUM 3rd Infantry Division Museum Location: Ft. Stewart, GA Date: November 2017 Fort Stewart’s 3rd Infantry Division tuned 100 years old in November 2017. To honor the 3rd infantry Division’s milestone, the U.S. Army Center of Military History reopened the 3rd Infantry Division Museum as part of the Army Museum Enterprise, a strategic transformation that focuses on the critical mission of educating U.S. Soldiers and the American public about the Army’s 240 year-plus history. The new exhibits include 3rd ID-specific artifacts from World War II, the Korean War, the Cold War and the recent wars in Afghanistan and Iraq. Also integrated into the main exhibit are a M5 Stuart Light Tank and a Howitzer. WWW.RIGGSWARD.COM | 52 PROJECT SAMPLES BUILDING FOUR FABRICATION FORT STEWART MILITARY MUSEUM WWW.RIGGSWARD.COM | 53 PROJECT SAMPLES BUILDING FOUR FABRICATION PREVIOUS PROJECT DON PRATT MUSEUM Location: Fort Campbell, KY Date: Completed Spring 2018 Building Four Fabrication is currently completing the services necessary for the fabrication and installation of the new exhibits at the Pratt Museum, Fort Campbell, KY. The scope of exhibit fabrication includes the use and prominent integration of large macro military objects, such as tanks, military vehicles, and aircraft. Building Four Fabrication is closely coordinating with the client the movement and installation the macro artifacts and is responsible for all the exhibit components and lighting surrounding the dynamic displays. Installation of the new exhibits is scheduled for 2018. Rendering WWW.RIGGSWARD.COM | 54 PROJECT SAMPLES BUILDING FOUR FABRICATION DON PRATT MILITARY MUSEUM Rendering WWW.RIGGSWARD.COM | 55 PROJECT SAMPLES BUILDING FOUR FABRICATION PREVIOUS PROJECT LANDMARK INN STATE HISTORIC SITE Location: Castroville, TX Date: Winter 2016 Budget: The Landmark Inn is a Texas State Historic Site managed by the Texas Historical Commission. It is located on the banks of the Medina River and nestled in the historic main street town of Castroville, TX. The new permanent exhibit, located in the main historic building, tells the story of the Alsatian settlement and early commerce in Texas. Discover how the site transformed from a small roadside tavern into a prominent hotel, store, and industrial complex. The exhibit highlights many of the artifacts excavated onsite and how one woman’s vision helped restore the aging site and provided it new life. WWW.RIGGSWARD.COM | 56 PROJECT SAMPLES BUILDING FOUR FABRICATION LANDMARK INN STATE HISTORIC SITE WWW.RIGGSWARD.COM | 57 PROJECT SAMPLES BUILDING FOUR FABRICATION PREVIOUS PROJECT OKLAHOMA STATE FAIR - AGtropolis Adventure Location: Oklahoma City, OK Date: Current Yearly Exhibit Budget: In addition to designing the exterior historical plaza of the Oklahoma State Fair, Frank Yoculan designed and fabricated the AGtropolis Adventure, a fully immersive interactive educational exhibit telling the story of animals in our day to day lives. Visitors are given an activity book that guides them through the city and its inhabitants. Along the way, the visitors are presented with interactive opportunities and experience the farm-to-market process. Each character in the activity book was developed as a host to guide the children through these custom scenic exhibits that include honey bees, exotic insects, and fully functioning hatcheries and brooders for chickens, as well as baby farm animals and their families. WWW.RIGGSWARD.COM | 58 PROJECT SAMPLES BUILDING FOUR FABRICATION OKLAHOMA STATE FAIR | 59 COMPLETED REFERENCE FORMS Reference Questionnaire Solicitation: 18-7383 Reference Questionnaire for: Riggs Ward Design (Name of Company Requesting Reference Information) Sara Nicholas (Name of Individuals Requesting Reference Information) Name: Allen Hoilman (Evaluator completing reference questionnaire) Company: Hampton History Museum (Evaluator’s Company completing reference) Email: allen.hoilman@hampton.gov FAX: Telephone: 757-727-6875 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: _Give Me Liberty Exhibit 1700Sqft Completion Date: _Feb 2017___ Project Budget: _______$25,000________________ Project Number of Days: __365 Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 100 | 60 COMPLETED REFERENCE FORMS Reference Questionnaire Solicitation: 18-7383 Reference Questionnaire for: Riggs Ward (Name of Company Requesting Reference Information) Sara Nicholas (Name of Individuals Requesting Reference Information) Name:Joe Kubin (Evaluator completing reference questionnaire) Company:Boy Scouts of America (Evaluator’s Company completing reference) Email: joe.kubin@scouting.org FAX: Telephone: 304-465-2848 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Boy Scouts of America J.W. and Hazel Ruby West Virginia Welcome Center Completion Date: July 2017 Project Budget: $700,000.00 Project Number of Days: 12 Months Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 9 2 Ability to maintain project schedule (complete on-time or early). 9 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 9 5 Professionalism and ability to manage personnel. 9 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 8 7 Ability to verbally communicate and document information clearly and succinctly. 9 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 9 10 Overall comfort level with hiring the company in the future (customer satisfaction). 9 TOTAL SCORE OF ALL ITEMS 91 | 61 COMPLETED REFERENCE FORMS Reference Questionnaire Solicitation: 18-7383 Reference Questionnaire for: Riggs Ward (Name of Company Requesting Reference Information) Sara Nicholoas (Name of Individuals Requesting Reference Information) Name:Allison Conboy (Evaluator completing reference questionnaire) Company: Florida Park Service – Talbot Islands SP (Evaluator’s Company completing reference) Email: allison.conboy@dep.state.fl.us FAX: 904-251-2324 Telephone: 904-251-2811 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: _Grand Site Interpretive Exhibit – Parking Area, Trailhead, Viewing Boardwalk and Panel Design Completion Date: __July 2018___________ Project Budget: ____$72,000_____________________ Project Number of Days: ____3 years____________ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 9 2 Ability to maintain project schedule (complete on-time or early). 7 3 Quality of work. 9 4 Quality of consultative advice provided on the project. 9 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 9 TOTAL SCORE OF ALL ITEMS 93 | 62 We view our team as being your partner in developing the stories, graphics, media, and exhibitions as described throughout the RFP. PROPOSED CONTRACT TEAM Should we need additional staff at any point in the completion of your project, we have an up-to-date list of associates with whom we have worked in the past and are available to fill any design, administrative, or fabrication need. Our proposed team organization can be found below and key personnel resumes can be found on the following pages. ROBERT RIGGS Principal/Creative Director L. BRENT WARD Principal/Managing Director MIKE RADTKE Senior Exhibit Designer TONI SORRENTINO Graphic Designer CHRIS KING Interactive Media Developer COLLIER COUNTY SARA NICHOLAS Project Coordinator RON THOMSON Content Developer MEGAN MORRIS User Interface Designer MARK TALIAFERRO Exhibition Designer RODOLFO ROCHA II Principal/Director of Projects JEREMY UNDERWOOD Sales Account Executive FRANK YOCULAN Principal/Art Director and Lead Sculptor CHAD SMITH Shop ForemanMICHAEL LEWIS Principal/Director of OperationsDesign & Interactive MediaFabrication & Installation WWW.RIGGSWARD.COM | 63 As Principal and Creative Director of Riggs Ward Design (RWD), Mr. Riggs provides input on all aspects of the design process. He has a strong background in conceptualizing, designing, producing, and supervising large and small-scale exhibit and graphic design projects. Mr. Riggs has designed exhibits for some of the nation’s most respected organizations, including the Smithsonian Institution, the Library of Congress, the U.S. Department of the Interior, and the Colonial Williamsburg Foundation. He has also won numerous awards and provides in-class critiques to students of Virginia Commonwealth University’s graphic design program, which is ranked #1 Public Graphic Design Program in the country. Relevant Work Employment History Franklin Street Communications Exhibit Manager, April 1996 – September 1997 Mr. Riggs was included in all phases of the exhibit design process, from programming to construction administration 1717 Design Group Senior Exhibit Designer, February 1989 – April 1996 While at 1717, Riggs worked on as an exhibit designer on a number of projects, including: Colonial Williamsburg: Rockefeller Library Historic Charleston Foundation Library of Congress: Rome Reborn Library of Virginia: The Common Wealth Virginia Museum of Fine Arts: Fabergé in America Select RWD Experience Exhibition Atlanta History Center Hampton History Museum LBJ Presidential Library and the Briscoe Center at the University of Texas at Austin: Cronkite: Eyewitness to A Century Library of Congress: Churchill and the Great Republic New Visitor Experience The Last Full Measure: Civil War Photographs from The Liljenquist Collection Museum of the Confederacy - Appomattox: Permanent Exhibit National Park Service: Richmond National Battlefields St. Charles County Parks and Recreation Department: St. Charles County Heritage Museum Valentine Richmond History Center: This is Richmond War is Hell Virginia Historical Society: Virginians at Work Virginia Museum of Fine Arts: Fabergé Revealed Woodrow Wilson Presidential Museum and Library: Hinge to the 20th Century World War I: The Doughboy War Interpretive Signage Civil War Interpretive Center at Historic Blenheim Currituck Heritage Park: Whalehead Club Pamplin Historical Park Wicomico County, MD Recreation, Parks and Tourism: Pemberton Historical Park Master Planning Atlanta History Center Library of Congress: New Visitor Experience Smithsonian Institution: Ocean Hall Conceptual Design Mobile Exhibition Library of Congress: Gateway to Knowledge Virginia Sesquicentennial Commission: Virginia Civil War 150 HistoryMobile Traveling Exhibition Contemporary Art Center of Virginia: Magna Carta and Four Foundations of Freedom Virginia Historical Society: An American Turning Point: The Civil War in Virginia Library of Congress: With Malice to None: The Abraham Lincoln Bicentennial Exhibit Visitor Center County of Henrico: Three Lakes Park Nature Center and Aquarium North Carolina Dept. of Environment and Natural Resources: Outer Banks Center for Wildlife Education North Carolina Division of Parks and Recreation: Merchants Millpond State Park Raven Rock State Park South Carolina National Heritage Corridor: Region II: Discovery Center Region III: Discovery Center and Retail Area U.S. Department of Agriculture, National Forest Service: James R. Wilkins CCC Visitor Center West Virginia University Visitor Resource Center Education and Honors Mr. Riggs earned his Bachelor of Fine Arts, with a Concentration in Communication and Design, from Virginia Commonwealth University in 1989. He has received numerous awards, including the Washington Book Publishers Design Award, Print Casebooks: Best in Exhibition Design, the Potlach Award of Merit, and the American Association of Museums – Publication Design. BOB RIGGS PRINCIPAL/CREATIVE DIRECTOR WWW.RIGGSWARD.COM | 64 As RWD’s Managing Principal, Mr. Ward works closely with the design staff to plan, develop, and supervise each project. With a background in museum interpretation and conservation, he helps the design staff conceptualize themes and consults on staff needs, management, product development, conservation techniques, and materials. He also prepares content flowcharts, planning aids, and is adept at integrating new technologies into traditional design techniques. BRENT WARD MANAGING PRINCIPAL Relevant Work EMPLOYMENT HISTORY Franklin Street Design Director of Museum Services, 1996 - 1997 Mr. Ward was a project manager for a variety of exhibitions and museum- related developments. Valentine Museum Museum Educator, July 1994 – Aug 1996 Assisted with the development and interpretation of the Wickham House and providing site interpretation of the following subjects: African- Americans in 19th Century Richmond; The Powhatan Tribes; Richmond’s Hollywood Cemetery; Richmond: Capitol of the Confederacy Virginia Historical Society December 1993 – December 1994 Brent worked with the collections staff to catalog and conserve the Society’s rare collection of photographs and glass plate negatives. Select RWD Experience Exhibition Hampton History Museum LBJ Presidential Library and the Briscoe Center at the University of Texas at Austin: Cronkite: Eyewitness to A Century Library of Congress: Churchill and the Great Republic From the Home Front and the Front Lines Exploring the Early Americas Life of the People The Last Full Measure: Civil War Photographs from the Liljenquist Collection National Park Service: Richmond National Battlefields North Myrtle Beach Historical Museum (in development) University of Virginia Special Collections Library: Flowerdew Hundred: Unearthing Virginia’s History Best Sellers: Popular Fiction in America Valentine Richmond History Center: War is Hell Virginia Historical Society: Virginians at Work Woodrow Wilson Presidential Museum and Library: Hinge to the 20th Century World War I: The Doughboy War Interpretive Signage National Park Service Natchez Trace Parkway Civil War Interpretive Center at Historic Blenheim Currituck Heritage Park: Whalehead Club Pamplin Historical Park Shreveport Bossier Convention and Visitors Bureau: Northwest Byway Interpretive Signage University of Arkansas - Fort Smith: Drennen - Scott House Wicomico County, MD Recreation, Parks and Tourism: Pemberton Historical Park Master Planning Atlanta History Center Appomattox Court House National Park Kennecott Mines National Historic Landmark Library of Congress: New Visitor Experience National Building Museum: Designing for Disaster National Museum Rt. 6 Museum Shenandoah Battlefields National Historic District Smithsonian Institution: Ocean Hall Conceptual Design Valentine Richmond History Center: This is Richmond Traveling Exhibition Virginia Historical Society: An American Turning Point: The Civil War in Virginia Library of Congress: With Malice to None: The Abraham Lincoln Bicentennial Exhibit Visitor Center North Carolina Division of Parks and Recreation: Merchants Millpond State Park Raven Rock State Park Ohio Division of Natural Resources: Old Woman Creek State Nature Preserve South Carolina National Heritage Corridor: Region II: Discovery Center Region III: Discovery Center and Retail Area Region IV: Mobile Application Education and Honors Mr. Ward earned a Bachelor of Arts from Ohio State University (1992) and a Master of Arts from the University of Richmond (1996). He graduated Phi Alpha Theta and holds memberships in the American Association of Museums, the Southeastern Museums Conference, and the Virginia Association of Museums. Mr. Ward also provides pro bono consulting and design services to the Association for the Preservation of Virginia Antiquities (APVA) and the Virginia Association of Museums (VAM). WWW.RIGGSWARD.COM | 65 Mr. Radtke brings many years of exhibit design experience to every project. His design detailing and architectural education complement the Creative Director’s skill set to give each client an array of graphic and three-dimensional knowledge and experience. Mr. Radtke is a skilled user of Vectorworks and AutoCAD programs. He is responsible for the production of conceptual and working drawings for exhibit fabrication, project management, and the coordination of production scheduling with other departments. Relevant Work Employment History 1717 Design Designer and Project Manager, August 1996 – September 2001 Projects included: The National Cowboy Hall of Fame NCAA Hall of Champions and NCAA trophy The Washington Monument Stratford Hall Plantation Colonial Williamsburg Hadley Exhibits, Inc. Designer and Project Manager, August 1993 – July 1996 Designer for design build museum and trade show exhibit firm. Projects included: John F. Kennedy Presidential Library and Museum The Center at High Falls, Rochester, NY El Portal Visitor Center in the El Yunque National Rain Forest, Puerto Rico. Select RWD Experience Exhibition Black History Museum of Virginia Boy Scouts of America Bechtel Summit Reserve Visitor Center Contemporary Art Center of Virginia: Magna Carta and Four Foundations of Freedom Hampton History Museum LBJ Presidential Library and the Briscoe Center at the University of Texas at Austin: Cronkite: Eyewitness to A Century Library of Congress: Churchill and the Great Republic Exploring the Early Americas From the Home Front and the Front Lines New Visitor Experience The Last Full Measure: Civil War Photographs from the Liljenquist Collection National Park Service: Richmond National Battlefields University of Virginia Special Collections Library: From Out That Shadow: The Life & Legacy of Edgar Allen Poe Flowerdew Hundred: Unearthing Virginia’s History Best Sellers: Popular Fiction in America US House of Representatives Valentine Richmond History Center: War is Hell Virginia Historical Society: Virginians at Work Virginia Museum of Fine Arts: Fabergé Revealed Woodrow Wilson Presidential Museum and Library: Hinge to the 20th Century World War I: The Doughboy War Interpretive Signage Civil War Interpretive Center at Historic Blenheim Currituck Heritage Park: Whalehead Club Maymont Foundation Nature Center Pamplin Historical Park Shreveport Bossier Convention and Visitors Bureau: Northwest Byway Interpretive Signage Master Planning Atlanta History Center Appomattox Court House National Park Library of Congress: New Visitor Experience Smithsonian Institution: Ocean Hall Conceptual Design Valentine Richmond History Center: This is Richmond Visitor Center County of Henrico: Three Lakes Park Nature Center and Aquarium North Carolina Dept. of Environment and Natural Resources: Outer Banks Center for Wildlife Education North Carolina Division of Parks and Recreation: Merchants Millpond State Park Raven Rock State Park South Carolina National Heritage Corridor Region II and II Discovery Centers University of Virginia Rotunda Visitor Center U.S. Department of Agriculture, National Forest Service: James R. Wilkins CCC Visitors Center Virginia Tech Visitor and Undergraduate Admissions Center West Virginia University Visitor Resource Center Education and Honors Mr. Radtke earned a Master of Arts in Architecture from the State University of New York at Buffalo in 1993 and a Bachelor of Science in Professional Photography from the Rochester Institute of Technology in 1983. MICHAEL RADTKE SENIOR EXHIBIT DESIGNER WWW.RIGGSWARD.COM | 66 MICHAEL RADTKE SENIOR EXHIBIT DESIGNER/PROJECT MANAGER Mr. King is a highly motivated problem solver and media developer with several years of professional experience in: web application development, Flash, web design, and programming. He is a focused, patient, and responsible individual that completes projects within deadlines by utilizing strong written and verbal communication, excellent technical design, rational fact-based decision making, and leadership skills. CHRISTOPHER KING INTERACTIVE MEDIA DEVELOPER Relevant Work EMPLOYMENT HISTORY Metis Creative Lead Web Designer/Developer, July 2014 – October 2014 Managed team. Developed and designed fully responsive and mobile cross browser websites eFedSystems Corporation Web Developer, Researcher (Internship), Sept. 2013 – August 2014 Sharepoint Systems, C#, Web Development Identity Management Systems, LLC Web Software Developer, June 2013 – May 2014 Developed company website, assisted with biometric software advancements in C# Programming/Scripting/Styling HTML, CSS, JavaScript, JQuery, PHP, C, C++, C#, Java, JSP, Python, ActionScript 3.0, XML Frameworks/Libraries/Specifications jQuery, Google App Engine Relational Databases MySQL, MSSQL, Oracle Development Environments/Version Control Flash CS6, Flash Develop, Eclipse, Android Developer Studio, Visual Studio, Subversion, Git Volunteer Experience University of Mary Washington, Created a web based scheduling system through Agile RSASA.org, Wordpress repair Select RWD Experience Exhibition Atlanta History Center Balzekas Museum of Lithuanian Culture Bethlehem Steelworks Visitor Center Black History Museum of Virginia Boy Scouts of America Bechtel Summit Reserve Visitor Center Capitol Visitor Center: Churchill Exhibit City of Aiken, South Carolina City of Orangeburg, South Carolina George W. Bush Presidential Library and Museum Hatteras Island Ocean Center Historic Jarvisburg Colored School Old Woman Creek National Estuarine Research Reserve Patriots Point Naval and Maritime Museum South Carolina National Heritage Corridor: Region IV: Discovery Center Application University of Virginia Rotunda Visitor Center US House of Representatives Valentine Richmond History Center Virginia Tech Visitor and Undergraduate Admissions Center Woodrow Wilson Family Home Education and Honors Mr. King earned a Bachelor of Computer Science from the University of Mary Washington where he graduated in 2014. WWW.RIGGSWARD.COM | 67 Mrs. Nicholas has a broad background in urban and environmental planning which includes communication strategies, community development, and economic development. These concepts are complemented by her passion for design. In addition to her involvement in the planning side of projects, she currently works as a researcher and project coordinator at Riggs Ward Design. SARA NICHOLAS RESEARCHER AND PROJECT COORDINATOR Relevant Work Employment History Dominion Harvest Account Manager & Marketing Assistant, Jan – Dec 2012 Managed accounts payable, created promotional newsletters and flyers, attended regional events to educate customers about the benefits of supporting local farmers and local produce/products. Habitat for Humanity of Charlottesville Researcher and Team Member, Jan – May 2011 Part of a team that created a new marketing approach for the Habitat Re-Store. UVA Student Council Environmental Sustainability Committee Research and Development Task Force Leader, Aug 2010 – Aug 2011 Organized and coordinated efforts within the 15-person team to improve the University sustainability programs and initiatives. City of Charlottesville Economic Development Department Economic Specialist Intern, May – Aug 2010 Completed vacancy surveys, created articles related to new businesses in the region for a monthly newsletter, interviewed business owners, and assisted the Lead Economic Specialist in a variety of tasks. Select RWD Experience Exhibition Atlanta History Center Bethlehem Steelworks Visitor Center Black History Museum of Virginia City of Raleigh Museum R3 and CityLab Exhibits Ft. Lewis Army Museum Guilford Courthouse National Historic Military Park Historic Columbia Foundation Woodrow Wilson Family Home Historic Jarvisburg Colored School Junior Achievement Career Center at Libbie Mill Library Loudoun Water Aquiary University of Virginia Rotunda Visitor Center Westmoreland State Park Visitors Center Virginia Capitol Visitor Center Interpretive Signage Big Talbot Island State Park Maymont Foundation National Park Service Natchez Trace Parkway Interpretive Signage Education and Honors Ms. Martin earned her Bachelor of Urban and Environmental Planning Degree with a Minor in Economics from the School of Architecture at the University of Virginia. Her team marketing project for Habitat for Humanity of Charlottesville won an award from the Virginia Chapter of the American Planning Association. WWW.RIGGSWARD.COM | 68 Ms. Sorrentino is a graphic designer who specializes in the creation of brand identities, publications, and user experiences across both digital and traditional practices. Her background in illustration and graphic design informs her creative process. TONI SORRENTINO GRAPHIC DESIGNER Relevant Work EMPLOYMENT HISTORY Freelance Graphic Designer at eTRANSERVICES May 2016 - Present Produce graphics and documents to be used in government contract IT proposals by the company. Assist in the development of documents and graphics for the company’s subsidiary companies. Campus Manager at South By Sea June 2014 - Present Manage campus representatives at VCU assess the needs of each organization and representative. Design and review possible design solutions to suit the needs of each organization. Graphic Designer at Virginia Commonwealth University September 2016 - May 2017 Works as a designer within the Communication and Marketing department within the Virginia Commonwealth School of Engineering Graphic Design Intern at The O Agency February 2016 - May 2016 Work in a collaborative team comprised of fellow designers, illustrators, marketing and business students to develop a nationwide agility camp brand strategy ranging from the logo and brand identity to analyzing the markets and business presence of cities such as Philadelphia, Atlanta, New York City, San Francisco, Orlando etc. Personal Athlete branding and marketing Graphic Design Intern at Richmond Montessori School August 2015 - December 2015 (5 months) Develop publications promoting the school. Create 50 year commemorative logo, assist and create social media initiatives and campaigns. Graphic Design Intern at Engineering For Kids May 2014 - September 2014 Create publications, graphics and documents to be distributed throughout franchises and meet the needs of those franchises. Collaborate with the marketing department to increase social media interaction between the company and prospective/current students or clients. Volunteer Experience VCU AIGA Select RWD Experience Exhibition Big Talbot Island State Park Boy Scouts of America J.W. Hazel Ruby West Virginia Welcome Center Boy Scouts of America Joe Crafton Sportsman Camp George W. Bush Presidential Library General Assembly - Pocahontas Building Guilford Courthouse National Historic Military Park Junior Acheivement Career Center at Libbie Mill Library Maymont Foundation Norfolk Botanical Gardens Southern Poverty Law Center Westmoreland State Park Visitors Center Education and Honors Ms. Sorrentino received her Bachelor of Fine Arts degree from Virginia Commonwealth University in Graphic Design. WWW.RIGGSWARD.COM | 69 Mr. Taliaferro is an exhibition designer and industrial designer who enjoys solving problems and creating environments that provide people with unique experiences. MARK TALIAFERRO EXHIBITION DESIGNER Relevant Work EMPLOYMENT HISTORY UNC-Chapel Hill Gillings School of Public Health, Chapel Hill, NC Graphic Designer, January 2016 - April 2017 Created infographic material using Adobe Illustrator for the North Carolina Telehealth Network (NCTN) to communicate to public nonprofit health care providers in NC about NCTN’s mission of providing broadband services to these institutions Discovery Place Inc, Charlotte, NC. Manager, Exhibition Design/Build March 2016 - August 2017 Managed implementation and execution of all design/build experiences that have established Discovery Place as the most awarded and visited cultural attraction in the region. Led creative design and production teams through all phases of product development; from project conception through design sprints, implementation, and post install performance reviews of 7 capital projects in 13 months. Drove art direction, built guest experience guidelines, enforced quality standards, established priorities, timetables, budgets, and project tracking goals to manage large scale projects across the entire corporation. Manager, Exhibits Experience August 2011- March 2016 Managed a multidisciplinary team providing educational content and supporting assets for new exhibit experiences and servicing all exhibit assets across the corporation’s 5 brand locations. Increased departmental service coverage through process redesign, stream-lining, and leveraging of talent; in this manner facilitating corporate growth from 2 aging museums to 5 brand locations. Acted as Temporary Director for finalization of new museum opening. Coordinator, Exhibit Operations September 2008- August 2011 Managed execution of 6 exhibition show installations. Designed exhibits and educational aids for all Discovery Place locations and initiatives. Provided industrial design expertise on a creative team that developed and managed the construction of two new 5,000+ sq ft. exhibits. Teakwood Enterprises, Tappahannock VA On site Project Manager, 1999-2004 Supervised a mobile building crew and was responsible for delegation and accountable for schedules and budgets of residential projects such as additions, foundations, carpentry/ framing, roofing, detail work, and demolition. Skills Adobe Creative Suite Solidworks SketchUp VCarve Pro [Shopbot] Design strategy Idea generation Sketching Rapid Visualization Model Making Prototyping Mind-mapping Behavior models Ergonomics User experience 3D CAD Modeling and Drafting Contextual research Select RWD Experience Exhibition East Carolina University Heritage Hall Latta Plantation Nature Preserve Miami Dade College Jay I Kislak Foundation Exhibition Stevens Creek Nature Preserve and Educational Center Virginia Museum of Fine Arts - VMFA on the Road Education and Honors Mr. Taliaferro received his Master of Arts, Industrial Design Degree from Savannah College of Art and Design in Savannah, Georgia. He also earned a Bachelor of Fine Arts in Studio Art from Virginia Polytechnic Institute & State University in Blacksburg, Virginia. WWW.RIGGSWARD.COM | 70 Ms. Morris is a designer with a background in journalism and graphic and interactive design. Her training in both visual and written communication equips her to effectively and meaningfully connect with audiences and enhance exhibit experiences. MEGAN MORRIS GRAPHIC DESIGNER Relevant Work EMPLOYMENT HISTORY UNC-Chapel Hill Gillings School of Public Health, Chapel Hill, NC Graphic Designer, January 2016 - April 2017 Created infographic material using Adobe Illustrator for the North Carolina Telehealth Network (NCTN) to communicate to public nonprofit health care providers in NC about NCTN’s mission of providing broadband services to these institutions UNC-Chapel Hill Student Recreation Center, Chapel Hill, NC Graphic Designer, September 2016 - April 2017 Participated in a rebranding of UNC’s Outdoor Education Center, which included producing a new logo, creating illustrated social media content, and designing event materials including a t-shirt and Snapchat filter GE Hitachi, Chapel Hill, NC Interactive Team Co-Director, August 2016 - December 2016 Rebranded GE Hitachi nuclear energy as part of UNC’s 2016 Visual Language Lab, which included researching millennial perception of nuclear energy and presenting the story of nuclear energy in a convincing and compelling way to this demographic UNC-Chapel Hill School of Medicine, Chapel Hill, NC Motion Graphic Designer, April 2017 Worked on a team to create a motion graphic related to traumatic brain injury— from concept to illustration to animation in Adobe After Effects — for an educational module for medical students Students for Educational Reform (SFER), Chapel Hill, NC Graphic Designer, August 2014 - May 2016 Created promotional posters and web graphics in Adobe Illustrator to publicize events hosted by the local and state chapters. Developed the logo for the state chapter of SFER. Skills Adobe Creative Suite (Illustrator, Photoshop, After Effects, InDesign, InCopy, Lightroom); Basic HTML5, CSS, Javascript, PHP, WordPress; Microsoft Office; Hand lettering; Photography; German (basic speaking, reading and writing), Mandarin Chinese (basic speaking, reading and writing), French (intermediate reading, basic speaking and writing) Select RWD Experience Exhibition Adam Thoroughgood House ECU Heritage Hall Fort Fisher Johnny Velo Bikes Branding Library of Congress Echoes of the Great War Exhibition Maymont Foundation UNC Chapel Hill Signage for McCorkle Place UVA Darden School of Business Education and Honors Ms. Morris received a B.A. in Media and Journalism, Specialization in Graphic and Interactive Design and Minor in Public Policy at the University of North Carolina at Chapel Hill. She also attended the University of Hong Kong for the Journalism and Media Studies Centre, Fall 2015 Exchange Program. WWW.RIGGSWARD.COM | 71 Ron has a varied portfolio divided between interpretive planning and preparation of interpretive media including writing and editing exhibit content, interpretive trail sign content, interpretive brochures, and interpretive audiovisual programs. He has worked on interpretive projects for more than 80 units of the National Park Service; completed jobs include more than 60 Long-Range Interpretive Plans. RON THOMSON INTERPRETIVE PLANNER & CONTENT DEVELOPER Relevant Work Employment History Compass Owner and Principal, 1994-Present Produce interpretive plans and write content for interpretive media including museum exhibits Mid-Atlantic Regional Office, National Park Service Interpretive Specialist, 1988-1994 Provided technical assistance to parks in the region and reviewed interpretive media developed by NPS staff and contractors. Independence National Historical Park Interpretive Specialist, 1988-1980 Developed a variety of interpretive media for the park and supervised interpretive training. Tuskegee Institute National Historic Site Chief of interpretation, 1977-1980 Supervised the interpretive program and development of interpretive media for this new national park. Independence National Historical Park District Ranger, 1972-1977 Supervised both permanent and seasonal interpretive rangers. Projects Flight 93 National Memorial, Interpretive master plan. Completed in 2012. Donner Memorial State Park Visitor Center, Exhibit text. In progress with installation expected in the summer of 2014. Railtown 1897 State Historic Site, Interpretive master plan. In progress. Anza Borrego Desert State Park, Interpretive master plan. In progress. Underground Railroad Interpretive Center, Niagara Falls, NY, Exhibit planning and text. In progress. Sam Rayburn Library and Museum, Exhibit planning and text. Completed in 2012. George Rogers Clark National Historical Park, Interpretive planning. Completed in 2012. Agate Fossil Beds National Monument, Interpretive planning. Completed in 2011. Little Bighorn Battlefield National Monument, Interpretive planning. Completed in 2011. Shenandoah River State Park, VA, Exhibit text; 2011 Pemberton’s Headquarters, Vicksburg National Military Park, Exhibit text, Completed 2010. Eyewitness to a Century, University of Texas/Austin, Exhibit text; Completed in 2010; South Lawn, University of Virginia, Interpretive text; Completed 2010; St. Charles County Heritage Museum, MO, Exhibit text; 2010. Select RWD Experience Exhibition Eyewitness to a Century, University of Texas/Austin, Exhibit text. Graveyard of the Atlantic Museum, Hatteras, NC, Exhibit text. Natchez Trace Parkway Interpretive Master Plan and exhibit text. Sam Rayburn Library and Museum, Exhibit planning and text. Shenandoah River State Park, VA, Exhibit text. South Lawn, University of Virginia, Interpretive text. St. Charles County Heritage Museum, MO, Exhibit text. Underground Railroad Interpretive Center, Niagara Falls, NY, Exhibit planning and text. Education and Honors University of Virginia, 1969-1970 Thomas Jefferson Fellow in the Graduate School of Arts and Sciences Moravian College, 1965-1969 Summa cum laude with honors in American history | 72 RODOLFO ROCHA II Principal/Director of Projects In 2008, Rudy became General Manager of a multi-million dollar exhibit design and fabrication firm employing over 30 architects, exhibit designers, graphic artists, project managers, and fabrication specialists. As the General Manager the firm, Rudy directed and coordinated the daily operations of the company while overseeing the workflow of all company projects. Having started his career in 2000, first as a Project Manager and then as a Senior Project Manager Rudy exemplifies a commitment to combining detail oriented project management with perceptive content development. He possesses a creative and innovative approach to work and the management of others and is eager to embrace change that moves tasks forward in a meaningful way. He is comfortable acting as a generalist, performing tasks and functions in many areas and effectively solving problems, resolving issues, and developing solutions with broad vision. As a co-founder of BLDG4 Fabrication, he provides project management, client consultation, and design services for the development and fabrication of BLDG4 exhibits. Rudy Rocha holds a bachelor of arts degree in history from Texas A&M University, where he was the president of the local chapter of the National History Honor Society, Phi Alpha Theta. Rudy served for five years in the United States Navy as a Cryptologic Technician Interpretive, working directly for the Naval Security Group. He is a certified advanced Spanish linguist, who graduated as valedictorian of his class from the Defense Language Institute/Foreign Language Center, Monterrey, California. | 73 JEREMY UNDERWOOD Sales Account Executive He is known for his attention to detail, strong project management and organizational skills, and for his positive, even-keeled demeanor. Jeremy believes that museums are a vital part of our culture and feels strongly that museums should display and interpret inclusive art and history. He is involved in regional museum associations, like SEMC and GAMG. He has presented at regional conferences and was also the chair of SEMC’s exhibition competition for over 4 years. Jeremy’s commitment to museums and exhibitions is deep rooted and he is excited about the opportunity to help your museum bring its vision to life. At BLDG4 Fabrication, Jeremy helps define your project needs, manages client relationships, and is always in search of new projects for BLDG4. Jeremy Underwood holds a Master’s in Museum Studies from the University of Florida. He has worked in curatorial, collections management, and project management capacities in museums across the southeast for over ten years. Most recently, Jeremy was Exhibitions Project Manager at the Atlanta History Center where he managed the design, fabrication, and installation of exhibitions associated with the Atlanta History Center’s ambitious capital projects expansion. Prior to his work at the Atlanta History Center, Jeremy worked at the High Museum of Art where he coordinated exhibition installations and the Center for Puppetry Arts where he ran the Center’s museum program, including all educational programming, exhibitions, and registration duties. | 74 MICHAEL LEWIS Principal/Director of Operations Michael brings a rare combination of exceptional project management skills and a multi-disciplinary eye for creativity to the project Drawing from both his design and project management experience, he understands how to take a project from conception to successful completion . Michael’s theatrical background translates well into exhibit production and installation. Working on both the design and fabrication sides of exhibit production has given Michael invaluable insight into providing visitors a captivating and memorable experience, while adhering to his clients’ schedule and budget constraints. Michael has completed over 150 design/build projects during his nearly 15 year career in the exhibit industry. Notably, he was selected as one of the 8 finalist from 5000 entries in the World Trade Center Memorial Competition, which is regarded as one of the largest and most prestigious open design competitions in history. He has significant experience designing and producing exhibits using sustainable methods and materials and managed the LEED Gold Certified Neosho National Fish Hatchery project, and multiple other facilities that have or will attain LEED recognition. Michael Lewis graduated from Presbyterian College with a Bachelor of Arts degree in Theatrical Set design. After Graduation he moved to Vermont where he became a technical director for a collegiate theater and local television station. In 2001, Michael became project manager and exhibit designer at Southwest Museum Services in Houston, Texas. In 2004 he was selected as one of eight finalists from over five-thousand entries in the World Trade Center Memorial design competition. Co-founder of BLDG4 Fabrication he is providing consultation and design services for the development and fabrication of exhibits. | 75 FRANK YOCULAN Principal/Art Director and Lead Sculptor With over 20 years of experience as a sculptor and scenic artist, primarily for the museum and theme park industry, Frank has led the creation of themed environments, models, and dioramas for more than 100 different projects. Frank has led the renovation of five major theme parks for Paramount Parks and has done scenic work for numerous Six Flags properties. He was also the principal artist tasked with the design and development of over 150,000 square feet of interactive exhibits for the Oklahoma State Fair. Frank has experience in all types of static and dynamic scenic solutions including custom scenery and props, realistic plant and animal models, hand painted murals, thematic treatments, dioramas, theatrical experiences, and more. He was awarded a commercial art certificate and scholarship from the Columbus College of Art and Design, where he earned a bachelor of fine arts degree in illustration. Frank Yoculan is the creative leader of our company. Frank and his team bring experience, capabilities, and creativity to their work. He has over 20 years of experience as a designer, sculptor, scenic artist, and engineer for various companies specializing in themed environments. His background in theme parks and museums is perfectly suited for a wide variety of environments incorporating sculptural elements, scenic treatments, and/or mechanical interactive components. As a co- founder of BLDG4 Fabrication he is responsible for all exhibit conceptualization and supervises detailing, prototyping, construction, and installation while also ensuring quality control. | 76 CHAD SMITH Shop Foreman Dedicated to getting the job done right, Chad loves to learn new techniques and ways to get the job done in the best way possible. He loves this industry and that everything that comes to the door is a new and exciting challenge. He enjoys when he can step back and see the finished product and know the client is happy with it. As Shop Foreman, Chad not only helps fabricate every project we work on, but also manages quality control and the work being done by the rest of the team. Chad has worked on fabrication projects and installed them all around the country for various organizations. Very devoted to his work, Chad’s wealth of experience in multiple environments and mediums gives him a unique perspective on the job and how to produce the best quality work while maintaining the highest level of customer service. Chad Smith’s passion for fabrication began when he started doing carpentry in his father’s business after high school. A Georgia native, Chad found a love for drawing at a young age and later took technical drawing classes in high school. At 22 years old, Chad began working in fabrication and museum exhibits before coming to Building Four and brings 13 years of fabrication experience to his work. WWW.RIGGSWARD.COM | 77 LETTER OF INTENT 1BUILDING FOUR FABRICATION, LLC. From: Jeremy Underwood Building Four Fabrication, LLC 3555 Broad Street Chamblee, GA 30341 Phone | 404-551-4288 Email | jeremy@buildingfour.com Mr. Swainson Hall, Procurement Manager Procurement Services Division 3295 Tamiami Trail East, Bldg C-2 Naples, Florida 34112 August 31, 2018 Dear Mr. Hall, Building Four Fabrication is looking forward to working with Riggs Ward Design to provide Collier County with quality exhibitions. As a full- service exhibition fabrication company, the Collier County projects are a direct reflection of our collective experience, interests, and capabilities. We are incredibly excited to help develop exhibitions for Collier County. Should you have any questions about our portion of this proposal, please do not hesitate to email or call me. Best, Jeremy Underwood Sales Account Executive Date: 8/31/18 WWW.RIGGSWARD.COM | 78 LOCAL VENDOR PREFERENCE RWD is not a local business to Collier County. WWW.RIGGSWARD.COM | 79 Form 2: Vendor Check List IMPORTANT: THIS SHEET MUST BE SIGNED. Please read carefully, sign in the spaces indicated and return with your Proposal. Vendor should check off each of the following items as the necessary action is completed: The Solicitation Submittal has been signed. The Solicitation Pricing Document (Bid Schedule/Quote Schedule/etc.) has been completed and attached. All applicable forms have been signed and included, along with licenses to complete the requirements of the project. Any addenda have been signed and included. Affidavit for Claiming Status as a Local Business, if applicable. Division of Corporations - Florida Department of State – http://dos.myflorida.com/sunbiz/ (If work performed in the State). E-Verify/Immigration Affidavit (Memorandum of Understanding). ALL SUBMITTALS MUST HAVE THE SOLICITATION NUMBER AND TITLE Name of Firm: ________________________________________________________ Address: ________________________________________________________ City, State, Zip: ________________________________________________________ Telephone: ________________________________________________________ Email: ________________________________________________________ Representative Signature: ________________________________________________________ Representative Name: ________________________________________ Date ___________ Riggs Ward Design, L.C. 2315 W. Main Street Richmond, VA 23220 804.254.1740 bward@riggsward.com Brent Ward 08/30/18 X X X X X WWW.RIGGSWARD.COM | 80 Form 3: Conflict of Interest Affidavit The Vendor certifies that, to the best of its knowledge and belief, the past and current work on any Collier County project affiliated with this solicitation does not pose an organizational conflict as described by one of the three categories below: Biased ground rules – The firm has not set the “ground rules” for affiliated past or current Collier County project identified above (e.g., writing a procurement’s statement of work, specifications, or performing systems engineering and technical direction for the procurement) which appears to skew the competition in favor of my firm. Impaired objectivity – The firm has not performed work on an affiliated past or current Collier County project identified above to evaluate proposals / past performance of itself or a competitor, which calls into question the contractor’s ability to render impartial advice to the government. Unequal access to information – The firm has not had access to nonpublic information as part of its performance of a Collier County project identified above which may have provided the contractor (or an affiliate) with an unfair competitive advantage in current or future solicitations and contracts. In addition to this signed affidavit, the contractor / vendor must provide the following: 1. All documents produced as a result of the work completed in the past or currently being worked on for the above-mentioned project; and, 2. Indicate if the information produced was obtained as a matter of public record (in the “sunshine”) or through non-public (not in the “sunshine”) conversation (s), meeting(s), document(s) and/or other means. Failure to disclose all material or having an organizational conflict in one or more of the three categories above be identified, may result in the disqualification for future solicitations affiliated with the above referenced project(s). By the signature below, the firm (employees, officers and/or agents) certifies, and hereby discloses, that, to the best of their knowledge and belief, all relevant facts concerning past, present, or currently planned interest or activity (financial, contractual, organizational, or otherwise) which relates to the project identified above has been fully disclosed and does not pose an organizational conflict. Firm: ____________________________________________________________________________ Signature and Date: _________________________________________________________________ Print Name: _______________________________________________________________________ Title of Signatory: __________________________________________________________________ Riggs Ward Design, L.C. Brent Ward 08/30/18 Principal WWW.RIGGSWARD.COM | 81 Form 4: Vendor Declaration Statement BOARD OF COUNTY COMMISSIONERS Collier County Government Complex Naples, Florida 34112 Dear Commissioners: The undersigned, as Vendor declares that this response is made without connection or arrangement with any other person and this proposal is in every respect fair and made in good faith, without collusion or fraud. The Vendor agrees, if this solicitation submittal is accepted, to execute a Collier County document for the purpose of establishing a formal contractual relationship between the firm and Collier County, for the performance of all requirements to which the solicitation pertains. The Vendor states that the submitted is based upon the documents listed by the above referenced Solicitation. Further, the vendor agrees that if awarded a contract for these goods and/or services, the vendor will not be eligible to compete, submit a proposal, be awarded, or perform as a sub-vendor for any future associated with work that is a result of this awarded contract. IN WITNESS WHEREOF, WE have hereunto subscribed our names on this _____ day of _____________, 20__ in the County of _______________, in the State of _____________. Firm’s Legal Name: Address: City, State, Zip Code: Florida Certificate of Authority Document Number Federal Tax Identification Number *CCR # or CAGE Code *Only if Grant Funded __________________________________________________________________________ Telephone: Signature by: (Typed and written) Title: 30th August 18 City of Richmond Virginia Riggs Ward Design, L.C. 2315 W. Main Street Richmond, VA 23220 Federal Tax ID number: 54-1868308 CAGE Code: 3PAP4 804.254.1740 Brent Ward Principal WWW.RIGGSWARD.COM | 82 Additional Contact Information Send payments to: (required if different from above) Company name used as payee Contact name: Title: Address: City, State, ZIP Telephone: Email: Office servicing Collier County to place orders (required if different from above) Contact name: Title: Address: City, State, ZIP Telephone: Email: Riggs Ward Design, L.C. Brent Ward Principal 2315 W. Main Street Richmond, VA 23220 804.254.1740 bward@riggsward.com Same as above. 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Company Name ____________________________________________________________________ Print Name Title _______________________ Signature Date _______________________ State of ___________________ County of _________________ The signee of these Affidavit guarantees, as evidenced by the sworn affidavit required herein, the truth and accuracy of this affidavit to interrogatories hereinafter made. Riggs Ward Design, L.C. Brent Ward Principal 08/30/18 Virginia City of Richmond WWW.RIGGSWARD.COM | 84 Form 6: Vendor Substitute W – 9 Request for Taxpayer Identification Number and Certification In accordance with the Internal Revenue Service regulations, Collier County is required to collect the following information for tax reporting purposes from individuals and companies who do business with the County (including social security numbers if used by the individual or company for tax reporting purposes). Florida Statute 119.071(5) requires that the county notify you in writing of the reason for collecting this information, which will be used for no other purpose than herein stated. Please complete all information that applies to your business and return with your quote or proposal. 1. General Information (provide all information) Taxpayer Name ________________________________________________________________________________ (as shown on income tax return) Business Name (if different from taxpayer name) Address ____________________________________ City ______________________________________________ State ______________________________________ Zip______________________________________________ Telephone __________________ Email_____________________ Order Information (Must be filled out) Address ___________________________________ Remit / Payment Information (Must be filled out) Address ____________________________________________ City __________ State ________ Zip ___________ City _____________ State _________ Zip______________ Email ____________________________________ Email _____________________________________________ 2. Company Status (check only one) Individual / Sole Proprietor Corporation Partnership Tax Exempt (Federal income tax-exempt entity under Internal Revenue Service guidelines IRC 501 (c) 3) Limited Liability Company Enter the tax classification (D = Disregarded Entity, C = Corporation, P = Partnership) 3. Taxpayer Identification Number (for tax reporting purposes only) Federal Tax Identification Number (TIN) _______________________________________________________________ (Vendors who do not have a TIN, will be required to provide a social security number prior to an award). 4. Sign and Date Form: Certification: Under penalties of perjury, I certify that the information shown on this form is correct to my knowledge. Signature ___________________________________________________________ Date ______________________________ Title _______________________________________________________________ Phone Number ________________________ Riggs Ward Design, L.C. 2315 W. Main Street Richmond Virginia 23220 804.254.1740 bward@riggsward.com 2315 W. Main Street Richmond Virginia 23220 bward@riggsward.com 2315 W. Main Street Richmond Virginia 23220 bward@riggsward.com X P Federal Tax ID number: 54-1868308 Principal August 30, 2018 804.254.1740 ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 1 ATLANTA STORIES PHASE II SCHEMATIC DESIgN REPORT AbbreviAtions Legend AHC Atlanta History Center RWD Riggs Ward Design This Schematic Design Report was compiled by Riggs Ward Design utilizing responses from the Schematic Design Presentation (8/20/14) and Pre-schematic Submittal (7/3/14). ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 RepoRt oVeRVIeW oVeRVIeW .................................4 GoALS ......................................5 CURAtoRIAL pHILoSopHY ...........6 tAKe-AWAY MeSSAGeS .............7 DeSIGn AppRoACH InSpIRAtIon ..............................9 LeARnInG StYLeS ....................10 CURAtoRIAL AppRoACH ..........11 optIon 1 AppRoACH ...............12 optIon 2 AppRoACH ...............18 SCHeDULe ....................................27 BUDGet ........................................28 TABLE OF CONTENTS TABLE OF CONTENTS ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 REPORT OVERVIEW PROgRESS FROM PRE-SCHEMATIC DESIgN ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 4 OVERVIEW During this phase, RWD has focused on the organization, visitor flow, learning experiences, and overall design of the exhibition space. the following pages catalogue the most recent research developments related to Atlanta Stories at AHC. Included within this report, RWD has restated AHC's interpretive goals outlined in the expanded exhibition brief and outlined the most recent curatorial approach. RWD has also recommended design approaches and media experiences, which will further assist AHC in guiding RWD toward final designs for the new permanent exhibition at the Atlanta History Center. ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 5 The following consists of verbatim statements from Atlanta History Center’s expanded exhibition brief (7/24/14). These statements are included for reference, and will be consulted throughout the next phases of the design process. AHC vision stAtement the Atlanta History Center connects people, history, and culture. AtlAntA StorieS mission stAtement the mission of the Atlanta Stories exhibit is to engage, enlighten, and stimulate curiosity about the evolution of Atlanta as one of the nation’s most important metropolitan areas. through thematically-organized experiences, Atlanta Stories connects the concerns of the past and present, celebrating Atlantans’ diverse histories, traditions and cultures. Atlanta Stories will help us to address the complexities of our history as we live in the present and plan for the future. AtlAntA StorieS stAtement of PurPose Atlanta Stories was developed to help our constituents consider the past in a dynamic, participatory context. Constituents are invited to explore the city’s past through immersive, multi-disciplinary experiences that are broadly accessible. Focusing on themes that are relevant to contemporary concerns, the exhibit aims to promote values of democracy, civic participation and inclusivity. AtlAntA StorieS Core ideA though the Atlanta Metropolitan Area has been shaped by watershed moments and exceptional individuals, the social history of ordinary people of diverse backgrounds and perspectives has proven most crucial in developing the city. exploring this history through artifacts and interactive experiences demonstrates the pivotal role that “everyman” plays in history and is a call-to-action for civic engagement. tArget AudienCe Atlanta Stories’ most important audience is the residents Atlanta, people of all ages and backgrounds for whom the city’s history is personal. the exhibit’s secondary audience is tourists to the city who wish to learn more about the city’s past and the people who inhabit it now. gOALS ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 6 The following consists of verbatim statements from Atlanta History Center’s expanded exhibition brief (February 2014). These statements are included for reference, and will be consulted throughout the next phases of the design process. CurAtoriAL PHiLosoPHy the curatorial philosophy driving this exhibit reflects a philosophical shift in the field and in the institution: • From being content-driven to being audience driven • From a focus on museum assets to a focus on the museum’s role in the community and commitment to be a reflection of that community • From presenting stories about the past to connecting the past and present in a way that is relevant to contemporary community concerns and needs In addition, AHC and RWD are committed to embrace the following concepts: • Active participants v. visitors • Community venue v. museum venue • engaging and challenging v. informing • the Curator’s voice as one of multiple voices • Primacy of peer learning, shared investigation, space for challenge v. museum as text/authority • experience v. exhibit CURATORIAL PHILOSOPHY ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 7 TAKE-AWAY MESSAgES The following consists of verbatim statements from Atlanta History Center’s expanded Atlanta Stories Narrative (5/4/14). These statements are included for reference, and will be consulted throughout all phases of the design process. overALL Key messAges 1. Atlanta is a large metropolitan area, first developing as a transportation hub and continuing to expand as a crossroads of populations, commerce, and ideas/innovation: -Diversity as Definitive to Atlanta’s story -Dissension and protest as a Major Factor -Role of Convergences—Shared experience of Atlantans 2. Atlanta is a city of national and global significance 3. Contemporary social and policy issues have historical underpinnings, or at least, antecedents. Consider context, and when appropriate, causation. 4. Atlanta as imagined-- Atlanta has been promoted from within in deliberate ways and portrayed by stereotypes from the outside. these have impacted the image of the city in profound ways. AttitudinAL rePresentAtion 1: An understanding that We ARe AtLAntA -- that affirms, through dynamic interpretation and heritage exploration, that plurality is, and has always been, the face of Atlanta— “this museum and exhibit are relevant to me; I can find myself here; I am represented, as well as challenged, here.” AttitudinAL rePresentAtion 2: plurality of voices, that acknowledges different, situated perspectives but also shifting perspectives over time. Relevant and present to the concerns and interests of city residents (even those who claim a disinterest in history) by focusing largely on heritage, which frames history in a social context and relates to contemporary experience— "I am encouraged to consider the past as I contemplate present and future decisions.” ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 DESIgN APPROACH PERMANENT EXHIBITIONS ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 9 insPired by AtLAntA's History Using flow diagrams that are based on the historical map drawn by edward A. Vincent in 1864, there is an implied traffic flow within the space. the pathways have been modified slightly for each approach to physically connect the lobby to the Grand overlook and to the stairs of new west entry. Methods and materials will be explored to define the pathways. For instance, the pathways could be loosely defined with a change in flooring to allow for open vistas throughout the gallery. this approach would encourage visitors to randomly explore the exhibits. the pathways could also be defined with walls to provide a more structured, linear experience. edward A. Vincent's 1864 map of Atlanta with railroad lines highlighted and overlayed onto the exhibit space. the railroad lines have been rotated to improve the natural traffic flow. INSPIRATION MAP OF ATLANTA ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 10 LEARNINg STYLES AHC has adopted Schaller's model for identifying activity types and learning opportunities. The following is a summary of Schaller's model that can be utilized within the new exhibition experience and educational program. LeArning styLes When referencing adult learning styles, Schaller's research states, "Diverse pedagogical methods are critical to successfully engaging the full spectrum of adult learners." Similarly, Schaller found that when designing for children, "the open-ended, exploratory nature of Design and Role-play activities seem to mesh well with their desire for playful activities, across learning styles." It is evident that , regardless of age, background, or ability, users are most stimulated when presented with the ability to exercise many learning styles in a single experience. RWD has examined the specific learning opportunities to ensure that there are a variety of styles represented throughout the Atlanta Stories exhibit. these opportunities can range from hands-on interactive experiences within the exhibit to various participatory programs. An overview of the learning styles as they relate to activities can be found below: social Information is gathered from other characters in the activity. (Role-play or Discussion Forum) Practical problem-solving in the real world. (puzzle-Mystery) intellectual Appeals to those with self-motivated research goals. (Interactive Reference or Simulation) Creative engaged by the opportunity to create something unique. (Design) Reference 1. Schaller, D., et al., One Size Does Not Fit All. http://www.archimuse.com/mw2007/papers/schaller/schaller.html#ixzz2vDYkMfcB Rp DF p SI De ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 11 CURATORIAL APPROACH Atlanta Stories has been developed while adhering to the following goals: PArtiCiPAtory deveLoPment • Focusing on themes that are relevant to contemporary concerns. • promoting values of democracy, civic participation and inclusivity. • Supporting the exhibit’s mandate to employ multiple learning styles, understanding that the people learn in many different ways. • Building upon the opportunity to become a facilitator and advisor. • Building an exhibit based on the priorities that community members with various areas of expertise have indicated as priorities. Content deLivery • organizing the exhibit into broad humanistic themes that are universally- relatable and applicable across chronology. • Including three thematic areas: politics and policy; Cultural Life; and Urban Growth and Change. the additional thematic area, Home & Family, will be dispersed throughout the broader topics. each section is further subdivided into sub-thematic treatments. • Creating an orientation experience at the entrance that allows the visitor to situate the ever-growing metropolis of Atlanta geographically and to develop a frame for the time-span covered in the exhibition. • providing an exhibit space that enables the visitor to reflect on shared experiences and to share their own stories for future inclusion in the exhibit. • exploring the neighborhood as the foundational social unit, thus providing a view onto a broad variety of neighborhoods throughout the metro area. • Continuing to keep AHC staff in conversation with constituents to serve and establish the institution as a resource for authentic, community-driven interpretation. muLti-mediA Priorities • Creating multi-platform digital communications that are coherent and cohesive (on-site digital interactives, an exhibit application, and the website will make sense collectively). • Using brief filmic messaging to accommodate streakers, strollers and scholars. • emphasizing participatory activities that can be simultaneously enjoyed by multiple visitors (technological interactivity) over solitary interactivity. ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 12 NARRATIVE OVERVIEW OPTION 1 SHARInG StoRIeS this option uses personal, collected stories as the origin point of the exhibition. this micro-to-macro organizational approach will ensure an instinctive and expanding/ contracting flow of information throughout the exhibit. the visitor can then explore each thematic area randomly but will also have the option to move inward toward the hub to experience a more personal, defined experience or outward for a broader sense of community and exhibit content. For instance, a visitor will enter the exhibit through the hub and will immediately be given the option to connect his or her personal story to the broader story of Atlanta through the use of the “We are Atlanta” hub. through the hub, the visitor will respond to theme-related prompts and will have the option of getting his or her picture added to a portrait mosaic. the collected information could then be filtered and presented within each corresponding thematic area. ORIENTATION WE ARE ATLANTA HUB POLITICS + POLICY URBAN GROWTH + CHANGE CULTURAL LIFE ORIENTATION WE ARE ATLANTA HUB POLITICS + POLICY URBAN GROWTH + CHANGE CULTURAL LIFE HOME + FAMILY HOME + FAMILY HOME + FAMILY ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 13 NARRATIVE OVERVIEW OPTION 1 Orientation and Introduction this rendering shows the orientation and introductory theater experience. Visitors are able to sit and watch a short 5-minute video, similar to “timescapes” at the Museum of the City of new York. the video will serve as an overview of the city’s history and expansion. It could include animated maps, photographs, and historic film clips. Visitors who do not wish to watch the video or visitors who are finished watching the video could move along the outer wall to experience a hands-on map or timeline with moving overlays that show the geography, progression, and growth of Atlanta. Beyond the initial video space, a Volkswagen Bus gives a visual reference for the branded mobile exhibit. this point of recognition for the broader community experience introduces and guides visitors toward the "We Are Atlanta" hub. DF De ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 14 NARRATIVE OVERVIEW OPTION 1 View of Entry from the"We Are Atlanta" Hub All of the collected stories within the permanent exhibition will be expanded upon through the use of branded mobile exhibit or Volkswagen bus. this iconic vehicle, in its mobile state, is designed to be very approachable, essentially the traveling form of the “We Are Atlanta” hub exhibition. Instead of requiring users to enter the vehicle and produce an audio recording, the goal would be to take pictures and collect brief but meaningful responses to exhibit-related questions. A small monitor, embedded within the vehicle, could show a live feed of the activity within the museum or throughout the community. In a world of live updates, Instagram, and twitter-length feeds, this approach will result in more data (and stories) being collected than the traditional audio-recording approach. the mobile stories could then be combined with the information collected within the exhibit and used across multiple electronic platforms, including the "We Are Atlanta" hub experience. DFI ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 15 NARRATIVE OVERVIEW OPTION 1 Interior View of the "We Are Atlanta" Hub the "We Are Atlanta" hub lies at the heart of the exhibition. this element will be used to explore individual stories between communities, time periods, and themes. Collected portraits and brief narratives, similar to www.humansofnewyork.com could be displayed as a series of small images or tiles that create a larger mosaic. Within the curved walls of the hub, visitors could interact with individual digital surfaces and would be prompted to answer one of three questions, each relating to a broader exhibit theme. After the response has been received and a picture has been taken, the visitor will see his or her "story" represented as a tile within the mosaic. Visitors who do not wish to participate or visitors who have already input a story could interact with the mosaic by using the digital surfaces to select a portrait, neighborhood, time period, or theme. the surface would then reveal all of the related "stories" or individuals who have posted a response to a particular topic. this mosaic could be easily updated as more content is acquired, either through the mobile exhibit or internally. DFI ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 16 NARRATIVE OVERVIEW OPTION 1 Thematic Room this view shows an example of an environment found within a thematic space. A non-linear design allows for open exploration and free-flowing transitions between thematic spaces. to the right, visitors will be able to explore a recreated community gathering space. to the left, visitors could view interpretive content and a sub-topic devoted to the topic of home and family. Further into the space, visitors could use a touch-screen document reader interactive to find more in-depth information about a particular subject such as the Ford production industry. A scrolling bar could move over a document or image to magnify or transcribe any information being shown. Hot spots could be created for additional content and could take the form of video or audio. this option is very flexible and could be applied to maps, political documents, historic news publications, playbills, etc. RpSIDe ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 17 NARRATIVE OVERVIEW OPTION 1 Interior View of Community Gathering Place A recreated “community gathering place," such as a barbershop could be located within the Cultural Life exhibition space. Visitors could sit in a barber chair and use a 75-inch monitor display to select a time period. period-related commentary, video, and information plays as a result of the visitor selection, making him or her feel immersed in a historic place in time. other options for community gathering spaces are: • A Diner or Restaurant* (Varsity, Herron's, Wagon Wheel, Francis Virginia tea Room) • Skybox* (Shared experiences regardless of class, History of sporting events, notable historic sports figures) • Living room* (evolution of domestic life, entertainment, news, political life, social and cultural life, sprawl) • Streetscape* (City dwellers, architecture, urban growth, cultural life, parades, marches, etc) • Classroom* (Changes in higher education, politics and policy) • television studio (Cnn studio) RpSIDe ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 18 NARRATIVE OVERVIEW OPTION 2 ConneCtInG CoMMUnItIeS this approach uses community events as the basis for the exhibition organization. Community “moments in time” will be displayed from the ceiling throughout the exhibit space. A locational element adds another layer to these historic moments in a neighborhood spotlight area, which will act as a segway between the hub and the thematic areas. this option allows the visitor to establish a broad understanding of Atlanta history initially and evokes an interest in learning background information about additional areas or “moments” in time throughout the thematic areas of the exhibit. POLITICS + POLICY HOME + FAMILY URBAN GROWTH + CHANGE CULTURAL LIFE ORIENTATION WE ARE ATLANTA HUB NEIGHBORHOODS POLITICS + POLICY HOME + FAMILY URBAN GROWTH + CHANGE CULTURAL LIFE ORIENTATION WE ARE ATLANTA HUB NEIGHBORHOODS ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 19 NARRATIVE OVERVIEW OPTION 2 Orientation and Introduction this rendering shows the exhibition title panel and introduces the captured moments across time. this option adds visual interest by capturing key moments in history in an imaginative way. these moments are built upon in the broader thematic areas of the exhibit, which creates a cross-platform experience, honing in on a very specific event and then expanding to a broader topic. Boxes along the wall showcase the captured moments across time through graphics, imagery, and short interpretive descriptions. the boxes along the ceiling act as a teaser to what is to come later in the exhibit: a visual element (moment in time) and paired case displays or other interpretation. DFDe ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 20 NARRATIVE OVERVIEW OPTION 2 Thematic Introductions and Neighborhood Space After rounding the corner of the entry, the visitor views the revealed relationship between the ceiling and casework. Along the hub wall, there is an opportunity for either static or digital content. this could take the form of a timeline or a rotational panel exhibit, which could be continuously added to due to the cylindrical form of the wall. Straight ahead, the visitor could explore content related to neighborhoods through the captured moments in time that extend from the ceiling. these moments give a glimpse into the artifacts and interpretive content that is displayed below. Further into the exhibit space, visitors are given the option of watching the introductory video. pDF ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 21 Captured Moment in Time the rendering above shows a representation of what the "moment in time" or event cubes could look like. they do not necessarily have to display a date, but could take the form of a related name, graphic, image, etc. NARRATIVE OVERVIEW OPTION 2 ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 22 NARRATIVE OVERVIEW OPTION 2 View of the Orientation Video Looking Toward the Entrance and Hub Similar to option 1, the video will serve as an overview of the city’s history and expansion. It could include animated maps, photographs, and historic film clips. Visitors who do not wish to watch the video or visitors who are finished watching the video could explore the hub or move along the outer wall to experience additional moments in time before entering the broader thematic areas. pDF ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 23 NARRATIVE OVERVIEW OPTION 2 Interior View of the "We are Atlanta" Hub Since Approach 2 is intended to build upon captured moments in time, we envision the hub experience to take one of three separate forms: Atlanta “Pulse” this dynamic data visualization would add another layer of interest to the collected moments in time by adding a locational or community element. this visualization could “spotlight” the movement of people and the density of activity throughout the entire city or within a specific community. A resulting "pulse" of the city could be represented on a map and fueled by FourSquare check-ins throughout the metro region. Information could also be presented through a monitor-embedded timeline or via sliding panel graphic overlays. Geographical and census data information could be used to allow visitors to visualize changes to Atlanta's landscape, demographics, environmental impact, and expansion. IS ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 24 NARRATIVE OVERVIEW OPTION 2 Digital Cyclorama A connector of all community events, the hub could also be a 21st century re- imaging of the Atlanta Cyclorama. the Digital Cyclorama brings the diverse stories and "moments" within communities to center stage. It could house related events, people, communities, or time periods. It will be searchable by the visitor and will connect them to other points of interest or “moment” areas within the exhibit. For example, a “moment” display of Decatur Street on September 22, 1906 within the “politics and policy” section could be shown through an image of the Atlanta Race Riots. this snapshot will also be shown when a visitor taps “20th Century politics and policy” within the Digital Cylorama database. the event will appear, along with related people, images, videos, audio, or even other related “snapshots”. A circular interactive wall could surround the hub, with a dynamic selection of photos, artifacts, documents, and stories that visitors could explore. the wall could also be used as a circular canvas for a linear media program. It could be updated to include stories related to current events. SIDe ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 25 NARRATIVE OVERVIEW OPTION 2 Round Table/Discussion Forum the hub space could also be used as a centralized location for discussion. topics and questions could be projected onto a central table to jump-start the conversation when needed. Around the museum, individual discussion booths could allow the visitor to join into the round table discussion remotely. Responses could be recorded and cataloged for future use. DFI ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 26 NARRATIVE OVERVIEW OPTION 2 Recreated Community Gathering Space Similar to the recreated environment in option 1, this Google-Style panoramic experience offers the ability to transport someone to a new space in Atlanta. to build on the community event theme, visitors will be able to participate in a walking tour of either a specific structure or a community. A small selection device or a central map table could feed information to projectors, which will display the walls of a room or a streetscape onto the surrounding curved surface. As a result, the visitor feels as if they are actually walking through a prescribed location either in the past or present. SIp ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 27 SCHEDULE *Riggs Ward has not been contracted for this phase of work. Below, RWD has provided a general project schedule. This schedule will be updated as more information becomes available throughout the design process. Start Date Days to Complete end Date programming 2/3/14 150 6/19/14 Schematic Design 6/19/14 126 10/19/14 pre-Schematic Design 6/19/14 14 7/3/14 Client Review period 7/3/14 7 7/10/14 50% Submittal 7/10/14 45 8/20/14 Client Review period 8/20/14 15 9/4/14 100% Submittal 9/4/14 30 10/4/14 Client Review period 10/4/14 15 10/19/14 Design Development 10/19/14 90 1/17/15 50% Submittal 10/19/14 30 11/18/14 Client Review period 11/18/14 15 12/3/14 100% Submittal 12/3/14 30 1/2/15 Client Review period 1/2/15 15 1/17/15 Construction Drawings 1/17/15 180 7/16/15 40% Submittal 1/17/15 45 3/3/15 Client Review period 3/3/15 15 3/18/15 70% Submittal 3/18/15 45 5/2/15 Client Review period 5/2/15 15 5/17/15 100% Submittal 5/17/15 45 7/1/15 Client Review period 7/1/15 15 7/16/15 Uncontracted Services 7/16/15 225 2/26/16 Bid and negotiation* 7/16/15 45 8/30/15 Construction Administration* 8/30/15 180 2/26/16 exhibit opening 3/1/16 ATLANTA HISTORY CENTER PROGRAMMING REPORT — SUBMITTED BY RWD 08/25/2014 28 BUDgET There is currently a $2.5 million budget for the fabrication of exhibition components. This budget includes the programming, AV integration, and AV programming required for the interactive learning experiences. RWD will prepare budget estimates during the schematic design phase and will continue to update and expand the budget as more information becomes available in the following phases. 2315 W. MAIN STREET . RICHMOND, VA 23220 TEL (804 ) 254-1740 . FAX (804) 254-1742 INFO@RIGGSWARD.COM . RIGGSWARD.COM