National Medal of Honor Museum / Design Proposal and Final Presentation

CONTENTS

RESPONSE LETTER

1 PROPOSED TEAM

2 SERVICE DELIVERY PROCESS

3 COST PROPOSAL

4 AIA B101 CONTRACT EXCEPTIONS

5 EVIDENCE OF COVERAGE

6 APPENDIX

Mr. Joseph Daniels

President & CEO, Medal of Honor Museum Foundation

c/o: Dennis Irvine

Irvine Team, 1980 Post Oak Blvd, Suite 2020A, Houston, TX 77056

Sent via email: BSmith@IrvineTeam.com

RE: NATIONAL MEDAL OF HONOR MUSEUM

Request for Proposal / Architecture and Landscape Design

Dear Mr. Daniels,

We are honored and humbled by the opportunity presented to us by the National Medal of Honor Museum, a place of great importance and inspiration to our country and its citizens. As you are aware, much of our firms’ work and passion has been focused on creating places that are forums for both private reflection and social engagement on topics that are an essential part of our history as a people and a nation.

After our initial visit to Arlington, we immersed ourselves in the stories of Medal of Honor recipients and were both overwhelmed and inspired by what we heard. Since that day, we have been working hard to craft a building and landscape that creates an environment for visitors that is simultaneously comforting and challenging, dignified and inspiring, and one which distinctively represents the medal’s core values.

We have grown to see the site you have selected as an incomparable asset. The context, including the lake, adjacent park, and the expansive sky, is an inspiration and opportunity for a landscape that will extend the museum’s message beyond its walls into places of repose, remembrance, and social activity that will serve both the museum visitor and the public at large.

We are pleased to submit our Proposal for Architecture and Landscape Design services which follows the form of your Request for Proposal issued on 9 October 2019, summarized as follows:

1. The Contact Information for the individual responsible for all communications pertaining to our response is: Carl F. Krebs, FAIA, Partner-in-Charge, ckrebs@davisbrody.com or (212) 633 4739.

2. Identification of the Full Consulting Team who will be engaged by Architect for the project.

3. Description of Service Delivery Process.

4. Cost Proposal by phase (based on Competition Design Scope, Section 2) is as follows:

5.

6.

This Proposal will not be withdrawn or amended for a minimum of 30 days from the date submitted.

Thank you for your consideration of our team for this important project.

Yours Truly,

Carl F. Krebs, FAIA

Michael Van Valkenburgh, FASLA Partner, Davis Brody Bond Principal, Michael Van Valkenburgh Associates

FINAL CONCEPTUAL DESIGN PRESENTATION

Power of Many and the Power of One

The

Resonance of Cultural Landmarks — Memorials, Tombs, and Spiritual Spaces

The Universal and the Infinite — Sky, Water, Nature

For heroes have the whole earth for their tomb. Their memory abides and grows, not in any visible form but in people’s hearts. Take them as your model knowing that happiness depends on being free and freedom depends on being courageous.

Pericles’ Funeral Oration of 430 BC, as quoted in Thucydides’ History of the Peloponnesian War

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

In times of we can ascend to Through our we can

Three Guiding Principles

darkness and uncertainty light and clarity individual actions impact our community

An Honorific Setting for the Museum

A Functional Extension of the Experience

A Harmonious Relationship with the Site’s Context

For Today as well as the Future

Site in Context

DBB / MVVA • 1.28.20

E-SPORTS STADIUM

TEXAS LIVE!

AT&T STADIUM

STADIUM

SIX FLAGS OVER TEXAS

SHERATON

GLOBE LIFE FIELD

GLOBE LIFE PARK

Site in Context

DR. JOHNSON

RICHARD GREENE LINEAR PARK

DBB / MVVA • 1.28.20

DR. ROBERT CLUCK LINEAR PARK

MARK HOLTZ LAKE

JOHNSON CREEK

Museum in the Park

DBB / MVVA • 1.28.20

Museum in the Park

DBB / MVVA • 1.28.20

Museum in the Park

ARLINGTON & EXPO CENTER

ESPORTS STADIUM

+523’

+546’

EVENT LAWN

VIEWING LAWN

VIEWING LAWN

MARK HOLTZ LAKE

CASCADE

Connecting to the Water

DBB

Connecting to the Water

Topography that Conceals and Reveals

Topography That Conceals & Reveals

CEREMONIAL LAWN

SUBGRADE BUILDING

MEMORIAL LAWN

REFLECTING POND

DBB

LANDSCAPE BERM

EVENT LAWN

MARK HOLTZ LAKE

SOUTH OVERLOOK

VIEWING LAWN

VIEWING LAWN

CASCADE

A Landscape of Framed Views

DBB

EVENT LAWN

MARK HOLTZ LAKE

SOUTH OVERLOOK

VIEWING LAWN

VIEWING LAWN

CASCADE

Bald Cypress Allée

Texas Redbud Groves

Native Prairie

A Planted Frame

Native Prairie

Native Prairie

Native Prairie

A Planted Frame

DBB

BALD CYPRESS ALLÉE

TEXAS REDBUD GLADE

OPEN LAWN

NATIVE PRAIRIE

A Monument in the Landscape

DBB

Choreograph a Network of Paths

MEMORIAL LAWN

REFLECTING POND

DBB

CEREMONIAL LAWN

MARK HOLTZ LAKE

SOUTH OVERLOOK

VIEWING LAWN

CASCADE

VIEWING LAWN

EVENT LAWN

Visitor Arrival

DROP-OFF

CEREMONIAL LAWN

MEMORIAL LAWN

REFLECTING POND

DBB / MVVA • 1.28.20

EVENT LAWN

MARK HOLTZ LAKE PARKING

Visitor Arrival

DBB / MVVA • 1.28.20

Visitor Arrival

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

Arrival Sequence

Material Colorado Yule Marble

Material Lueders Texas Limestone

Material Bronze

East-West Section

MEMORIAL COURT

ARCHIVAL

MEETING

EVENT SPACE

RETAIL

MECH.

CHANGING EXHIBIT

DIGITAL

MEETING

ORIENTATION

DBB

STORAGE

ORAL HISTORY

RESEARCH

ROOM

MEETING ROOM

MEETING ROOM

ROOM

LOWER LOBBY

LOBBY

Ground Level

MEMORIAL WALK

AT&T WAY

NOLAN RYAN

EXPRESSWAY

LOADING DOCK

DBB / MVVA • 1.28.20

LOBBY/ TICKETING

MEMORIAL COURT

LOBBY

DN

Lower Lobby

DBB / MVVA • 1.28.20

Lower Levels

REFLECTION / CONTEMPLATION SPACE

MAINTENANCE

GALLERIES

GALLERIES

DBB

AUDITORIUM & EDUCATION SUITE

CHANGING EXHIBIT

ELEVATOR LOBBY

GREAT HALL

CAFE

PANTRY

RETAIL

Reflection Space

DBB

Lower Levels

REFLECTION / CONTEMPLATION SPACE

MAINTENANCE

GALLERIES

GALLERIES

DBB

AUDITORIUM & EDUCATION SUITE

CHANGING EXHIBIT

ELEVATOR LOBBY

GREAT HALL

CAFE

PANTRY

RETAIL

Great Hall

DBB

Visitor Experience through Gallery

Increasing levels of light at the center spine reflect moving through adversity/ darkness toward a common

the narrative of common goal.

DBB / MVVA • 1.28.20

Ground Level

MEMORIAL WALK

AT&T WAY

NOLAN RYAN

EXPRESSWAY

LOADING DOCK

DBB / MVVA • 1.28.20

LOBBY/ TICKETING

MEMORIAL COURT

LOBBY

DN

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

Event Space

DBB

DBB / MVVA • 1.28.20

Memorial Walk

DBB

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

DBB / MVVA • 1.28.20

Smithsonian Institution National Museum of African American History & Culture Washington, DC

1 PROPOSED TEAM

1. PROPOSED TEAM

Brent

Michael

Carl

Mark

Gene Sparling,

Chris Donohue Landscape Project Manager

Newt Kershner,

Fletch Phillips Landscape Project Designer

2 SERVICE DELIVERY PROCESS

2. SERVICE DELIVERY PROCESS

A. WORK PLAN

INTRODUCTION

Davis Brody Bond will field an integrated project team of staff with design, technical, and program specific expertise. Our approach involves the same team members throughout all phases of the project, including Construction Administration. We pride ourselves on collaborative relationships among senior, intermediate, and junior staff. This collaborative culture extends to our consultant team, who are essential to the implementation and development of the design.

Based on the initial RFP and the supplemental Project Overview Schedule dated 25 November 2019, we understand the Medal of Honor (MOH) Museum is considering early packages for construction. Davis Brody Bond has successfully executed many projects with a strategy similar to that proposed here, and we believe the outlined schedule is achievable if all parties commit to the process.

ORGANIZATION AND KEY ROLES

The team’s organization is based on the premise that design, management, and documentation are not independent activities, but part of an integrated process necessary to achieve excellence in the final product. Design input and insight are encouraged and expected from the entire leadership team. By being clear about each team member’s primary responsibilities, our structure also allows us the flexibility to collaborate and inform each other’s work in a constructive manner that benefits the project as a whole.

Carl Krebs and Michel Van Valkenburgh will provide the principal level design leadership for the project from the initial concept through development of the design, its detailing, and implementation. They have worked directly with the project team from the early conceptual and schematic phases and will continue to do so through the completion of construction. They will maintain a close relationship to the building’s progress, traveling to the job site as needed.

Mark Wagner of Davis Brody Bond will direct, lead, and implement the architectural design and integrate the technical requirements of program, site and security. In a similar role, Chris Donohue of Michael Van Valkenburgh Associates will lead the development of the landscape. Mark and Chris have worked collaboratively with each other and with the firms’ principals on all major design decisions at the competition stage for this project and others in the past.

Gene Sparling will be the Project Manager responsible for managing communication between the MOH Museum and the design team, as well as maintaining a focus on the project’s design, schedule, and budgetary priorities. He will lead project administration with regard to contracts, schedule, budget, and communications.

Newt Kershner will be the Project Architect leading our internal team and coordinating with our consultants, and implement the design vision through the development of the documents and deliverables. Fletch Phillips, of Michael Van Valkenburgh Associates, will operate in a similar fashion as the Landscape Project Designer.

The project staff will support the team leadership with the development of the design and will include members with key strengths and experience in such areas as landscape/ site/civil design, exterior envelope, interior public spaces, and sustainability. Based on our experience with similar scaled projects, we anticipate establishing job captains with a focus on:

• Exterior Envelope, Superstructure, and Site infrastructure

• Interior Spaces, Public Spaces/Visitor Services, Education, and Back of House

• Landscape and Site Civil

The team will be supplemented by BIM Manager James Paxson and Quality Control Reviewer Julia Doern

We will also work with the Dallas office of Leo A. Daly, represented by Marsha Whitt, Vice President, and Brent Yost, Senior Project Manager, who will have a critical role in Construction Administration and Construction Document reviews. They will perform site observation visits, participate in the construction meetings, coordinate RFI requests, and process submittals for distribution. In addition, they will take an active role in reviewing Design Development and Construction Documents as part of our quality control process, with a specific focus on local design and building practices, contractor capabilities and regulatory requirements.

CONCEPT VALIDATION & PROGRAMMING PHASE 3 MONTHS

This project is the result of a design competition, and we will begin our contracted services with a preliminary understanding of a scheme, scope, and cost. However, this design has not had the full level of client interaction and review that we typically see in a schematic design, and many of the program and site assumptions will need to be vetted and revisited. Therefore we see the initial phase of Concept Validation and Programming as an essential and critical step and appreciate that it has been included in our outline schedule.

The programming effort that is part of the project’s validation is discussed in further detail in B. Plan for Comprehensive Space Program. In addition to program confirmation there will be a parallel effort involving careful initial study to understand the full scope of work, including performing the due diligence efforts necessary to have a good understanding of the site and existing conditions. At the same time, we anticipate the MOH Museum will be confirming its business model, target audiences, and visitation projections. Finally, during this start-up phase we will confirm and establish procedures for design deliverables, stakeholder coordination, and submissions. We will initiate the project with an effort to understand your culture and mission, as well as those of the museum’s visitors and staff, so that our design work and activities will reflect and support the institution.

Once program, site development, and schedule/delivery are understood we will confirm that the schedule and budget are aligned. As part of the validation we will revise and confirm detailed consultant scopes of work and will assign the most appropriate design professionals to the project. With your input, we will identify all necessary stakeholders and review authorities, and identify appropriate times during the design process and appropriate protocols for interacting with them.

SCHEMATIC & DESIGN DEVELOPMENT PHASES 13 MONTHS (WITH REVIEWS & COST)

The work plan for these phases will conform to the expedited schedule involving early packages indicated in the original RFP and in the supplemental alternative schedule of 25 November 2019. Though traditionally Schematic Design (SD) and Design Development (DD) are treated as distinct phases, the desire to fast-track the schedule, and the benefits of a competition design and concept validation phase, suggests that we could approach SD and DD as a partially blended phase, with certain building features accelerated in terms of their documentation. In part because we have the benefits of an initial design competition phase, we should aim for an enhanced SD deliverable in order to have a firm basis for early packages in DD. Though there will likely be changes to the competition scheme, it should provide a head start to these phases.

In addition, as soon as a contractor is selected, and even during the selection process, we will engage their input on the intended sequence of work in order to tailor design and documentation for any packages that can be procured early. Typically this includes foundations and superstructure, but in the case of this project may also include early site packages related to infrastructure, utilities, and grading.

The accelerated development of enhanced Schematic and Design Development drawings will put pressure on both the design team and the owner to make timely decisions about program, costs, and operations early on. We recognize that this can be a challenge for a new institution still developing its staffing and business model. To the greatest extent possible, schematic design will establish the broadest parameters for the building’s core and shell, providing some flexibility for later fit-out.

Smithsonian NMAAHC model

Smithsonian NMAAHC programming diagram

CONSTRUCTION DOCUMENTS PHASE 8 MONTHS

During Schematic Design we will also attempt to define any add alternates or options for evaluation by the client. There may be alternatives such as advanced, sustainable mechanical or geothermal systems, or use of rooftop or shell space that could be identified and explored at this early stage. Finally, the Schematic phase is the best opportunity to address questions about phasing and future expansion.

The Design Development phase will initially focus on the drawings provided for all core and shell systems, such as foundations and superstructure, exterior enclosure, and vertical transportation elements and common core facilities (MEP shafts, egress stars, public toilets, etc.) These are the systems for which the Contractor will require early documentation as they represent the systems which follow in lock step with the way a project is constructed. Other critical DD tasks include:

• Detailed coordination with all consultants

• Review of developed plans with Museum representatives

• Interior finishes and furnishings

• Presentation of exterior materials

• Sign-offs on User reviews

• Initial permitting discussions with local authorities.

During the Design Development Phase we will engage with our local architect, Leo A. Daly to review the design documents and specifications with a particular eye to local detailing practices and standards, the capacity of the sub-contractors to meet the design, and for a general peer review of the design.

Initial planning for the construction documents will begin during the GC selection. Immediately following submittal of schematic design and concurrent with review and costing, the design team will meet with the selected contractor to understand the procurement strategy and schedule for the project. Based on these discussions, we anticipate the development of early site work packages in Design Development.

The procurement schedule will inform and, if necessary, realign our document production process so it is integrated with the construction process. The need for specific contract documents will be identified and prepared such that they are procured and immediately implemented by the Contractor in the field. This requires collaborative interaction with the contractor/construction manager and their pre qualified vendors to streamline the design/bid/award and shop drawing approval process. This runs contrary to the conventional process of producing construction documents to a uniform level of completion once a design concept has been completed and approved.

Typically in this phase we will progress the documents in steps to 50% and 95% complete construction documents at which point we recommend procuring additional cost estimates for team review. With each estimate the percentage of design contingency shall be reduced as the project designs are better defined. Throughout this process we will work to identify elements of the design that may be priced in the Contractors bid in an add/deduct alternate manner giving the Owner flexibility in the process of making a final bid award.

During the Construction Documents phase, Leo A. Daly and Davis Brody Bond will also be involved with bidding and construction administration of the early site and structural packages. This will be a period requiring the greatest resources of the architect and its consultants, and we will need to carefully plan and coordinate staffing and deliverable dates.

Smithsonian NMAAHC construction

Smithsonian NMAAHC construction

Construction Documents Phase (cont’d)

Quality Control

During Construction Documents, internal Quality Control Review procedures are implemented to enhance the accuracy and completion of the deliverables. These procedures are described in Section F. Quality Control. At the start of the project Julia Doern, Quality Control Reviewer, will review the documents at each stage, with special focus during Construction Documents. In addition, we will hold internal reviews involving an in-house peer review group composed of senior technical personnel who are not part of the project team. Finally, our local architect Leo A. Daly will conduct in-depth reviews of the Design Development and Construction Documents with specific attention to local practice, methods, and details.

BIDDING & CONSTRUCTION ADMINISTRATION PHASE 24 MONTHS

Davis Brody Bond will assist MOH staff with the bidding phase, which depending on the requirements, may include: attending and presenting at pre bid conferences, responding to Requests for Information (RFIs), reviewing and responding to proposed substitutions, and finally, assistance with review and interpretation of the bid offers and selection.

Our Construction Administration services include, but are not limited to, on-site review and progress meeting attendance, test result review and response, regular schedule review and progress reports to the Owner, field reports, payment application processing, RFI response, change order and change directive processing, punch list, determination of substantial completion, and project closeout. We anticipate using an entirely electronic Construction Administration submittal and shop drawing review process. The majority of work relating to RFIs and submittals will be performed by the same team who worked on Construction Documents.

During Construction Administration we will be actively working with our local architect, Leo A. Daly and their Project Manager Brent Yost. Brent will join us on weekly construction meeting conference calls, coordinate and refer all contractor Requests for Information (RFIs) to the relevant parties, process distribution of submittals to help meet the construction schedule, and perform bi-weekly site observation visits. Site observation is our opportunity to establish an open communication and dialogue with the contractor, quickly identify solutions to field conditions, anticipate future challenges, and understand the sequence and priorities of work in the field. We anticipate that there will be periods, especially in the beginning of the project, of less frequent site visits, as well as times when we will be on-site weekly.

CLOSEOUT & COMMISSIONING PHASE 3 MONTHS

Following the completion of construction, per your schedule, our services may be leveraged over a three-month period to facilitate a smooth Owner move-in and occupation of the building. A post-occupancy evaluation will then complete the project by offering us valuable feedback on the realized building designs. We have typically planned for a slightly longer period (up to 6 month) following construction for installation of exhibits but have also seen this period compressed (especially at the end of the project). Because the exhibits do not require a highly conditioned and stable environment for relative humidity and temperature, there may be opportunities to expedite their installation, but this should be reviewed with the exhibit designer.

Smithsonian NMAAHC opening

Smithsonian NMAAHC

B. PLAN FOR COMPREHENSIVE SPACE PROGRAM

INTRODUCTION AND FIRST STEPS

The development of the MOH Museum’s program is one of the most important steps in its design. Though the product is a comprehensive inventory of spaces and design criteria, it is also an exercise that defines and clarifies the overriding values that will govern the institution and shape its evolution. Davis Brody Bond has worked on a number of museum space programming exercises, for both existing and new institutions. The two efforts most like the MOH project are the programming and planning work for the 9/11 Memorial Museum and the Smithsonian’s National Museum of African American History & Culture. Both of these projects were institutions being built anew, without historical data for attendance, existing collections, or extensive staff.

The first step in this process Is largely driven by the institution but facilitated by the design team. It involves the articulation and understanding of the Museum’s core mission and values. Our efforts at the Smithsonian began with three critical definitions of purpose; Mission, Mandate, and Vision. Developing and refining these statements not only initiated the programming process but created checks and balances when determining priorities and areas of emphasis for space and programs. The fundamental questions concern:

Mission: What is the reason for the existence of this museum?

Mandate: What are the Museum’s geographical and chronological parameters, areas of specialization, and institutional relationships?

Vision: What is the intended impact of the Museum on society and the world?

We know that these questions have been part of the MOH Museum since its conception, and we have informally heard several ideas that lend clarity to its mission. President Joe Daniels’ introduction to the RFQ provides a valuable point of departure. At our introductory session in Arlington, we heard that this is not intended to be a military museum, but rather an institution whose goal will be to translate and relate the experiences and values embodied by Medal of Honor recipients to people in all walks of life, especially to the young. This can also mean finding parallels with others engaged in public service, such a first responders. We also learned that the primary means for achieving these goals will be through the strength of stories and narratives, focusing less on physical artifacts. All of these ideas, as well as others that may emerge, are the foundation of the programming and design of this new building.

We should also note that at the same time we are defining the program for the museum, we expect a parallel exercise to be underway that develops an exhibit master plan identifying themes and topics, a sequence or overall organization, specialized media, and spatial requirements for places of engagement and reflection We anticipate collaboration between the exhibit design team and the architects on the development of both the building program and the exhibit master plan.

PROCESS

Market and Audience Research

In October 2019 the museum established Arlington, Texas as its home, and a reasonable next step could be to engage a market research analyst to do a visitation projection based on the local market. This will allow the museum to better understand its target audience (local residents, tourists, military personnel, school groups), to understand the level of attendance and peak times (seasons and days), visitor modes of arrival, and potential revenue. A parallel exercise should be considered for the conference center to determine demand, capacity, and revenue potential.

George W. Bush Presidential Center, Dallas, TX

Smithsonian NMAAHC

Typically, this analysis is engaged by the Owner, but can also be facilitated though the Design Team. The resulting data will help better define requirements for all levels of visitor service, capacity of exhibits, number of classrooms, and event and conference space needs.

Public Engagement

We also recommend a set of workshops in the pre design phases to reach out to potential MOH audiences to understand their expectations and interests. This allows the museum to:

• Understand expectations about content, themes, and topics

• Communicate its vision to the public

• Raise visibility among key audiences

• Reach targeted audiences (such as local schools)

At the Smithsonian’s NMAAHC we identified several categories of stakeholders which may be relevant to the National Medal of Honor Museum. They included:

• Advocates (individuals representing groups of key importance to the museum, such as veterans, military personnel, educators, and leaders of youth groups)

• Government (local officials and representatives of organizations involved in tourism, sports/entertainment and cultural affairs)

• Networkers and Opinion Leaders (based on the local market this could involve faith and social communities that have large spheres of influence)

• Professional Experts (these might include historians, military personnel, collectors).

We expect the results of these workshops to be a series of themes and messages that will inform the building, its programs and outreach efforts, and its exhibit content.

General Museum Requirements

The three main areas for General Museum requirements are Collections, Public Programs, and Staffing. The existing program has provided a strong initial template against which to confirm and revisit space and design criteria. We have developed primary space needs with very few omissions from the original template. The main issue is to reconcile and refine these space provisions with: The main objective is to reconcile and refine these space provisions with:

• Projected visitation

• Demand for conference venues and special events

• School group and education visitation

• Projected staffing

• Operational decisions (such as extent and potential outsourcing of areas such as food service, security, maintenance, etc.)

• The museum’s mission regarding collections and acquisitions

• Specialized technical support for galleries, media, and building systems

• Specialized site programming for arrivals, parking, service, and exterior spaces

In the case of new institutions, this effort is supplemented by specialized expertise (food service may propose different models and structures, for example) and our team’s knowledge of best practices in museum planning.

The result will be a comprehensive space program with individual spaces supplemented by room data sheets that define dimensional requirements, adjacencies, and technical criteria, such as lighting and MEP, as well as any unique A/V, acoustic, security, or other requirements.

National September 11 Memorial Museum

City+Arch+River, St. Louis, MO

C. RECONCILIATION OF NEEDS & COST GOAL

There is a direct correlation between size, quality, and cost. Additional factors, such as long-term operating costs versus first costs, as well as programs with associated revenue streams influence this relationship but fundamentally the owner and design team must establish size and quality expectations during the concept validation and schematic design phase. Later phases of the project are greatly limited in the range of options to reduce costs, often focusing only on finishes, which are a relatively minor part of the project’s budget.

As is evident in the RFP, we also believe the stature of the National Medal of Honor merits a high standard of design quality and its materials and systems must be dignified and resilient. We can achieve this through a consistent and careful attention to the budget throughout the design process, as well as with the following tools and activities:

PROGRAM ASSESSMENT AND EVALUATION

In early stages we ask whether there are opportunities for space sharing, areas of redundancy, or less expansive size requirements. Often the initial design, or in this case the competition entry, is the first opportunity to understand how spaces are used. For example, the initial design might suggest that a lobby could serve as a pre-function space, or the Great Hall could serve as an event space.

DESIGN CRITERIA

There can be costs embedded in design criteria that are not essential to the project. Criteria for MEP, acoustics, flexibility, and special dimensional requirements should be confirmed.

REVENUE OPPORTUNITIES

Certain program functions have both revenue streams and first cost investments, such as food service. For many museums, a cafe is not a revenue generator and is in fact subsidized by the institution. In addition, depending on the level of food service,

there is often a significant investment required for the kitchen

However if there is an associated revenue stream for catering, such as the conference center, this might make food service profitable for an operator. Our food service consultant, Tracy Lawler of JGL, has worked with numerous cultural institutions on these issues.

COST ESTIMATES

As part of each phase, we anticipate a cost estimating exercise that can identify where the dollars are spent, and what may be deviating from conventional models. In addition to a building, this project potentially includes scope for site work, site infrastructure, landscape, a water feature, exhibit infrastructure, and system enhancements for sustainability.

EARLY CONTRACTOR INVOLVEMENT

As soon as a contractor is selected, we will engage them in a review of the design concept and obtain input on what can be done cost effectively, what skills and specialties are available in the local market, and their recommendations for systems that are supported and widely used in the local market. An early exercise might include an evaluation of steel versus concrete structure. For this project there may even be an opportunity to consider a hybrid for the above- and below-grade portions of the building.

VALUE ENGINEERING

At each phase deliverable we review alternative materials, detailing, systems, and design assumptions which are presented for costs/benefit analysis and Owner input.

PHASING OPTIONS/ADD ALTERNATES

In concept validation and schematic design we will explore the options of deferred or phased development of building or site/ landscape features. If feasible, some of these can be documented as add-alternates to the base project.

The Frick Collection Portico Gallery, New York, NY

City+Arch+River, St. Louis, MO

D. COST MANAGEMENT

Cost control is a product of a dual strategy involving creative design responses to budget and a rigorous protocol of tracking and monitoring costs. A creative design approach can often solve a challenging budget and value engineering, when properly managed, can distill a project to the most important elements and make it stronger. Regular estimating and on-board tracking of costs can mitigate scope creep and preserve essential design priorities.

Our partnership with Michael Van Valkenburgh Associates has had successful experience working within budgets on large and complex projects, most recently at the new US Embassy in Mexico City, currently under construction. Our talents and skills are complementary and we have been able to collaboratively solve and monitor challenges as they arise.

For example, instead of a tower, the initial design concept for the Embassy proposed a mid-rise building set within a perimeter of excavated gardens and courts, entered at a mid-level. The resulting building’s massing and form, its relatively solid masonry facades and defined window openings, met the stringent security and blast requirements of the US Department of State and responded to the local context in a cost-effective manner.

To monitor costs through the project, the team developed detailed cost estimates during and at the conclusion of major design phases to ensure that, as the design evolves, it remains aligned with the project’s budgetary goals. In addition to our own estimates, an independent estimator developed an estimate at the end of every major design period, and we engaged in a reconciliation and value engineering period before proceeding to the next phase. We also developed robust specification documents that, even at a preliminary stage, clearly articulate the building systems, materials, and finishes anticipated for the project. As a result, these early cost estimates were able to incorporate a great deal of detailed information that is typically fully developed during later design phases.

In conjunction with these independent cost reviews, our team also engaged with construction professionals early in the design phase. This process provided crucial insight into issues of constructability, material costs, and construction sequencing; by addressing these questions during the preliminary design stages, the team was able to avoid harmful schedule delays and cost increases during construction.

Not only were the Mexico City Embassy Construction Documents completed within budget, the project was able to withstand a delay in bid and award of over a year and was procured with no reduction to scope.

Hudson River Park, New York, NY

United States Embassy - Mexico City, Mexico

Sustainability strategies require a holistic approach to all phases of a project, from pre design (the decision of what, where and how much to build), design (choices of materials and systems), construction (how to source materials and how to manage the waste), and finally and perhaps most importantly in terms of overall value, the operation and maintenance of the building. As a result, any strategy to achieve sustainability must be understood and supported by all the parties involved, namely the Owner, Design Team, and Contractor.

A sustainable design strategy is also an interdisciplinary approach that requires a commitment from all consultants, with a high level of communication at each phase of the project. In addition to the design and construction of buildings, land use and site development strategies are very important factors during preliminary phases. Working with our landscape architect, Michael Van Valkenburgh Associates, Davis Brody Bond will approach the building orientation, site vegetation, water conservation strategies, surface paving, and other site development features with conscious intent as to how they will affect the micro-climate of the project and demands for energy and other resources.

As architects, we have a major responsibility for the building materials and systems, and we will work closely with our MEP Engineering and Sustainability consultant BuroHappold on identifying the most promising opportunities in passive design at the schematic phase. They will also provide detailed energy and occupant studies and detailed environmental comfort studies. We will work with BuroHappold to define both environmental qualitative goals and hard performance metric goals. While a shoe-box energy model will help define priorities and guide strategies for performance, we will also assess design strategies for both indoor and outdoor comfort, health, and well-being. As architecture begins to formalize, BuroHappold will begin a reiterative process of energy use analysis with an optioneering process to gauge various energy reduction strategies, informing the next cycle of energy modeling.

In addition to performance analysis, they will assess specific locations and conditions in the project for thermal and visual comfort, both outdoor and indoor. The team’s studies will ensure that while energy performance is being optimized we are creating spaces that are comfortable for occupants.

A significant effort will be made to involve the MOH Museum staff and owners in the selection of systems and materials, with specific attention to operational impacts and costs. In many cases the benefits (both cost and environmental impact) of certain systems require up-front investments in capital costs, as well as a commitment to maintenance which the Owner needs to understand in order to make an informed decision.

Davis Brody Bond’s commitment to sustainable design is deeply rooted in the firm’s practice, dating back to the early 1960s with the design of the Bolgatanga Regional Library in Ghana, where passive heating and cooling systems, as well as water conservation methods, were used to recycle limited resources. This tradition continues today and our portfolio includes many buildings that have been LEED Certified or designed to meet certification requirements. We were recently ranked in the top 50 of Building Design + Construction’s Top 215 Green Building Sector Design Firms for 2019. Ultimately, sustainable design is intrinsic to Davis Brody Bond’s design methodology. The importance of respecting and nurturing our environment cannot be overstated. With this environmentally responsible approach to the design and construction of our buildings, future generations will enjoy the natural and architectural landscapes that enrich our experiences.

The majority of our current and recent projects have been designed to meet the stringent requirements of LEED certification, with a majority of them achieving, or projected to achieve, LEED Gold certification.

CT Water Treatment Facility, New Haven, CT

National September 11 Memorial

We have the resources to successfully deliver complex projects on challenging schedules and within tight budgets. In our experience we have come to learn that effective project management, and the resulting project quality control, is based on a series of thoughtful procedures within the context of an open and timely dialogue by a committed project team. We have developed a body of knowledge and key analytical skills which are essential to the in-depth problem-solving that we address every day on our projects. We continuously implement new initiatives based upon lessons learned in order to get the best possible results for our clients and their projects. At its core, quality control means accuracy.

Throughout project development, internal Quality Control review procedures are implemented to enhance the accuracy and ensure completion of the deliverables. The following are key features that will be followed:

• Responsibility for design quality rests with the architect; communications between the MOH Museum and team members will be channeled through the Project Manager, Gene Sparling. Deliverables will be reviewed by Julia Doern, a Associate Partner of the firm who will serve as our Quality Assurance Specialist.

• Internal Reviews that will involve both an in-house Peer Review Group composed of senior technical personnel who are not part of the project team as well as our local architect Leo A. Daly.

• Any changes in project scope must be submitted to the Project Manager for approval before submission to the MOH Museum for review.

• Review of all documents, including consultants’ submissions, will be required by the Quality Assurance Specialist to focus on accuracy of technical elements and review the documents for conformance with the project’s design intent, in order to preclude errors, omissions, or inconsistencies.

• Compliance with requirements of function and sustainability. Submissions will include appropriate reference materials, design guides, and standards.

• Cost Analysis, prepared by the independent cost estimator and Contractor, is reviewed at key design phase milestones by the Design Team and Quality Assurance Specialist to monitor how the project, as designed, aligns with the project’s cost objectives. Meetings will be held with the client to discuss cost estimate findings and agree upon design changes to meet cost goals.

• Coordination by the Quality Assurance Specialist will include review of comments by both the in-house peer review and any external reviews by the owner. Key to effective coordination is detailed review and comment by the architectural team and Quality Assurance Specialist of all materials submitted by the consultants on the design team.

Smithsonian NMAAHC construction

Brooklyn Bridge Park

G. COMMUNICATION PROTOCOLS WITH EXHIBIT DESIGNERS & CURATORS

We have worked on a significant number of museum projects that required close coordination with the exhibit design team. Several, such as the September 11 Memorial Museum, the Smithsonian’s National Museum of African American History & Culture, and the Gilder Center at the American Museum of Natural History are similar to the MOH Museum, as they involve a new building housing an innovative exhibition program. We have seen an increasing use of digital and audio/visual materials, which has increased the need for early coordination between the building’s infrastructure and exhibits.

We strive to think of our work in holistic terms, with the exhibit and narrative concept supported throughout the visitor’s experience, even blurring the boundary of exhibit and public space. The museum’s message begins well before entry. It starts as one approaches the site, walks through the landscape, crosses the building threshold, and encounters visitor services. To achieve that coherent message requires alignment and communication between the Design Team, Exhibit Designer, and Owner. Our recommendations for communication protocols with exhibit designers and curators include:

• Simultaneous Engagement: It is our preferred model that the Exhibit Designer and Architect are engaged at similar points and work in parallel. Though we have worked on occasions before an exhibit designer was on-board, and built in some level of flexibility into the design, we have found that the best opportunities for the building and its exhibits are found when communication and collaboration between the exhibit designer and architectural team are present at the project’s conception.

• Definition of the Core Mission and Message: A typical part of the Exhibit Designer’s scope is the development of a “master plan” that identifies the key messages, themes, and experiences that underpin the exhibit content. This document is an equally valuable resource for the architectural design.

• Confirmation of Program and Criteria: To some degree this is work is evident in the RFP attachments. As program is being validated in the post-competition phase, we anticipate a

number of exhibit-related support and back-of house spaces that will need further definition. In terms of the main exhibit space, there are some areas such as the 4-D theater which need more detailed understanding and technical requirements.

• Strategic Engagement at Key Presentations: We have found it helpful to participate in key exhibit design presentations with the Owner in order to better understand the decisions and priorities, understand any architectural implications, and in some cases to offer suggestions relating to the infrastructure and architectural shell.

ROLES

The primary liaison with the Exhibit Designer at early stages, especially concerning conceptual direction, will be Mark Wagner Though trained as an architect, he has served in roles that provide him with invaluable understanding and insight into the exhibit design process. Mark was the key individual responsible for identifying and protecting in-situ artifacts at the World Trade Center site in the period immediately following the September 11 attacks, resulting in the preservation of hundreds of artifacts now found in collections across the country.

COMMUNICATION DURING DESIGN & CD PHASES

As the project progresses, we anticipate frequent coordination at the intermediate staff level between our architects and engineers, and the exhibit designer’s staff. Much of this work will occur with regularly scheduled meetings. In addition, we anticipate coordinating key deliverables so that we are able to adjust our document submissions in order to provide greater ease of communication and better cost estimating.

CONSTRUCTION ADMINISTRATION

During CA, the architect will keep the Exhibit Designer apprised of RFIs, submittals/substitutions, and field conditions that affect the exhibit spaces. Under ideal conditions exhibit installation will occur after substantial completion of the galleries but we can also work with the Exhibit Designer and Contractor to expedite spaces for fit-out and installation.

National September 11 Memorial Museum

Gilder Center, American Museum of Natural History, New York, NY

H. BUILDING INFORMATION MODELING

We work with Autodesk Revit Architecture for 3D Parametric / Building Information Modeling. Our projects reap the benefits of a collaborative workflow, a fully coordinated model, and documentation set. In addition to Revit, we employ additional programs and tools for 3D visualization and massing studies such as SketchUp, Rhino, 3DStudio Max, and Form Z, as well as NavisWorks for coordination and interference checking to reduce the number of RFIs, Change Orders, and other issues that may arise.

We have in-house expertise for both 3D and 2D design methodologies so that any unanswered questions or problems related to the use of the software or the management of the data can be quickly and easily resolved.

APPROACH TO BIM DURING DESIGN

Our approach to a BIM project begins with a BIM Execution Plan (BEP) presented at a kick-off meeting to ensure standard procedures are understood and followed by all parties. The BEP establishes a schedule of model exchanges, starting with bimonthly exchanges in the earlier phases and moving to weekly exchanges toward the end of Construction Documents. The BEP also outlines major milestones and the Level of Detail (LoD) expected for each deliverable. Other procedures, such as naming conventions, background views, and other requirements are outlined to streamline collaboration between various disciplines.

We typically follow AIA guidelines for LoD for Model Components, unless there is a project-specific need to bring certain categories up or down a level in order to clarify design intent or to reduce the model file size and improve performance.

Even before the first plans are created, BIM can be an asset during programming to visually assist with block-and-stack diagrams and massing studies. BIM programs like Revit are invaluable for managing critical program information and enable an unparalleled degree of modeling organization, all within a collaborative working environment.

As the Design Development and Construction Documents phases wrap up, several rounds of clash detection sessions take place, bringing together the whole team for a workshop in which conflicts between disciplines are identified and resolved. This level of coordination review helps to reduce surprises during construction, thus reducing change orders and costs.

APPROACH TO BIM DURING CONSTRUCTION

Ideally, a BIM model created during design is carried through the construction phase to the conclusion of construction. Whereas CAD required a lot of coordination during construction, our use of BIM has allowed a significant amount of trade coordination to take place beforehand through Navisworks and clash detection.

The information contained by models are not only necessary for producing the two-dimensional design drawings, but are the means for coordinating with the consultants during the design phase, and further into construction with construction managers and contractors. This aids the construction process greatly and prevents numerous potential issues.

The best practice, and our team’s approach, is to continually maintain BIM models for the duration of a project so that they are relevant and reliable and approximate the final product as best as possible. With live models that are continually updated and modified, adjustments and resolutions can be made and found much quicker and expedite the entire construction process.

At the end of construction, the Owner has the opportunity to request a record model after completion of core and shell or full building projects. The BIM model that was used to generate the construction document drawing set is updated with changes that happened during the construction phase. These changes include RFI, shop drawing submittals, change orders and substitutes. A record model is usually issued with a Conformed Record drawing set. Davis Brody Bond (with Smithgroup) issued a conformed record set for the Smithsonian Institution after the National Museum of African American History & Culture opened its doors.

Smithsonian NMAAHC

Smithsonian NMAAHC