I Am A Man VR Proposal
Contents 1
2
Design Standards Design Concept
6
Colors andTypefaces
8
Exhibit Space Exhibit Layout
12
Memphis Map
14
I Am A Man Cutout
16
Virtual Reality Education
18
VR Bays
20
Memphis Influence
22
3
Interactive Map
24
Shadow
26
Materials Ticketing
30
Memorials
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Cited Sources
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Design Standards
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1
Design Concept
1 Design Concept
Summary
The VR space is meant to be a communal area where visitors can share an experience. We wanted to incorporate the idea that museum visitors can place themselves in the shoes of the strikers by implementing suggestive visuals. Our incorporation of light and shadows represents equality amongst human beings, as you cannot distinguish race, socio-economic status, or other qualities just by looking at shadows. This idea is present in several spots in the exhibit, primarily before the VR Bays and on the diagonal wall near the exit.
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2
Color &Type Treatment
2
Color &Typefaces
Color Palette
The primary colors used in the exhibit are pure white and pure black with splashes of bold red (6, 99, 91, 0) and light red (0, 88, 73, 0). Branding on ticketing and other physical materials primarily utilizes the bold red and light red to garner attention.
(6, 99, 91, 0)
(0, 88, 73, 0)
(0, 0, 0, 100)
Bold Red
Light Red
Black
TypeTreatment
Warsaw Gothic is the typeface used in headers throughout the exhibit, and is the primary text in the I Am A Man: The Virtual Reality Experience branding. This typeface is also present in subheaders and other titles. Chaparral Pro is used in body text on the exhibit walls.
ImageTreatment
Images in this exhibit design are mostly unedited, with the exception of the photographs of strikers located on the wall to the right of the VR bays. Almost all photographs are in greyscale to preserve the historical feeling of the exhibit.
HEADINGS Warsaw Gothic Super Extended
SUBHEADINGS Warsaw Gothic Extended
Body Text Chaparral Pro Semibold
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Exhibit Space
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1
Exhibit Layout
20 ft
9.5 ft
24.25 ft
17.33 ft
Roots
s
13.25 ft
Storage 5 ft VR Educational
Backlit Projection
3 ft
ow 5 ft Di sp
lay
2x4 ft Desk
6 Be x1.5 nc ft h
3 ft
1.5 ft
Storage 5 ft VR Educational
1.5 ft
6x1.5 ft Bench
INTERACTIVE MAP
Be
8x8 ft VR Bay
hi 1 nd 3. Th 5 ft eS ce ne
4 ft
8x8 ft VR Bay
9.5 ft
14 ft
9.5 ft
ad
4.25 ft 18.25 ft
Sh
“I AM A MAN� Cutout
16.83 ft
3.42 ft
The Influence
IPad Station
1 20 ft
Map Of Memphis
3.33 ft
8.54 ft
4 ft
5.08 ft
4 ft
5.69 ft
3.33 ft
6.75 ft
12 ft
Key
The map above displays the entire exhibit space as it is described in this design proposal. The line color on this diagram represents the color of the wall as it appears in real life. Hatched areas are inaccessible and are not used in the design.
Flow
The lighter red line which curves throughout the diagram is representative of the path a visitor might take when traveling through the space. The graphical assets presented later in this booklet are designed to move visitors in this way.
This graphic shows the walls of the exhibit if you were looking at them all at once.
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2
Memphis Map 14
2 Memphis Map
Summary
This wall is the first thing visitors will see when they walk into the space and is meant to be an introduction to the story told during the VR experience. There are two main components of the graphic, an outlined map of the Memphis area and a series of labeled images.
Map
On the right side of the wall, the outlined map of Memphis highlights some of the important locations that visitors will see in the I Am A Man Virtual Reality Experience. To find out more about these locations, visitors can refer to the key on the left of the wall. The path of one of the most publicized marches is represented by a bold red line on the map, and gives visitors context to where the marches took place in relation to the where they are in the city.
Key
The key to the right provides visitors a photographic representation (taken from the I Am A Man Virtual Reality Experience) of the locations on the map. Each location is labeled with a corresponding letter and contains a brief description of why it is so important.
Streets taken in the represented march are labeled on the map
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I Am A Man Cutout 16
3 Cutout
Summary
The I Am A Man Cutout is the focal point of the entrance space and gives visitors a taste of the technical side of Virtual Reality. Here, visitors can look through the cutout to see VR participants engaging with the technology.
Wall Material
This wall is unlike most others in this exhibit because it requires a level of transparency. The type on the wall can be cut out of drywall and layered with plexiglass or another transparent material.
Cleaning
It is expected that visitors will touch the transparent material, which over time will accumulate smudges, but this can be remedied with occasional wipedowns.
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Virtual Reality Education 18
4 VR Education
Summary
To the left and right of the VR bay entrance are wall graphics which prepare visitors (who are participating in the VR experience) for what they will encounter.
Queue Monitor
On both walls are monitors that show ticket holders where they stand in the queue. The queue will update in real-time as museum staff scan tickets and can be set up so staff do not have to manually change the display.
VIRTUAL REALITY VR is the computer-generated simulation of a three-dimensional or environment360 that can be SPACE VIRTUAL REALITY image interacted with in a seemingly real or physical way by a person using special electronic equipment.
The experience is not confined to a side to side view. It is panoramic, so every single angle is able to be viewed during gameplay.
The area used for VR gameplay is an 8 ft. by 8 ft. square. If grids show up during gameplay, do not cross them, as they define the boundry space limit that the VR experience uses. One can also use a stool if they so wish.
VR is the computer-generated simulation of a three-dimensional image or environment that can be interacted with in a seemingly real or physical way by a person using special electronic equipment.
Printed Instructions
The Virtual Reality tips and instructions are displayed as a printed graphic on the wall with infographic imagery to help explain some of the core concepts of the technology. This is to allow viewers to read at their own pace and reference images if they need to.
SPACE
360
The area used for VR gameplay is an 8 ft. by 8 ft. square. If grids show up during gameplay, do not cross them, as they define the boundry space limit that the VR experience uses. One can also use a stool if they so wish.
The experience is not confined to a side to side view. It is panoramic, giveis able to be so Monitors every single angle viewed during gameplay. participants an
expected time for their Virtual Reality Experience
!
LENS ADJUSTMENT If the image is blurry, use your thumb to push in and hold the lens slider below your headset on the right. Move the lens slider left or right until the image is clear.
HEADSET ADJUSTMENT Loosen the side tabs and top strap, move the headphones outwards, then put the headset on. Then, tighten the side tabs, then top strap, and move the headphones down to your ears.
8’ 8’
!
360
VIRTUAL REALITY
SPACE
VR is the computer-generated
The area used for VR gameplay is an 8 ft. by 8 ft. square. If grids show up during gameplay, do not cross them, as they define the boundry space limit that the VR experience uses. One can also use a stool if they so wish.
simulation of a three-dimensional LENS ADJUSTMENT image or environment that can be
If the image is blurry, use your thumb to push in interacted a seemingly and hold the lens slider belowwith yourin headset on the real physical by auntil person right. Move theor lens slider leftway or right the using image is clear. special electronic equipment.
HEADSET ADJUSTMENT Loosen the side tabs and top strap, move the headphones outwards, then put the headset on. Then, tighten the side tabs, then top strap, and move the headphones down to your ears.
The experience is not confined to a side to side view. It is panoramic, so every single angle is able to be Imagery helps viewed during gameplay.
bridge the gap for those who are new to Virtual Reality
8’
8’
!
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LENS ADJUSTMENT If the image is blurry, use your thumb to push in and hold the lens slider below your headset on the right. Move the lens slider left or right until the image is clear.
8’
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Virtual Reality Bays 20
5 VR Bays
Summary
This is where the Virtual Reality Experience will take place. Two staff members will be stationed here, one scanning tickets and another assisting participants with the VR technology.
Staff Desk
The staff desk is centered at the entrance to the VR bays, and is branded with the pattern defined in the Design Standards. This is where a staff member will scan tickets and store sanitation wipes for the headsets.
GraphicTreatment
The space is defined by the bold red color on the walls and the floor which can either be made of actual trash covered with plexiglass or a graphic of such. The backwall contains historical imagery in the shape of tube TVs which are backlit.
Storage
On the backside of the VR Education Wall there is an alotted space for storage of visitor belongings and also a stool which can be taken out and used in the VR space.
The trash can on the back wall has dual purpose. Stylistically, it parallels the trash floor which defines the space. Functionally, it serves as a bin where staff members can discard used sanitation wipes. Round stools are available for VR participants who would like to sit down. They can be stored in the wall and taken out by a staff member when needed.
VR Equipment
The CPU which powers the VR experience will be hidden in the same wall space as the storage compartments. Cables will run from inside this space to the ceiling, where the headset will be attached to a suspended wire system, so that participants do not have to worry about tripping on wires on the floor. Sensors are placed high on the wall diagonally from one another in each play space.
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Memphis Influence 22
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Memphis Influence
Summary
After the VR bays, visitors will see a wall containing a monitor which shows a behind the scenes video of the VR experience, and also a graphic displaying information regarding the influence these marches had on other cities in the U.S.
Content
VICTORY RESPECT FOR LOCAL AND 1733 RECOGNITION
IMPACT THIS ON THE CHANGES SOUTH EVERYTHING
On April 16, city and union officials formalized a strike settlement. An agreement was adopted by city council by a vote of 12 to 1 and Mayor Loeb signed it. For a time, AFSCME 1733 became the largest single union in the city with 6000 members.
The success of the sanitation strike in Memphis inspired thousands of other city employees from around the Southern United States to stand up and demand dignity, respect and more importantly, collective bargaining in their workplace. Despite right-to-work laws and anti-union sentiment in the South, new AFSCME locals were organized in Baltimore and Charlotte, North Carolina. Local 1733 became the largest union in Memphis, and in Miami, sanitation workers gained one of the best union contracts in the nation.
WE HONORING REMEMBER THE MEMPHIS STRIKERS Roy Wilkins, NAACP president and national labor and civil rights leader Bayard Rustin arrived in Memphis to lend their support and prestige to the strikers. Speaking to a crowd of 10,000 people on March 14, Wilkins berated Mayor Loeb for not paying a living wage to sanitation workers: "If I were mayor of this city I would be ashamed." Rustin added, "If you can't get a decent salary for men who are working, in the name of God, how the hell are you going to get rid of poverty?"
The content primarily deals with the marches for pay equality in cities like New York, Washington DC, Miami, and Baltimore. This sets up the interactive wall by providing context to the content in the next room.
ImageTreatment
Like most of the exhibit space, photographs are kept in greyscale. Unlike the other graphics, this wall portrays individuals without the original background to underscore the commonality of the marches.
GES THING
nds of other city employees from around pect and more importantly, collective
th, new AFSCME locals were organized in e largest union in Memphis, and in Miami, nation.
Original locations of the depicted marchers are placed next to each individual
WE HONORING REMEMBER THE MEMPHIS STRIKER
Two benches are located in this area for visitors who are waiting for their VR experience and for those who want to watch the content on the TV screen on the diagonal wall.
Roy Wilkins, NAACP president and national labor and civil rights leader Bayard Rus Memphis to lend their support and prestige to the strikers. Speaking to a crowd of 1 March 14, Wilkins berated Mayor Loeb for not paying a living wage to sanitation wo of this city I would be ashamed." Rustin added, "If you can't get a decent salary for m in the name of God, how the hell are you going to get rid of poverty?"
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Interactive Map 24
7 Interactive Map
Roots Graphic
CON THE
Summary
To give visitors the opportunity to leave their mark on the exhibit, this design implements an interactive wall that can be used by all museum guests.
Leave your m movement c representati
MEM
To participa given instru data will be
Map Concept
Take a step b
The interactive map on the back wall is driven by user content, which is input on a nearby iPad or touchscreen tablet. Using a backlit projection, a map displaying visitors hometowns is displayed on a semi-transparent wall, at a size of approx. 144”. The display will toggle between a map of the U.S. and a world map to show how the movement is impacting people domestic and abroad, even today.
TouchscreenTablets
The touchscreen interface has multiple capabilities. It will allow visitors to input their data, and will also let them zoom in and out of a small map to see the impact on specific locations across the globe. This exhibit requires at least two touchscreens.
Roots Wall
CONTINUE THE LEGACY Leave your mark and show the world how far the I AM A MAN movement can spread. The map on the left is a continuously updating representation of the movement’s impact driven by your input.
The rear graphic is backlit by a projector, allowing the wall’s content to change
To participate, walk over to the nearby touchscreens and follow the given instructions. Mark where you are from on a small map, and that data will be collected and displayed on the larger wall. Take a step back and see how the legacy lives through you.
This wall uses visuals to further explore the historical spread of the movement in the US. Using road and highway data, this wall displays paths from Memphis to the cities described on the previous Influence wall. Interactive Wall
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Shadow Display 26
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Shadow Display
Summary
To cap off the experience, the wall at the exit uses light to create shadows along the floor in the exhibit space, further exemplifying the use of shadow imagery throughout the space.
Content
This wall contains a quote by Taylor Rodgers, and supports the narrative of the strikes. What makes this wall interesting is the way that shadows are manipulated through gradients and transparency. As visitors leave the space, light is cast from the other side of the wall, projecting their shadow onto the floor of the exhibit space.
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Tickets & Marketing
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1
Ticketing Concept
1 Ticketing
Queue System
To make the process of ticketing as user friendly as possible, this design implements a “queue system� similar to that of a restaurant. When the visitor buys their VR experience ticket, they will be given an identification number and told how long their wait will be. Monitors with a constantly updating queue will be placed around the museum entrances and also at the VR exhibit space so that visitors can easily find out their placement in line.
9:41AM
9:41AM
100%
100%
00001
Ticket holders will have the option of signing up for a text alert and/or a push notification via the NCRM mobile app to help them keep track of the queue. For visitors without a mobile device, a restaurant-style buzzer will be available.
ID NUMBER
THE VIRTUAL REALITY EXPERIENCE
HOURS
MINUTES
UNTIL YOUR VR EXPERIENCE
Firs t
Second
Third
Fourth
Map Concept
To give visitors something that they might take home and cherish, the tickets are made in the form of wristbands (approx. $300 per 5000 wristbands). These contain a specific identification number and the branded pattern shown in the design standards. This format can easily be translated to a traditional ticket if that is preferred.
To the right is an example of the queue interface that would appear on walls around the museum
VIRTUAL REALITY TICKET
24851
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2 Memorials
2 Memorials
Summary
In order to create a better awareness of the movement and drive people to the museum, we want to implement memorials around the city of Memphis.
Boots
These memorials would potentially take the shape of sanitation workers’ boots and have the shadows of protestors extending from them. Alongside the boots would be a brief descriptor of the location and its importance. The memorials will be placed at relevant locations in the city of Memphis, such as along the strike path.
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Cited Sources
Sources Atlanta Protests. 1970. AFSCME Communications Department Records, accessed December 1, 2017. https://digital. library.wayne.edu/iamaman/items/show/210. Castor, Tom. Washington Strikes. May, 1970. AFSCME Communications Department Records, accessed December 1, 2017. https://digital.library.wayne.edu/iamaman/items/show/212. Copley, Richard. Boycott Supporters. AFSCME Communications Department Record, accessed December 1, 2017. https://digital.library.wayne.edu/iamaman/items/show/169. Copley, Richard L. Mourning King. April 8, 1968. AFSCME Communications Department Records. accessed December 1, 2017. https://digital.library.wayne.edu/iamaman/items/show/196. National Guard. 1968. AFSCME Communications Department Record, accessed December 1, 2017. https://digital.library.wayne.edu/iamaman/items/show/187. Seated Strikers. 1968. AFSCME Communications Department Records, accessed December 1, 2017. https://digital. library.wayne.edu/iamaman/items/show/147. Sellers, Barney. Restraining Order. April 3, 1968. AFSCME Communications Department Record, accessed December 1, 2017. https://digital.library.wayne.edu/iamaman/items/show/188. Shearin, Jim. Garbage at Parkway Village Jaycees. February 25, 1968. AFSCME Communications Department Record, accessed December 1, 2017. https://digital.library.wayne.edu/iamaman/items/show/168. Shearin, Jim. Martin Luther King and the Memphis Sanitation Strike. 1968. The Commercial Appeal. Accessed December 1, 2017. http://www.commercialappeal.com/story/news/government/city/2017/02/22/memphis- honor-strikers-new-am-man-plaza/98249742/. Withers, Ernest. Striking Memphis sanitation workers. 1968. Memphis. Accessed December 1, 2017. http://www. timesfreepress.com/news/chattanooganow/story/2014/feb/17/chattanooga-black-history-month/131705/.
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