ST. JOHN historical museum S
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CONTENTS
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4-5 6-9 10-11 12 13 14-15 16-17 18-23 24-39 40-41 42-43 44 45 46 47 48 49 50 51-57 58-60 61-63
GOALS & MISSION STATEMENT PROJECT OVERVIEW GENERAL MUSEUM GUIDELINES DESIGN DEVELOPMENT EXISTING SPACE BUILDING CODES UNIVERSAL DESIGN FIELD STUDIES RESEARCH SCHEMATIC DESIGN SPACE PLANNING AS BUILT PLAN FLOOR PLAN FINISHED FURNITURE FLOOR PLAN MATERIALS SELECTION CEILING PLAN LIGHTING SELECTION STOREFRONT MAIN GALLERY SMALL GALLERY APPENDIX 3
MISSION STATEMENT “To create a rural museum that embodies the community’s history and spirit of St. John”
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Goals of museum 1. Enhance the community’s pride, independence, and spirit. 2. Engage the community through the preservation of the monumental history of St. John. 3. Create an educational environment which encourages all ages to interact with the past. 4. Honor the historical events that have taken place in St. John.
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PROJECT OVERVIEW Senior Interior Design students at Washington State University working with the RCDI will propose a design for a historical museum in the rural town of St. John, Washington. The community wishes to adapt an existing space on the historic main street for the preservation of St. John’s history and proud community spirit. The designated building for the museum was a historic pharmacy from the turn of the centry that is between the modern city hall and historic insurance company. The museum space has an unfinished interior that is in the process of renovation for the purpose of installing a museum. The community has been generously giving their time and resources to complete the museum.
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The design team will interpret the needs of the community through co-design and regularly meetings with the clients. This design will take into consideration: museum design guidelines, the existing space’s condition, adaptive reuse of the building, building codes, and how people will interact and experience the space. Further, it shall give creative options for space layouts, materials, and experiences for each viewer. This museum will have a small gallery with rotating exhibits as well as engaging static installations. The main gallery entrance invites vistors to explore the space, beginning with an engaging timeline of St. John’s history and early families. The timeline of St. John’s history incorporates world events and local artifacts beginning with the first inhabitants to modern day. The timeline will provide a significant resource planning inspiring new funds, and energies to the completion, including fund raisers and volunteer labor of the completion.
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A Veterans corner allows for quiet relflection on the courageous pilots from St. John who fought in WWII and the Vietnam War. A gift of three large paintings on the subject of Steptoe battles from the artist Nona Hengen will be displayed in a cozy corner at the end of the contemporary period of the timeline. A genealogy corner allows people to research their ancestors on the internet or in old books at a desk or on a comfortable couch. The historic character and materials are important in the preservation of this building and the finished museum. Original brick on the East wall is to be left exposed, the historic storefront adapted and kept, and glass block sidelights and front door all kept in their original state. The museum will have a modern rustic design aesthetic. The design should respect and carefully include these things and the buildings character. The final presentation includes physical space plans that include a design for a gallery space, storage, and archival space. Consideration is given to layout, flexible exhibition spaces, traffic flow, viewing experience, ADA/universal design, ceiling systems, lighting, finishes. Also taken into the design considerations is the main access to the museum through the city hall, and monitoring security from here.
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GENERAL MUSEUM GUIDELINES These are general design considerations and important information to consider:
UV protection on all windows Security/Insurance: Security brackets on all hanging and fixed displays Perimeter alarms Enclosed Items
Communities requirements of the space : To be for families and visitors Functional and flexible Educational Historical Interactive
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Lighting: Average of 10 foot candles per hanging display LED track lighting Adjustable fixtures Flood lighting Spot lighting Halogens Broad spectrum lighting UV protective glass on art Temperature: 70 degrees Average 30% humidity Display: Center view of the piece, Hang at 5’-5” to 60” Description is hung at 4’-6” Way finding: Used through color and graphics Inferred flow (IGS, 2004, pg. 356) Unstructured flow (IGS, 2004, pg. 356) Structure flow (IGS, 2004, pg. 356) ADA access 3’ door ways Minimum 3’ width aisle through entire space 5’ turn around space required 11
DESIGN DEVELOPMENT Design Goals & Design Concept 1. Fixed elements within a flexible space 2. To create an interactive educational space for a multi sensory experience 3. Meets the community’s desire to celebrate St. John’s history through design 4. Modern design with historical elements Site analysis
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Total SQ FT (with stairs): 1,780
Stairs total SQ FT: 84.4 sq ft
Total SQ FT (without stairs): 1,695’-6”
Storage area needed: 416 sq ft
EXISTING SPACE
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BUILDING CODES Total SQ FT (with stairs): 1,780 Stairs total SQ FT: 84.4 sq ft Total SQ FT (without stairs): 1,695’-6” Storage area needed: 416 sq ft Occupancy Classification: A-3, [pg. 54 2009, IBC] Floor area in sq ft per occupant: 5 net Load Factor= 15 net, un-concentrated tables and chairs A-3=1279.5/15 = 85.3 people Occupant Load: 86 people [Table 104.1.1 Maximum Floor Area Allowance per Occupant, pg 89] Plumbing calculations: 2 Unisex Water closets Number of exits: 2 Exit access travel distance: 300’ with sprinklers
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Bathroom 5’ turn around 3’ to side of toilet Toilet height: 17”-19” Toilet paper height: 15”-48” Flush control height: 44” MAX AFF Horizontal grab bars height: 33”-36” AFF Vertical grab bars height: 39”41” AFF Sink height: 27”-34” AFF Sink depth: 17”-25” Knee space: 8” AFF Toe space: 6” AFF
Drinking fountains: Toe space: 6” AFF Bottom of fountain 9” AFF Knee space: 8” AFF Bottom of fountain bowl: 27” AFF Fountain width: 17”-25” Standing height: 38”-43” Wheel chair height: 36” MAX AFF
Mirrors: Bottom of mirror: 35”-40” AFF Finishes: If sprinklers are in stalled less restrictive finishes can be used. Assembly-Existing Under less than or equal to 300 OL. Exits A Other spaces need to be A or B; C on low partitions Interior wall and ceiling finish: A: Flame spread 0-25, new applications, smoke developed 0-450. 15
UNIVERSAL DESIGN Door handles as levers opposed to knobs Entry ways that are flat and wide Linear building layouts with clear lines of sight Surfaces that are stable, firm and slick resistant Multi sensory experiences Special requirements specific to St. John museum: Locking the front door and entering through city hall Monitored by personnel in the city hall Main street presentation from store front window Store front windows-needing UV protection Access to both possible patios Street parking and parking in the back of the building Spaces requirements: Address the floor load bearing weight ADA access Exhibit space Archive storage space Storage space Project requirements: Designing a flexible exhibition space Storage/archival space Quantitative requirements/space requirements: Exhibition space: 80% Furniture Seating Display Cases 16
Storage space: 20% Filing Cabinets Archive Station Prep and Cleaning
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FIELD STUDIES - MAC Spatial requirements: Break up the space at the entrance, force them to navigate and invest gate Biography: • Make the area come alive through the Historians eyes • Interaction that involves all ages • Wrote in present tense to engage viewers • Balance of oversized items/animals Design: • Think of the visitor first • Objects & visuals • Less words • Pose a question • Don’t tell the whole story Exhibits: • Must stand alone • Don’t try to tell people what to look at first • Evoke social learning
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“ The museum needs to explain itself, protect itself, hold up itself ”
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FIELD STUDIES - McConnell Mansion
How to set up exhibits: • Community based volunteer set ups • Combine photos with oral history clips Funding: • Membership brings in money • Donations • Tax deduction doubles for education • Fund-raisers (Harvest Dinner) • Commissioner support
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FIELD STUDIES - WSU Museum of Art Meeting with WSU Art Director Anna Marie: • • • • • • •
70 degrees is the perfect temp. 30% humidity average Dryer for textiles Museum grade glass has a blue hue Light: standard museum use lights Broad spectrum Cannes can change spotlight spectrum through a time period
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Insurance:
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Light:
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White walls allow viewer to soak it in Corners keep images from diving into corner. Add 4” more to one side Traffic- have artwork & partitions guide you through the space Storage: Vaults for storage Large pieces to store in slots
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Perimeter alarms Enclosed Security brackets Wall repair Burlap and paint Full spectrum UV protective glass on art Foot candles per piece: 10 FC Color absorbs light Floor plan is built in a triangle to balance the color/eye around Don’t have pieces fight for viewers attention 5’-5”- 60” sight line for center of art piece
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RESEARCH Sensing Architecture “Top ten tips to great museum exhibit design” http://sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/
1. Motivate Visitors: Target an audience — the general public and/or specific communities (1) 2. Focus Content: Filter content so visitors are not bombarded with information overload (1) 3. Immersion: Engage visitors within a “story” (1) 4. Modularity: Present smaller themes instead of one larger complex topic (1) 5. Skimmability: Information should be easy to take in because visitors are often standing and/or have different levels of education (1)
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6. Patterns: Incorporate traffic/ circulation patterns, exhibit sequence patterns and preexisting framework patterns (architectural elements) (1) 7. Capture Curiosity: Use storytelling techniques to engage visitors (1) 8. Interaction: Give visitors a “fun” experience by tapping into their emotion (1) 9. Integrate Technology: Technology should enhance visitor’s experience, not detract from it (1) 10. Layer Content: Present information in a hierarchical manner (1) “By taking a closer look at museum exhibit design — you will
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RESEARCH Interactive Display: Text displayed all around-displayed on the floor was engaging Giving the users something to look at every where, not just the walls Bug Exhibit. Up close and personal A way to make the design visible to all Manchester United’s lLocker Room: Setting the room up like an actual space Making it look REAL/Authentic Vintage Fashion: Making it look authentic
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RESEARCH PHOTO BOOTH: Seattle Art Museum: Vintage photo booth, I like that the people visiting can leave behind their picture if they chose Not so literally the photo booth, but to take a picture in front of a historic backdrop with photo props. Display Design: SCAD Museum: I like the spatial layout of this museum; the guests have to weave in and out to see the art. They are guided though the space. The wall color is interesting too Chihuly Makes a play on light, rising and setting sun
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RESEARCH Elizabeth Gay Hunt . “STUDY OF MUSEUM LIGHTING AND DESIGN” May 2009 “For a museum, the role of light is an essential part of creating an atmosphere prime for discovery, while also preserving artifacts. This can be a very difficult balancing act between meeting preservation needs and forming interactive experiences that achieve the goal of the museum–a place to discover, explore and learn”(p. 6) “Illumination Engineering Society of North America (IESNA) provides parameters and standards for lighting design in a museum to ensure safety, preserve artifacts, and create an interactive experience for guests of all ages”(p.6) “Museum designs incorporate daylight because humans relate to nature”(p.6). “Factors such as reflection, glare, acclimation and delineation in the space should be analyzed closely” (7). “Natural light has a high light output and contains very high concentrations of Ultraviolet rays. These UV rays are known to damage textiles and artifacts” (p. 8). “IESNA standards range from five to 30 foot-candles depending on the type of artifact (RP-30-96, 14, 1996).” (8).
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RESEARCH Tourism and heritage are not strangers: A study of opportunities for rural heritage museums to maximize tourism visitation
• “Zeppel and Hall (1992) define heritage tourism as a subset of cultural tourism that is based on nostalgia for the past and the desire to experience diverse cultural landscapes and forms.” • Museums should consider adopting a tiered approach to promotion based on brochure distribution points commencing at least 1 day’s drive from the museums, erection of roadside billboards (if allowed by state laws) well before the museums, and erection of clear locational and directional signage in the towns and in the immediate vicinities of the sites. • If museums wish to maximize the revenue potential offered by the tourism industry, then they need to give more attention to the importance of providing tourists with detailed current information on the locations of their facilities. • Pearce (1988) stated that visitors are more likely to find a museum visit satisfying if they are aware of what to expect prior to arrival.
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RESEARCH Museum Graphic Design “Communication is at the heart of any museum design, and the museum graphic design is the means for transmitting your message.� 1 Create hierarchy in information images type information objects 2 Three levels of hierarchy
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3. people love looking at images 4. have something that bring your
eye around the room 5. use color and text for easy way finding
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CABLE SYSTEMS A cable-based solution deployed from commercial strength open-faced track. Use either transparent nylon, or stronger steel cables. The cable hanging system is the perfect picture hanging solution for art displays, and particularly in galleries and museums, since these rails can support 300 lbs per track length. The use of cables for hanging pictures is less obtrusive than rods, which are also compatible with these tracks. The open face track design makes this system more convenient than our more discreet systems when used in rapidly changing decors. Either nylon or steel cables may be used with this system of wire hanging pictures.
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Price for 4 Suspended Posters in Main Gallery: $25/track x 1 track = $25.00 $7.65/cables x 8 cables = $61.20 $4.85/hooks x 8 hooks = $38.80 Total = ~ $124
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NYLON BARN DOOR HARDWARE Nylon Modern Style Barn Door Hardware system will fit any of your rolling door hardware needs. This is a contemporary, yet rustic style of barn door hardware. Comes with a lifetime warranty, this modern barn door hardware is made to last. Made from a premium Nylon material and brushed steel, our door hanger system slides smoother and quieter than any other system out there. The hardware is available in standard or stainless steel with several finishes to choose from. FITS MOST STANDARD AND LARGE DOORS HOLDS UP TO 300 LBS LIFETIME GUARANTEE ON ROLLERS- ROLLERS WILL NOT WEAR DOWN
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TRACK FINISHES OFFERED: Raw Steel Barn Door Hardware Raw Stainless Steel Barn Door Hardware Brushed Stainless Steel Barn Door Hardware Brushed Steel Barn Door Hardware Black Barn Door Hardware
TRACK DESIGNER FINISHES: Red Barn Door Hardware Warehouse Bronze Green Patina Copper Patina Oil Rubbed Bronze Barn Door Hardware
Price: ~ $500 (with additional track length needed)
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SCHEMATIC DESIGN
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SPACE PLANNING
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AS BUILT PLAN, NTS 25' - 2" 9' - 6"
3' - 0"
2' - 6"
7' - 2"
3' - 0"
EXISTING DOOR
22' - 5" 3' - 2" 20' - 5 1/2" 5' - 2 1/2"
7' - 10"
EXSTING FURRED WALL 20' - 4 1/2"
2' - 10"
5' - 7 1/2"
EXISTING DOORS
7' - 2 1/2"
2' - 10"
79' - 5"
7' - 10"
11' - 4 1/2"
EXISTING WINDOW
EXPOSED BRICK WALL
22' - 1 1/2"
25' - 11 1/2"
EXISTING FURRED WALL
9' - 11"
3' - 3 1/2"
9' - 8"
EXISTING DOOR
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
16' - 6"
EXISTING WINDOW
PRODUCED BY AN AUTODESK STUDENT PRODUCT
FLOOR PLAN, NTS EXISTING STAIRS
ARCHIVAL STATION WITH COMPUTER
CLEANING SINK STORAGE
180 DEGREE SWING DOOR
ROTATING DISPLAYS TOOL DISPLAY
ROTATING BENCH SMALL GALLERY TV FOR HOME VIDEOS
1900'S STYLE KITCHEN TITLE WALL
REFINISHED BARN DOOR GENEALOGY CORNER READING SPACE BELOW STEPTOE PAINTINGS TITLE WALL
TIMELINE ENDS: CONTEMPORARY ST. JOHN
BOOKCASE TIMELINE BEGINS: EARLY SETTLERS
MILITARY ARTIFACTS
MAIN GALLERY
FOUNDER EDWARD ST. JOHN SUSPENDED POSTERS
PRODUCED BY AN AUTODESK STUDENT PRODUCT
TV FOR MILITARY VIDEOS TIMELINE: ST. JOHN INCORPORATED
FAMILIES
VETERANS EXHIBIT
TIMELINE: FAMILES CAME TO ST. JOHN
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
WOOD SLATS TRANSPARENT ARTIFACTS CASE
FINISHED FURNITURE FLOOR PLAN, NTS PRODUCED BY AN AUTODESK STUDENT PRODUCT
BR-1
PT-1
STORAGE
PT-1
PT-1
PT-1
PT-1 PT-1
BR-1
SMALL GALLERY
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
BR-1 PT-1 PT-3
BR-1
PT-2
PT-1
PT-2
PT-1
PT-1 PT-1 PT-2
PT-1
PT-4
PT-1 MAIN GALLERY
PT-3 PT-4
BR-1
CD-2 PT-3
PRODUCED BY AN AUTODESK STUDENT PRODUCT
CD-2
FINISH LEGEND
PAINT LEGEND
VW-1
VINYL WOOD PLANK FLOORING SPA AF-435
PT-1
BENJAMIN MOORE SAFARI AF-335 PAINT FOR WALLS
BR-1
EXPOSED BRICK
PT-2
BENJAMIN MOORE LAPLAND AF-410 PAINT FOR 1ST TITLE WALL
CD-1
CUSTOM DECAL TIME LINE
PT-3
BENJAMIN MOORE SPA AF-525 PAINT FOR 2ND TITLE WALL
CD-2
CUSTOM DECAL MAIN GALLERY
PT-4
BENJAMIN MOORE FIJI AF-435 PAINT FOR MODULAR
PT-5
BENJAMIN MOORE FRENCH PRESS AF-170 CEILING COLOR
PRODUCED BY AN AUTODESK STUDENT PRODUCT
CD-1
PRODUCED BY AN AUTODESK STUDENT PRODUCT
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
VW-1
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PT-3
CEILING PLAN, NTS PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT CEILING LEGEND DOWNLIGHT FLUORESCENT CAN-277V PENDANT LIGHT DISK-100W-120V GENERAL TRACK LIGHTING 3 FIXTURE TROFFER LIGHT 2X4 PARABOLIC120V
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
LIGHTING SELECTION
Direct and task lighting with ceiling panel
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STOREFRONT
Storefront - Of the St. John Historical Museum 49
MAIN GALLERY
Main Gallery - Of the title wall and the beginning of the main gallery 50
MAIN GALLURY
Timeline - On the west Wall 51
MAIN GALLURY
Vietnam Veterans 52
View of the artifacts and old videos
MAIN GALLURY
Four Pilots -
View with the flag 53
MAIN GALLERY
East Elevation - Of the reading area, Steptoe paintings & timeline 54
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GENEALOGY CORNER
Genealogy Corner - Of the bookcase and the desk 56
SMALL GALLERY
Small Gallery - View of the entrance and built-in-cases 57
SMALL GALLERY
West Elevation - Small Gallery & 58
Information Center with television
SMALL GALLERY
East Elevation - Tool display & stage set kitchen 59
SMALL GALLERY
Stage Set 1900s Kitchen - Interactive place for kids 60
APPENDIX
APPENDIX-A
CONTACT LIST : Contact: Daniel Crandall Lata County Historical Society Phone: 208-882-1004 dcrandall@latah.id.us
Contact: Marsha Rooney MAC- Senior Curator of History 509-363-5309 marsha.rooney@northwestmuseum.org Contact: Jerry Perception Plastics, on 2nd Avenue in Spokane, WA Contact: Scott BP Color, on 2nd Spokane, WAUse for printing mounting/cutting Contact: Ryan Hardesty Lighting, MAC Museum Exhibit Designer e-mail ryan.hardesty@northwestmuseum.org 61
APPENDIX-B
REFERENCES Citations:: 1.
MET Studio. (2012, Spring). Multimedia exhibit design and interactive museum. Retrieved from http://www.metstudio.com/exhibition_designers/ interior_architects_news.html
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Center Art LLC. (2012). Chihuly garden and glass. Retrieved from http:// www.chihulygardenandglass.com
3.
Seattle Art Museum. (2012). Sam. Retrieved from http://www.seattleart museum.org/exhibit/interactives/andy/default.asp
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About.com. (2012). About.com southwest travel. Retrieved from http://gosw. about.com/od/route66/ig/Route-66-to-Oatman/Oatman-Wagon.htm
5. a.
SCAD Art Educators. (2012). Scad art educator’s fo rum 2012. Retrieved from https://www.facebook.com/media/set/?set=a.101510406168 86450.460817.26513851449&type=3 (SCAD Art Educators, 2012)
6.
Lehman, M. (2012). Top 10 tips to great museum exhibit design. Retrieved from http:// sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/
7.
Gay Hunt , E. (2009). Study of museum lighting and design . (Master’s thesis, Texas State University-San Marcos)Retrieved from https://digital.library.txstate.edu/bitstream/ handle/10877/3203/fulltext.pdf
8.
Prideaux, P. R., & Kininmont, L. (1999). Tourism and heritage are not strangers: A study of opportunities for rural heritage museums to maximize tourism visitation . Journal of ravel Research, 37(10), 299-303. doi: 0.1177/004728759903700312
9.
Museum Graphic Design. http://www.museum-graphic-design.com/
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CABLE SYSTEMS AS Hanging Systems at http://www.ashanging.com/en/cable-system
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NYLON BARN DOOR HARDWARE Rustica Hardware at http://rusticahardware.com/ nylon-barn-door-hardware/
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MUSEUM LIGHTING AND DESIGN https://digital.library.txstate.edu/bitstream/
handle/10877/3203/fulltext.pdf
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APPENDIX-B
NOTES AND FIELD WORK
TIMELINE
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SITE MEASUREMENTS
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OCT. 5 MEETING Notes from St. John Stakeholder Meeting Oct 5th Anna Hartley (Kirk) First Session Notes: Scribe: Beth Ross Museum • Want Flexible space • (Combination of) permanent and traveling • Lighting for paintings o Have UV protection on windows o Want paintings on a wall opposite new doors facing city hall—focal point. • Veterans corner o Quilt in here? Patriotic. • Permanent &Small, flexible space > personal • Archival & workspace in back of building • Loaned collection, goal: own very limited o Borrow from community o Don’t have to keep track if they borrow • Collection development paperwork (talk to Marsha) o Lender/donating • Outside space—tractor equipment • Education not revenue o Paid its own way o Membership, see something • Centennial celebration & people looking for records o Place for records • Abstract books, phys, records of the museum o Comfy chair, good lighting (check what they have in the library) • “Journey stories”-one time, Humanities WA w/Smithsonian o If had more flexible space o Traveling exhibits could overflow • Engage community, education • Honor the families who built the community o Timeline evolves o Saw house 1890, now farm w/many acres • Entertainment in the 1920’s • Timeline more static? 73 • 1900’s kitchen for interactive kids
Rotating: • • • o o • • o • o • o • • • • o Ideas: • • • • • • •
Moses lake space in the back interactive Kids in the museum Market other communities Open more, better hours 5 days a week Collection of cameras, button collection-civil war Clothing Tekoa RRs Library digitalizing materials Physical articles Electronic media for exhibits Maintenance? Picture stories by photos > Labor intensive difficult Specific static now & later rotating 2xs a year change our (exhibit?) Old films on DVD running on a TV Provide a narration Veterans pilots from WWII Farming stories Donner party survivor>migration CA girl 12 years old moved up here (walked) System of kiosks –modular Shelving Modular guy who builds (?)
Rotating Exhibits Discussion Possible exhibits: • Camera Exhibit • Button collection • Arrowheads (native Americas of the Palouse) • Farm Equipment • Photography • Local Paraphernalia • Time-Period specific clothing • Children’s dress up/Variety of display methods • Design should reflect values & style of town • Ability to bring in large equipment ( if sub floor is able to take the load).
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• • • • • • etc. • • • • • •
Maintain opening to city hall Preserve glass block Maintain character Cooking display –Dishes etc. Railroad Veterans display/ honor local community, members: WWII Vietnam Share local stories Narration & Interview Journey Stories Steptoe Battles Barns or Historical Homes/ Historic Architectural Elements
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10-24-12 MEETING
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HISTORICAL SOCIETY Notes: Visit to Latah County Historical Society The historical society has four collections of items: photos (25000), documents, archives, and 12000 museum items. They have the largest collection of oral histories in the northwest. Oral histories are transcribed to text. They use quotes from their oral history collection often as photos captions. (They cite them always). They draw from their own collections for exhibits, as well as other sources. Local community members and others in the research community help build exhibits. People love photos. For exhibits photos are scanned printed and mounted on foam core and then Velcroed to panels. Exhibits in the round are how they like to set up. They use eight foot tables and with acrylic boxes for display. They trade out exhibits every 6 months, and plan for 9 months. They borrow from other museums. Funding: • State historical society (nationally recognized historical society). • Volunteers • Heritage trust • Paying members • Donations • Fund drive • Tax break for donations as incentive. Giving to an educational institution gives a double deduction off taxes. • Fund-raiser dinners • Commissioners support they own the mansion museum. • Federal government funding-house +urban + development Advertising: • Museums associations advertising. • Events they do, ice-cream social • Advertise in the paper • Posters! • Postcard with events. With100 plus people bulk mailing account possible. Rob McCoy-Public History
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PROGRAM DEVELOPMENT
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MAC VISIT Meeting Notes From: Visit to MAC with Marsha Rooney
• Your first concern in an exhibit is how you find your story line and then how to display it. • Then consider how frequently you can switch out exhibits. • Find your target audience. • Tell your story—find key objects that help anchor your story. Think of details, show your objects and things that relate to them and that theme. • DO they like minimalist or antique shop look? • Don’t lose all the space in the middle. Break it up with a wall too; you don’t want to see everything all at once walking in. • • Lighting—protect from ultra violet light. UV shading devices are important on windows in an exhibit room. Be careful of having cracks in the shading since light will fall in the same place every day at the same time and damage the exhibit in its path. Be able to close windows completely. There are window stickers that ca be used to advertise and also to block some sunlight slightly and UV’s. • Lighting—Marsha recommended LED’s are our lamp type. With a formal exhibit you need a formal lighting system and a flexible system. Light that change fixtures light levels and height, and orientation. Think of spots and floods. • Color scheme, paint and color make people feel something. Think of how people feel. • Tell people something distinguishable with concise/captivation words. You can pose a question about the exhibit. Think about what makes you curious. • Many people are social learners, they learn by having fun and interacting with the people they came to the exhibit to see it with. Intergenerational. 82
• When considering school groups think of 10-12 people walking around (or several groups of this size) and how they move through the space and with others in mind. • You can drop a datum-line grid ceiling structure to allow access to ceiling systems, but cover them visually. •
Carpet in an exhibit room adds a level of quiet and sound dampening.
• Paper or textiles damage very easily. If not changing them out sometime, steer away from them and having they exposed. • At the MAC for the David Douglas exhibit they like to have a place of interaction at each station. The blubs are written in present tense so that you are in it. There are logos they designed to mark where there is interaction. They would like to have had a nature sounds soundtrack. They have thematic “pods” so people can move through them individually. They used acid free mats on the paper parts of the exhibit and glare free glass or plexi. This also is UV no glare plexi. Lastly they incorporated seating as part of the viewing experience. • Where there is written information, they kept a hierarchy with a title, and quote and then a 50-100 word blurb. This accompanied gripping imagery. • Paintings were hung low, with the part at eye level. They had a logo that showed do not touch with your hands. Low cubes in front of a painting can help protect it. •
Find out if our client needs storage.
• The MAC did a time line of Spokane on the walls and then rotated the middle exhibits. •
The MAC has a sponsor wall.
• Funding—Sponsors, local sponsors for an exhibit or item. Fundraising to support the cause/museum/exhibit. Talk to grant office. Check out Heritage Capital Find, WA state historical fun. • Contacts—Centra Graphics(no fingerprint/or curling edges) BP Color Printing. MAC’s lighting designer. Cubes, Perception Plastics.
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10-17-12 MEETING
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10-24-12 MEETING
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10-31-12 MEETING
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11-7-12 MEETING
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APPENDIX-C
PROCESS WORK
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CIRC. & PRELIMINARY SPACE PLANNING
Circulation and bubble diagrams 94
Blocking diagrams
Exploring egress options 96
PRELIMINARY FLOOR PLANS
Exploring way-finding
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Exploring way-finding & interactive elements
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Early space planning and design
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Taking sections from multiple plans to make a new plan 100
Taking sections from multiple plans to make a new plan 101
DISPLAY SKETCHES
Working out display case ideas 102
STEPTOE DISPLAY SKETCHES
Ideas for the Steptoe paintings display 103
PRESENTATION SKETCHES
Organizing deliverables 104
Organizing deliverables 105
REFINED FLOOR PLANS
Taking sections from multiple plans to make a new plan 106
Taking sections from multiple plans to make a new plan 107
Taking sections from multiple plans to make a new plan 108
Refined space planning, exploring main gallery display
109
Refined space planning, exploring main gallery display 110
Refined space planning, exploring main & small gallery display
111
Refined space planning, exploring main gallery display 112
Refined space planning, exploring main gallery display
113
Refined space plan 114
Refined plan one
115
Refined plan two 116
INTERACTIVE DISPLAY SKETCHES
Outdoor camp site & photo booth display ideas 117
Veteran interactive display ideas 118
Veteran interactive display ideas 119
PERSPECTIVE SKETCHES
Main gallery view from City Hall 120
Title wall sketches 121
View from City Hall looking into the genealogy corner and Steptoe paintings 122
View of main gallery from entry 123
Views of small gallery 124
Top: View of small gallery Bottom: View of genealogy corner
125
Top: View of kitchenette Bottom: View of timeline and main gallery 126
View of main gallery display ideas 127
STOREFRONT DESIGN
Storefront sketches 128
Storefront option one 129
Storefront option two 130
TIMELINE SKETCHES
Timeline display ideas 131
Timeline 132
SAVING MEMORIES 134