St. John Program
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Transcript of St. John Program
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historical museumS A V I N G M E M O R I E S
ST. JOHN
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2CONTENTS
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GOALS & MISSION STATEMENT PROJECT OVERVIEWGENERAL MUSEUM GUIDELINESDESIGN DEVELOPMENTEXISTING SPACEBUILDING CODESUNIVERSAL DESIGNFIELD STUDIES RESEARCHSCHEMATIC DESIGN SPACE PLANNING AS BUILT PLANFLOOR PLANFINISHED FURNITURE FLOOR PLANMATERIALS SELECTIONCEILING PLANLIGHTING SELECTIONSTOREFRONTMAIN GALLERYSMALL GALLERYAPPENDIX
4-56-910-11121314-1516-1718-2324-3940-4142-434445464748495051-5758-6061-63
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“To create a rural museum that embodies the community’s history and spirit of St. John”
MISSION STATEMENT
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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.
Goalsof museum
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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.
PROJECT OVERVIEW
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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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Communities requirements of the space :To be for families and visitors Functional and flexibleEducational Historical Interactive
GENERAL MUSEUM GUIDELINES
Security/Insurance:Security brackets on all hanging and fixed displaysPerimeter alarmsEnclosed Items
These are general design considerations and important information to consider:
UV protection on all windows
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Lighting:Average of 10 foot candles per hanging display LED track lighting Adjustable fixturesFlood lightingSpot lightingHalogensBroad spectrum lightingUV 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 access3’ door waysMinimum 3’ width aisle through entire space 5’ turn around space required
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DESIGN DEVELOPMENT
Design Goals & Design Concept1. Fixed elements within a flexible space2. To create an interactive educational space for a multi sensory experience3. Meets the community’s desire to celebrate St. John’s history through design4. Modern design with historical elements
Site analysis
Total SQ FT (with stairs): 1,780 Stairs total SQ FT: 84.4 sq ftTotal SQ FT (without stairs): 1,695’-6” Storage area needed: 416 sq ft
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EXISTING SPACE
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Total SQ FT (with stairs): 1,780 Stairs total SQ FT: 84.4 sq ftTotal 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 chairsA-3=1279.5/15 = 85.3 peopleOccupant Load: 86 people [Table 104.1.1 Maximum Floor Area Allowance per Occupant, pg 89]Plumbing calculations: 2 Unisex Water closetsNumber of exits: 2Exit access travel distance: 300’ with sprinklers
BUILDING CODES
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Bathroom5’ turn around3’ to side of toiletToilet height: 17”-19”Toilet paper height: 15”-48”Flush control height: 44” MAX AFFHorizontal grab bars height: 33”-36” AFFVertical grab bars height: 39”-41” AFFSink height: 27”-34” AFFSink depth: 17”-25”Knee space: 8” AFFToe space: 6” AFF
Drinking fountains:Toe space: 6” AFFBottom of fountain 9” AFFKnee space: 8” AFFBottom of fountain bowl: 27” AFFFountain width: 17”-25” Standing height: 38”-43” Wheel chair height: 36” MAX AFF
Mirrors:Bottom of mirror: 35”-40” AFFFinishes: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 applica-tions, smoke developed 0-450.
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UNIVERSAL DESIGNDoor handles as levers opposed to knobsEntry ways that are flat and wide Linear building layouts with clear lines of sightSurfaces that are stable, firm and slick resistant Multi sensory experiencesSpecial 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 protectionAccess to both possible patios Street parking and parking in the back of the building
Spaces requirements: Address the floor load bearing weightADA accessExhibit spaceArchive storage spaceStorage space
Project requirements:Designing a flexible exhibition spaceStorage/archival space Quantitative requirements/space requirements:Exhibition space: 80% Storage space: 20% Furniture Filing Cabinets Seating Archive Station Display Cases Prep and Cleaning
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Spatial requirements: Break up the space at the entrance, force them to navigate and invest gateBiography:• Maketheareacome alive through the Historians eyes• Interactionthatinvolves all ages• Wroteinpresenttense to engage viewers• Balanceofoversized items/animals Design:• Thinkofthevisitorfirst• Objects&visuals• Lesswords• Poseaquestion• Don’ttellthewhole story Exhibits:• Muststandalone• Don’ttrytotellpeople what to look at first • Evokesociallearning
“ The museum needs to explain itself, protect itself, hold up itself ”
FIELD STUDIES - MAC
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How to set up exhibits:•Communitybasedvolunteer
set ups
•Combinephotoswithoral
history clips
Funding:
•Membershipbringsinmoney
•Donations
•Taxdeductiondoublesfor
education
•Fund-raisers(HarvestDinner)
•Commissioner
support
FIELD STUDIES - McConnell Mansion
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FIELD STUDIES - WSU Museum of ArtMeeting with WSU Art Director Anna Marie:
• 70degreesistheperfecttemp.• 30%humidityaverage• Dryerfortextiles• Museumgradeglasshasabluehue• Light:standardmuseumuselights• Broadspectrum• Cannescanchangespotlightspectrum through a time period
Insurance:• Perimeteralarms• Enclosed• Securitybrackets• Wallrepair• Burlapandpaint
Light:• Fullspectrum• UVprotectiveglassonart• Footcandlesperpiece:10FC• Colorabsorbslight• Floorplanisbuiltinatriangletobalancethecolor/eyearound• Don’thavepiecesfightforviewersattention• 5’-5”-60”sightlineforcenterofartpiece
• Whitewallsallowviewertosoakitin• Cornerskeepimagesfromdivingintocorner.Add4”moretooneside• Traffic-haveartwork&partitionsguideyouthroughthespace• Storage:• Vaultsforstorage• Largepiecestostoreinslots
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RESEARCH
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)
6. Patterns:Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing 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
Sensing Architecture “Top ten tips to great museum exhibit design” http://sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/
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Sensing Architecture “Top ten tips to great museum exhibit design” http://sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/
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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 wallsBug Exhibit. Up close and personal A way to make the design visible to allManchester United’s lLocker Room: Setting the room up like an actual space Making it look REAL/AuthenticVintage 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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RESEARCHElizabeth 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 concentra-tions 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
• “ZeppelandHall(1992)defineheritagetourismasasubsetofcultural tourism that is based on nostalgia for the past and the desire to experience diverse cultural landscapes and forms.”
• Museumsshouldconsideradoptingatieredapproachtopromotion based on brochure distribution points commencing at least 1 day’s drive from the museums, erection of roadside billboards (if al-lowed 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.
• Ifmuseumswishtomaximizetherevenuepotentialofferedby 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)statedthatvisitorsaremorelikelytofindamuseum 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
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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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 solu-tion 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.
CABLE SYSTEMS
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CABLE SYSTEMS
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 roll-ing 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 withseveral finishes to choose from.
FITS MOST STANDARD AND LARGE DOORSHOLDS UP TO 300 LBSLIFETIME GUARANTEE ON ROLLERS- ROLLERS WILL NOT WEAR DOWN
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NYLON BARN DOOR HARDWARE
TRACK FINISHES OFFERED:Raw Steel Barn Door HardwareRaw Stainless Steel Barn Door HardwareBrushed Stainless Steel Barn Door HardwareBrushed Steel Barn Door HardwareBlack Barn Door Hardware
TRACK DESIGNER FINISHES:Red Barn Door HardwareWarehouse BronzeGreen PatinaCopper PatinaOil 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
79' -
5"
25' - 2"
EXISTING WINDOW
EXISTING WINDOW
EXISTING DOOR
EXISTING DOORS
EXISTING DOOR
9' - 6" 3' - 0" 2' - 6" 7' - 2" 3' - 0"
7' - 10" 7' - 2 1/2" 7' - 10"
EXSTINGFURRED WALL
EXPOSEDBRICK WALL
9' - 11" 3' - 3 1/2" 9' - 8"
22' -
1 1
/2"
20' -
4 1
/2"
11' -
4 1
/2"
3' -
2"22
' - 5
"
25' -
11
1/2"
2' -
10"
5' -
7 1/
2"2'
- 10
"5'
- 2
1/2"
20' -
5 1
/2"
16' -
6"
EXISTINGFURRED WALL
PRODUCED BY AN AUTODESK STUDENT PRODUCT
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FLOOR PLAN, NTS
ARCHIVAL STATIONWITH COMPUTER
TOOL DISPLAY
STORAGE
CLEANING SINK
ROTATING DISPLAYS
180 DEGREE SWINGDOOR
ROTATING BENCH
WOOD SLATS
TRANSPARENTARTIFACTS CASE
TITLE WALL
1900'S STYLE KITCHEN
GENEALOGY CORNER
MAIN GALLERY
REFINISHED BARN DOOR
READING SPACE BELOWSTEPTOE PAINTINGS
TIMELINE ENDS:CONTEMPORARY ST. JOHN
TIMELINE: FAMILESCAME TO ST. JOHN
TITLE WALL
TIMELINE BEGINS:EARLY SETTLERS
FAMILIES
MILITARY ARTIFACTS
FOUNDER EDWARD ST. JOHN
EXISTING STAIRS
TV FOR HOME VIDEOS
TV FOR MILITARY VIDEOS
VETERANS EXHIBIT
BOOKCASE
TIMELINE: ST. JOHN INCORPORATED
SMALL GALLERY
SUSPENDED POSTERS
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STORAGE
MAIN GALLERYPT-3
VW-1
BR-1
PT-2
PT-4
BR-1
SMALL GALLERY
BR-1
PT-1
PT-1
PT-1
PT-1PT-2
PT-1
PT-1
PT-3
PT-3
PT-4
CD-1CD-2
CD-2
PT-1
PT-1
BR-1
PT-1
BR-1
PT-1
PT-1
PT-3
PT-1
PT-1
PT-2
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRO
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FINISHED FURNITURE FLOOR PLAN, NTS
FINISH LEGEND
VW-1 VINYL WOOD PLANK FLOORING SPAAF-435
PAINT LEGEND
PT-1 BENJAMIN MOORE SAFARI AF-335PAINT FOR WALLS
PT-2 BENJAMIN MOORE LAPLAND AF-410PAINT FOR 1ST TITLE WALL
PT-3 BENJAMIN MOORE SPA AF-525PAINT FOR 2ND TITLE WALL
PT-4 BENJAMIN MOORE FIJI AF-435PAINT FOR MODULAR
PT-5 BENJAMIN MOORE FRENCH PRESSAF-170 CEILING COLOR
BR-1 EXPOSED BRICK
CUSTOM DECAL TIME LINECD-1
CUSTOM DECAL MAIN GALLERYCD-2
PRODUCED BY AN AUTODESK STUDENT PRODUCT
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CEILING PLAN, NTSPRODUCED BY AN AUTODESK STUDENT PRODUCT
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LIGHTING SELECTION
Direct and task lighting with ceiling panel
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STOREFRONT
Storefront - Of the St. John Historical Museum
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MAIN GALLERY
Main Gallery - Of the title wall and the beginning of the main gallery
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Timeline - On the west Wall
MAIN GALLURY
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Vietnam Veterans - View of the artifacts and old videos
MAIN GALLURY
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MAIN GALLURY
Four Pilots - View with the flag
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MAIN GALLERY
East Elevation - Of the reading area, Steptoe paintings & timeline
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Genealogy Corner - Of the bookcase and the desk
GENEALOGY CORNER
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Small Gallery - View of the entrance and built-in-cases
SMALL GALLERY
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West Elevation - Small Gallery & Information Center with television
SMALL GALLERY
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SMALL GALLERY
East Elevation - Tool display & stage set kitchen
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Stage Set 1900s Kitchen - Interactive place for kids
SMALL GALLERY
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APPENDIX APPENDIX-A
CONTACT LIST :Contact: Daniel Crandall Lata County Historical Society Phone: 208-882-1004 [email protected]
Contact: Marsha Rooney MAC- Senior Curator of History 509-363-5309 [email protected]: 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 [email protected]
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Citations::1. MET Studio. (2012, Spring). Multimedia exhibit design and interactive museum. Retrieved from http://www.metstudio.com/exhibition_designers/ interior_architects_news.html
2. 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
4. About.com. (2012). About.com southwest travel. Retrieved from http://gosw. about.com/od/route66/ig/Route-66-to-Oatman/Oatman-Wagon.htm
5. 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=3a. (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/
10.. CABLE SYSTEMS AS Hanging Systems at http://www.ashanging.com/en/cable-system
11. NYLON BARN DOOR HARDWARE Rustica Hardware at http://rusticahardware.com/ nylon-barn-door-hardware/
12. MUSEUM LIGHTING AND DESIGN https://digital.library.txstate.edu/bitstream/
handle/10877/3203/fulltext.pdf
APPENDIX-B
REFERENCES
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APPENDIX-B
NOTES AND FIELD WORK
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TIMELINE
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SITE MEASUREMENTS
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Notes from St. John Stakeholder Meeting Oct 5th Anna Hartley (Kirk)First Session Notes: Scribe: Beth RossMuseum• WantFlexiblespace• (Combinationof)permanentandtraveling• Lightingforpaintingso HaveUVprotectiononwindowso Wantpaintingsonawalloppositenewdoorsfacingcityhall—focalpoint.• Veteranscornero Quilt in here? Patriotic. • Permanent&Small,flexiblespace>personal• Archival&workspaceinbackofbuilding• Loanedcollection,goal:ownverylimitedo Borrow from communityo Don’thavetokeeptrackiftheyborrow• Collectiondevelopmentpaperwork(talktoMarsha)o Lender/donating• Outsidespace—tractorequipment• Educationnotrevenueo Paid its own wayo Membership,seesomething• Centennialcelebration&peoplelookingforrecordso Place for records• Abstractbooks,phys,recordsofthemuseumo Comfychair,goodlighting(checkwhattheyhaveinthelibrary)• “Journeystories”-onetime,HumanitiesWAw/Smithsoniano Ifhadmoreflexiblespaceo Travelingexhibitscouldoverflow• Engagecommunity,education• Honorthefamilieswhobuiltthecommunityo Timelineevolveso Sawhouse1890,nowfarmw/manyacres• Entertainmentinthe1920’s• Timelinemorestatic?• 1900’skitchenforinteractivekids
OCT. 5 MEETING
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Rotating:• Moseslakespaceinthebackinteractive• Kidsinthemuseum• Marketothercommunitieso Openmore,betterhourso 5 days a week• Collectionofcameras,buttoncollection-civilwar• Clothingo Tekoa RRs• Librarydigitalizingmaterialso Physical articles• Electronicmediaforexhibitso Maintenance?• Picturestoriesbyphotos>Laborintensivedifficult• Specificstaticnow&laterrotating• 2xsayearchangeour(exhibit?)• OldfilmsonDVDrunningonaTVo ProvideanarrationIdeas:• VeteranspilotsfromWWII• Farmingstories• Donnerpartysurvivor>migration• CAgirl12yearsoldmoveduphere(walked)• Systemofkiosks–modular• Shelving• Modularguywhobuilds(?)
RotatingExhibitsDiscussionPossibleexhibits:• CameraExhibit• Buttoncollection• Arrowheads(nativeAmericasofthePalouse)• FarmEquipment• Photography• LocalParaphernalia• Time-Periodspecificclothing• Children’sdressup/Varietyofdisplaymethods• Designshouldreflectvalues&styleoftown• Abilitytobringinlargeequipment(ifsubfloorisabletotaketheload).
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• Maintainopeningtocityhall• Preserveglassblock• Maintaincharacter• Cookingdisplay–Dishesetc.• Railroad• Veteransdisplay/honorlocalcommunity,members:WWIIVietnametc.• Sharelocalstories• Narration&Interview• JourneyStories• SteptoeBattles• BarnsorHistoricalHomes/Historic• ArchitecturalElements
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10-24-12 MEETING
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Notes:VisittoLatahCountyHistoricalSociety Thehistoricalsocietyhasfourcollectionsofitems:photos(25000),documents,archives,and12000museumitems.Theyhavethelargestcollectionoforalhistoriesinthenorthwest.Oralhistoriesaretranscribedtotext.Theyusequotesfromtheiroralhistorycollectionoftenasphotos captions. (They cite them always). Theydrawfromtheirowncollectionsforexhibits,aswellasothersources.Localcommunitymembersandothersintheresearchcommunityhelpbuildexhibits.Peoplelovephotos.ForexhibitsphotosarescannedprintedandmountedonfoamcoreandthenVelcroedtopanels.Exhibitsintheroundarehowtheyliketosetup.Theyuseeightfoottablesandwithacrylicboxesfordisplay.Theytradeoutexhibitsevery6months,andplanfor9months.Theyborrowfromother museums.Funding:• Statehistoricalsociety(nationallyrecognizedhistoricalsociety).• Volunteers• Heritagetrust• Payingmembers• Donations• Funddrive• Taxbreakfordonationsasincentive.Givingtoaneducationalinstitutiongivesadoubledeductionofftaxes.• Fund-raiserdinners• Commissionerssupporttheyownthemansionmuseum.• Federalgovernmentfunding-house+urban+development
Advertising:• Museumsassociationsadvertising.• Eventstheydo,ice-creamsocial• Advertiseinthepaper• Posters!• Postcardwithevents.With100pluspeoplebulkmailingaccountpos-sible. RobMcCoy-PublicHistory
HISTORICAL SOCIETY
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PROGRAM DEVELOPMENT
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MeetingNotesFrom:VisittoMACwithMarshaRooney
• Yourfirstconcerninanexhibitishowyoufindyourstorylineandthen how to display it. • Thenconsiderhowfrequentlyyoucanswitchoutexhibits.• Findyourtargetaudience.• Tellyourstory—findkeyobjectsthathelpanchoryourstory.Thinkofdetails,showyourobjectsandthingsthatrelatetothemandthattheme.• DOtheylikeminimalistorantiqueshoplook?
• Don’tloseallthespaceinthemiddle.Breakitupwithawalltoo;youdon’twanttoseeeverythingallatoncewalkingin.
•• Lighting—protectfromultravioletlight.UVshadingdevicesareimportantonwindowsinanexhibitroom.Becarefulofhavingcracksintheshadingsincelightwillfallinthesameplaceeverydayatthesametimeanddamagetheexhibitinitspath.Beabletoclosewindowscompletely.TherearewindowstickersthatcabeusedtoadvertiseandalsotoblocksomesunlightslightlyandUV’s.
• Lighting—MarsharecommendedLED’sareourlamptype.Withaformalexhibityouneedaformallightingsystemandaflexiblesystem.Lightthatchangefixtureslightlevelsandheight,andorientation.Thinkofspotsandfloods.
• Colorscheme,paintandcolormakepeoplefeelsomething.Thinkof how people feel.
• Tellpeoplesomethingdistinguishablewithconcise/captivationwords.Youcanposeaquestionabouttheexhibit.Thinkaboutwhatmakesyou curious.
• Manypeoplearesociallearners,theylearnbyhavingfunandinteractingwiththepeopletheycametotheexhibittoseeitwith.Inter-generational.
MAC VISIT
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• Whenconsideringschoolgroupsthinkof10-12peoplewalkingaround(orseveralgroupsofthissize)andhowtheymovethroughthespaceandwithothers in mind.
• Youcandropadatum-linegridceilingstructuretoallowaccesstoceil-ingsystems,butcoverthemvisually.
• Carpetinanexhibitroomaddsalevelofquietandsounddampening.
• Paperortextilesdamageveryeasily.Ifnotchangingthemoutsome-time,steerawayfromthemandhavingtheyexposed.
• AttheMACfortheDavidDouglasexhibittheyliketohaveaplaceofinteraction 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 wouldliketohavehadanaturesoundssoundtrack.Theyhavethematic“pods”sopeoplecanmovethroughthemindividually.Theyusedacidfreematsonthepaperpartsoftheexhibitandglarefreeglassorplexi.ThisalsoisUVnoglareplexi.Lastlytheyincorporatedseatingaspartoftheviewingexperience.
• Wherethereiswritteninformation,theykeptahierarchywithatitle,andquoteandthena50-100wordblurb.Thisaccompaniedgrippingimagery.
• Paintingswerehunglow,withthepartateyelevel.Theyhadalogothatshoweddonottouchwithyourhands.Lowcubesinfrontofapaintingcanhelp protect it.
• Findoutifourclientneedsstorage.
• TheMACdidatimelineofSpokaneonthewallsandthenrotatedthemiddleexhibits.
• TheMAChasasponsorwall.
• Funding—Sponsors,localsponsorsforanexhibitoritem.Fundraisingtosupportthecause/museum/exhibit.Talktograntoffice.CheckoutHeritageCapitalFind,WAstatehistoricalfun.
• Contacts—CentraGraphics(nofingerprint/orcurlingedges)BPColorPrinting.MAC’slightingdesigner.Cubes,PerceptionPlastics.
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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
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Blocking diagrams
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96Exploring egress options
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97Exploring way-finding
PRELIMINARY FLOOR PLANS
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98Exploring way-finding & interactive elements
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99Early space planning and design
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100Taking sections from multiple plans to make a new plan
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101Taking sections from multiple plans to make a new plan
Taking sections from multiple plans to make a new plan
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DISPLAY SKETCHES
Working out display case ideas
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STEPTOE DISPLAY SKETCHES
Ideas for the Steptoe paintings display
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PRESENTATION SKETCHES
Organizing deliverables
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Organizing deliverables
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REFINED FLOOR PLANS
Taking sections from multiple plans to make a new plan
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108Taking sections from multiple plans to make a new plan
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109Refined space planning, exploring main gallery display
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110Refined space planning, exploring main gallery display
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111Refined space planning, exploring main & small gallery display
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112Refined space planning, exploring main gallery display
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113Refined space planning, exploring main gallery display
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114Refined space plan
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115Refined plan one
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116Refined plan two
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INTERACTIVE DISPLAY SKETCHES
Outdoor camp site & photo booth display ideas
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118Veteran interactive display ideas
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119Veteran interactive display ideas
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PERSPECTIVE SKETCHES
Main gallery view from City Hall
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Title wall sketches
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122
View from City Hall looking into the genealogy corner and Steptoe paintings
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123
View of main gallery from entry
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124
Views of small gallery
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125Top: View of small gallery Bottom: View of genealogy corner
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126Top: View of kitchenette Bottom: View of timeline and main gallery
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127View of main gallery display ideas
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128
STOREFRONT DESIGN
Storefront sketches
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129Storefront option one
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130Storefront option two
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131
TIMELINE SKETCHES
Timeline display ideas
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132Timeline
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134SAVING MEMORIES