Workbook for Planning Interpretive Projects in California ... · PDF filebecame clear that a...

Developed by

Mary A. HelmichInterpretation SectionPark Services Division

1997

Workbook forPlanning Interpretive Projects

inCalifornia State Parks

____________________________________________________________________________________________WORKBOOK FOR PLANNING INTERPRETIVE PROJECTS IN CALIFORNIA STATE PARKS

1997 CALIFORNIA STATE PARKSP.O. Box 942896Sacramento, CA 94296-001

Additional copies may be obtained from:

California State ParksPark Services DivisionInterpretation Section

(916) 654-2249

_______________________________________________________________________________________________ACKNOWLEDGEMENTS

ACKNOWLEDGEMENTS

When a committee, composed of DonnaPozzi, Pauline Spear, Robin Holmes,Philip Carey, Richard Clark, and MaryHelmich, began formulating a trainingworkshop for preparing interpretiveplans within California State Parks, itbecame clear that a reference bookwould be needed. As no currentguidelines were available within theDepartment, the committee decided toutilize the workshop participants'previous interpretive experience tocreate a planning "workbook." Theconceptual format for the trainingprogram was devised by Mary Helmichand it became the basis for thisWorkbook.

In September 1996, class participants inthe California State Parks' InterpretivePlanning Workshop, brought togethermore than 500 years of interpretiveplanning experience. Many of the ideasthey shared are represented in thisWorkbook. Their names are listedbelow, along with other contributors whohave helped in its preparation. Appreciation is given to Robert Hare forhis earlier guidelines for General PlanInterpretive Elements. Also, specialthanks are extended to Rob Wood, JohnWerminski, Sharon Mallory, Bob Dunn,and particularly to Patricia Morris for herfine editorial skills.

Luan AubinMichael AllanPeter D. BartonGlenn E. BurchBrian CahillPhilip CareyRichard D. ClarkPat Clark-GrayLinda CooperBob Dunn

Michael EatonSteve FeazelJim FifeSherrin GroutRobert HareMary A. HelmichRobin HolmesGeorge JeffersonJeanne KellySharon Mallory

Nancy MendezBill MennellDarci MooreEdra MoorePatricia MorrisDiana NewingtonDonna PozziKris QuistSteve RadosevichPauline Spear

Bruce StinyMary StokesGary StrachanBruce ThomsenRobert ToddPat TurseJohn WerminskiAlan WilkinsonRobert WoodYuk-hoi Yeung

_____________________________________________________________________________________________WORKBOOK FOR PLANNING INTERPRETIVE PROJECTS IN CALIFORNIA STATE PARKS

ii

TABLE OF CONTENTSBEFORE YOU BEGIN................................................................................................. 4

HOW TO USE THIS WORKBOOK .......................................................................... 4THE ROLE OF PLANNING IN INTERPRETATION ................................................. 5WHY IS THIS PROJECT NEEDED?........................................................................ 7ASSEMBLING A TEAM ........................................................................................... 9ASSESSING THE EXISTING SITUATION............................................................. 11REQUIREMENTS and ........................................................................................... 17SPECIAL CONCERNS .......................................................................................... 17PLANNING STRATEGIES ..................................................................................... 36

OUTLINE FOR WRITING AN INTERPRETIVE PLAN .............................................. 52 BRIEF OVERVIEW OF THE PROJECT………………………………………………. 52

SUMMARY OF EXISTING CONDITIONS AND SPECIAL CONCERNS................ 53GOALS AND OBJECTIVES................................................................................... 53THEMES ................................................................................................................ 54OVERALL INTERPRETIVE DIRECTION............................................................... 56VISITOR FLOW PLAN(S) ...................................................................................... 58INTERPRETIVE STATIONS .................................................................................. 59AND MEDIA ........................................................................................................... 59SPACE FOR OTHER ACTIVITIES ........................................................................ 63SAFETY AND SECURITY...................................................................................... 63PRELIMINARY COST ESTIMATES....................................................................... 64POTENTIAL PROJECT PHASING ........................................................................ 64REFERENCES....................................................................................................... 64

SUPPORT MATERIALS FOR INTERPRETIVE PROJECTS.................................... 65GRAPHICS INVENTORY AND ACQUISITION...................................................... 65INTERPRETIVE OBJECTS ACQUISITION LIST................................................... 67REPRODUCTIONS, MODERN EQUIVALENTS ACQUISITION LIST ................... 68MOUNTED SPECIMENS ACQUISITION LIST ...................................................... 69PROPOSED TEXT OR TEXT OUTLINE................................................................ 70

COMMENT AND APPROVAL PROCESS ................................................................ 73REVIEW OF IMPACTS AND MODIFICATIONS .................................................... 73INTERPRETIVE PLAN REVIEW............................................................................ 73CHANGES TO THE PROJECT.............................................................................. 74DEPARTMENT REVIEW AND APPROVAL........................................................... 74

_____________________________________________________________________________________________WORKBOOK FOR PLANNING INTERPRETIVE PROJECTS IN CALIFORNIA STATE PARKS

iii

TABLE OF CONTENTSFOLLOW THROUGH ................................................................................................ 75

WORKING DRAWINGS, MATERIALS LIST, SPECIFICATIONS, FINISHED TEXT............................................................................................................................... 75SEARCH, ACQUISITION, AND PREPARATION TIME ......................................... 75ESTIMATING PLAN COSTS.................................................................................. 75REVISING THE PLAN ........................................................................................... 76CONTRACTING..................................................................................................... 76INSTALLATION AND FOLLOW UP....................................................................... 79MARKETING AND PROMOTION .......................................................................... 79MAINTENANCE/REPLACEMENT SCHEDULES .................................................. 80

EVALUATING/MEASURING SUCCESS .................................................................. 81DID YOU MEET THE PROJECT GOALS AND OBJECTIVES? ............................ 81CHANGES TO THE PROJECT.............................................................................. 82

APPENDIX ................................................................................................................ 83INTERPRETIVE GLOSSARY ................................................................................ 84SELECTED RESEARCH INSTITUTIONS IN CALIFORNIA................................... 97BIBLIOGRAPHY FOR INTERPRETIVE PLANNING............................................ 103

____________________________________________________________________________________________BEFORE YOU BEGIN: How to Use This Workbook

BEFORE YOU BEGIN

HOW TO USE THIS WORKBOOK

This workbook has been created to helpyou develop practical plans forinterpretive projects within CaliforniaState Parks, whether a visitor center,audio-visual program, historic settingexhibit, demonstration area, travelingexhibit, or hands-on/discovery area, orother projects. It explains key planningconcepts and outlines procedures fordeveloping, producing, and evaluatingthem.

The easy-to-use format offers checkliststo provoke critical thinking aboutinterpretive projects and to insure thatall aspects have been carefullyconsidered about any given project. The workbook is expected to be"consumed" through your planning andanalyses. Write notes in the spacesprovided and if more paper is required,use the blank pages at the back of thebook.

The workbook is organized into sevenmain sections. The BEFORE YOUBEGIN section takes you step-by-stepthrough the research and analyses thatmust precede any well-conceivedinterpretive plan. Record your park'sspecial requirements, concerns,concepts, and ideas, along with otherpertinent notes in the spaces provided,to begin focusing your plan. After thisevaluation is complete, decisions can bemade that will be reflected in the writteninterpretive plan.

Use the OUTLINE FOR WRITING AN

INTERPRETIVE PLAN to organize theessential elements that will compriseyour plan. This section gives particularattention to the project's goals andobjectives, themes, storylines, andinterpretive design concepts, as well asother activities that may affect theproject. Every project will be different. Your written plan will be essential notonly for directing the course of a project,but also for justifying its direction.

Most plans require SUPPORTMATERIALS FOR INTERPRETIVEPROJECTS. These are relatedelements, essential to the developmentof any interpretive facility or program,but are often overlooked in the planningprocess. This section focuses on thegraphics inventories, artifacts/artacquisition lists, special equipment lists,etc. that you may need to produce tocomplete the project's planning. Information is provided on how toorganize or develop these materials.

The APPROVAL PROCESS drawsattention to the procedures necessary togain project approval. FOLLOWTHROUGH picks up the process fromworking drawings, finished text, etc.,through contracting, installation, andmaintenance---the steps that transformyour vision into reality.The last section, EVALUATING and MEASURING SUCCESS, takes a closelook at the final, completed interpretiveproject to help you assess your project'sachievement. Did it meet the goals andobjectives outlined at the plan's outset? Were all the participants content withthe final product? Was the public

______________________________________________________________________________BEFORE YOU BEGIN: The Role of Planning in Interpretation

supportive?

Terms often used in the interpretiveplanning process have been included inan Interpretive Glossary in theAPPENDIX. Definitions are offered toaid communication among interpretiveplanners. Also in the Appendix are a listof Selected Research Institutions inCalifornia and a Bibliography forInterpretive Planning.

Adapt this workbook to meet your ownparticular interpretive planningrequirements. Although every projectwill be unique, there should be sufficientflexibility in the workbook toaccommodate nearly every interpretiveplan. This is a "living" document. Anysuggestions you may have for improvingthe Workbook should be addressed tothe Interpretation Section of ParkServices Division, whose staff willproduce new editions as needed.

THE ROLE OF PLANNING ININTERPRETATION

The main purpose for any interpretiveproject in California State Parks is tocommunicate with visitors. Interpretation can relate newinformation, stimulate the senses,challenge the imagination, as well asincite new perspectives. Interpretationenhances the public's understandingand enjoyment of the natural, cultural,and recreational resources in theCalifornia State Parks System byencouraging appreciation of their values. Interpretation not only enables visitorsto better understand their relationship tothe environment, but also helps topromote the preservation andsustainable use of resources within andbeyond State Park boundaries.

Interpretation is founded on the premisethat knowledge deepens the parkexperience, providing lasting benefitsnot only to individuals, but also tosociety in general. The formalstandards for interpretation, establishedby Freeman Tilden in 1957, remainrelevant today. His approach tocommunicating with the public stressedsix interpretiveprinciples:

I. Any interpretation that does notsomehow relate what is being displayedor described to something within thepersonality or experience of the visitorwill be sterile.

II. Information, as such, is notInterpretation. Interpretation isrevelation based upon information. Butthey are entirely different things. However, all interpretation includesinformation.

III. Interpretation is an art,which combines many arts, whether thematerials presented are scientific,historical, or architectural. Any art is insome degree teachable.

IV. The chief aim of Interpretation isnot instruction, but provocation.

V. Interpretation should aimto present a whole rather than a part,and must address itself to the wholeman rather than any phase.

VI. Interpretation addressed tochildren (say, up to the age of twelve)should not be a dilution of thepresentation to adults, but should followa fundamentally different approach. To

______________________________________________________________________________BEFORE YOU BEGIN: The Role of Planning in Interpretation

be at its best it will require a separateprogram.Tilden's principles have stood the test oftime. In more recent years, Sam H.Ham in his book, EnvironmentalInterpretation, has distilled theinterpretive approach to four main ideas:

1. Interpretation is pleasurable.

2. Interpretation is relevant.

3. Interpretation is organized.

4. Interpretation has a theme.

Often the interpretive meaning---itsrelevance---is overlooked in museumsand visitor centers. Kenneth L. Amescommented in his book, Ideas andImages: Developing Interpretive HistoryExhibits:

The place of interpretationremains unclear in part because manyinstitutions have only a vague notion ofwhat "interpreting" means. For many itseems to mean merely doing descriptivehistory or narrating stories. Stories canbe important but to truly interpretsomething, to truly interpret that story,we have to dare to suggest what itmeans. To interpret something meansultimately to evaluate it, thoughtfully andcritically. This means museums have tostep outside their own culture and itsprevailing wisdom to discover andevaluate the ramifications of whatevertopics they study. It means they have totake an informed stand based onresponsible and extensive analysis. Putting it in different terms, interpretingmeans demonstrating why somethingmatters, how it has made a difference. Ideally, interpretation helps us gain not

just knowledge but that rarer and moreprecious commodity, wisdom. Interpretation does not just inform us butpushes us to a deeper and more subtleunderstanding of some aspect of theworld around us. Really interpreting is adifficult and challenging business. Onlya few museums really grasp this. Onlya few grasp it because most historymuseums still bear traces of theirunreflective, celebratory origins. Andregardless of their public posture, manymuseums still adhere to---or are trappedin---old ways, old assumptions, oldvalues.

California State Parks' interpretivefacilities provide visitors with the mosttangible evidence of the work theDepartment performs and its worth. These places, that are so critical for thecommunication of our messages,require a substantial commitment oftime and energy directed towardplanning, to insure we properlycommunicate with the visiting public. Too frequently interpretive facilitiesprove not only to be very expensive toproduce, but also fail to meet theplanners' original vision or the public'sexpectations.

______________________________________________________________________________BEFORE YOU BEGIN: Why is This Project Needed?

What went wrong?

The process of interpretive planningchallenges us to learn from pastmistakes, to understand our audience,the resources at hand, and the ideasthat must be communicated. It can belike walking a tight rope, balancingpublic use and access with resourceprotection, weighing design conceptsagainst project funding, or steadyinglabor-intensive historic accuracy withavailable maintenance resources. Properly analyzing your situation, settinggoals and objectives, establishingthemes, researching content, creatingworkable design concepts, preciselybudgeting the project, and evaluating itsstrengths and weaknesses, before andafter implementation, are key to thesuccess of a project.

Good interpretation will make adifference in people's lives. A well-planned interpretive project will not onlybe favorably received by park staff andthe public alike, it will also demonstratemoney wisely spent.

Useful References:

Ames, Kenneth, Barbara Franco, and L.Thomas Frye, eds.

Ideas and Images: DevelopingInterpretive History Exhibits. AmericanAssociation for State and Local History. Nashville, Tenn., 1992.

Ham, Sam H.Environmental Interpretation: A

Practical Guide for People with BigIdeas and Small Budgets. NorthAmerican Press. Golden, Colo. 1992.

Knudson, Douglas M., Ted T. Cable,and Larry Beck

Interpretation of Cultural andNatural Resources. Venture Publishing,Inc. State College, Penn., 1995.

Sharpe, Grant W.Interpreting the Environment.

John Wiley & Sons. New York, 1982.

Tilden, FreemanInterpreting Our Heritage. The

University of North Carolina Press,Chapel Hill, 1977.

WHY IS THIS PROJECT NEEDED?

Before proceeding with any in-depthanalysis, consideration should be givento the impetus for the project. What isits justification? What is the presentlevel of interpretation? What works? Isthere a problem?

Questions should also be asked aboutthe project's feasibility:

Are there sufficient resourcesavailable---funding, staff, existingcollections, etc.? Does the interpretive significanceto the park warrant the anticipatedexpenditures of money and resources? Are staff available to work on theplanning team? Is this the right time to begin theproject? Will this project duplicate existinginterpretation elsewhere in CaliforniaState Parks?

______________________________________________________________________________BEFORE YOU BEGIN: Why is This Project Needed?

Consider the value of the following tothe park:

• no interpretation available• preservation of park resources• principal park themes not met• orientation to new areas needed• out-of-date interpretation• worn-out facilities• old technologies• visitors aren't interested• new information available• facilities improved/expanded• new funding available• visitation/visitors have changed• long-term priority for park• growing interest in subject• recently donated collections• recently donated property,

building, or site• traveling exhibit to highlight park• exhibition to complement

traveling exhibit• project will attract new visitors• safety concerns• park resources not accessible• new technology available• project to complement staff

activities• staff availability• anniversary date of an event• political priority

STOP!! Are you ready to proceed? Isthe project feasible? If there is no stafftime available or funding/support in theforeseeable future, consider postponingthe project's planning for a time orreconsider the project altogether.

Example for a project's justification:

Information for visitors at_____________ State Park isinadequate. Orientation to the park'sservices, geography, recreation,sightseeing choices, safety concerns,and the natural and cultural history ofthe park is practically nonexistent. Developing exhibits has been a long-time goal for the park. The cooperatingassociation has committed to fully fundnew visitor center exhibits by next fiscalyear. A planning team can beassembled from available staff to workon the project during off-season wintermonths.

Now, justify your project:

______________________________________________________________________________BEFORE YOU BEGIN: Assessing the Existing Situation

ASSEMBLING A TEAM

Who will lead the project? This personis essential for ensuring thatcommunication lines are open, thatteam members mutually respect eachother and are accountable to the teamprocess, and that the planning team iscommitted to a high standard of quality. Choose the leader/coordinatorcarefully. That person will beresponsible for:

• Scheduling meetings,• Keeping the project focused,• Involving appropriate people,• Assuring that tasks are assigned and

completed, and• Helping the team reach consensus.

New interpretive facilities may affectmore than just visitors. Be sure toinvolve many perspectives whenplanning a project. Identify who is to beinvolved in the planning process, whattheir responsibilities will be, and howconflicts will be resolved. Oftenbalancing the needs of the various teamplayers may prove to be as difficult asfinding the funding to develop a project. Everyone involved will bring to theprocess their own expertise, priorities,and prejudices. The team should beflexible enough to accommodatechanging concepts and have enoughcourage to drop favorite ideas that maynot be effective.

The composition of the team will vary,depending upon the size and type of theproject, from a few people to a large,interdisciplinary team. Will outsidecontractors or volunteers be employedas researchers, guest curators, exhibit

builders, etc.? Your team must decidewhether or not to use skilled staff withinthe department, well-trained or qualifieddocents, or to hire consultants. Yourproject may need to integrate in-houseand contract personnel to establish ateam.

Consider the individuals who willprovide:

• leadership/coordination• subject area expertise• research• interpretive planning• media planning• architectural planning• landscape planning• public meetings facilitation• registration• curatorial analysis• interpretive plan writing• furnishing plan writing• graphics inventory• artifacts/art acquisition• design• working drawings• copyright research• budgeting• exhibit plan specifications• ext writing• taxidermy• computer programming• reproductions & equivalents list• mounted specimens searches• cataloging artifacts• acquisition & purchasing• security planning• contract development• contract management• facilities development• construction & installation• artifact conservation• house museum installation


• audio-visual production• teachers' guides & packets• brochures, exhibit catalogs• fund raising• public relations• promotional events• follow-up evaluation• warranty work• revisions to the project

Planning may proceed more rapidlyduring the off-season, when there areless demands upon staff. In someinstances, the planning workload mayfall to one or two people. They mustmake sure that the lines ofcommunication remain open to the restof the park staff and any interestedpublic. Involving staff at all levels isimportant.

Be sure to discuss the project with thefollowing individuals:

• park superintendent• visitor services staff• park visitors• cooperating association• all staff• park interpreters• curator, collections manager• special interest groups• organizations providing funding• historians• biologists• archeologists• recreation specialists• maintenance staff• ethnic/cultural group representatives• media experts• landscape architects• disabled community representatives• conservators• designers/artists

• educators• docents/volunteers• adjacent landholders• interested public• staff in related agencies• Chamber of Commerce

Identify the individuals who will worktogether as the project planning teamand their respective roles.

Develop a plan for communicating(information received and delivered)with the above people in publicmeetings, informal gatherings, one-on-one, newsletters, workshops, etc.


ASSESSING THE EXISTINGSITUATION

Planning interpretive projects beginswith the evaluation of existingconditions. The opportunities andconstraints that they present must beunderstood fully before your project canadvance.

Planning Documents

Be aware of planning that has precededthis project, and how it may influencethe project's direction. What planningdocuments have been developed for thepark over the years? Is there a GeneralPlan for the park, and what directiondoes it set for the park? Is this projectone of the objectives consideredessential for meeting those aims? Whatconcepts should be incorporated intoyour interpretive plan?

Review:• general plan• interpretive prospectus• general plan amendment(s)• management goals and practices• Department Administrative Manual• Department Operations Manual• scope of collections statement• previous interpretive plans• old furnishing plans• earlier exhibit plans• feasibility studies• historic structures reports• resource inventory(ies)• unit files, unit histories• inventories• cooperating association plans city/county general plansNote any relevant documents and anykey concepts they may contain:


The Interpretive Project.

What park resources are to beinterpreted? Examine the resources inlight of their significance anduniqueness.

Highlight any of the following factors thatmay apply:

• significance of the resources• location of the project• new facility• existing facility adapted for project• remodeling existing facilities• temporary installation• permanent installation• part of 5, 10, or 20 year plan• adapting structure for new use• no facilities extant

Indicate the general opportunitiesand direction that interpretive effortsshould take:

References and Resources

Determine what resources will provideinformation about your subject area. These resources may include: studies,reports, archeological work, local andregional experts, modern and historicimages, existing interpretation, etc. Findout about the various public institutionsand private collections which may holdpieces of your park's past. Rememberto check bibliographies and othersources. One reference may lead youto other pertinent materials.

Checklist:

• department resource inventories• historic structures reports• special studies• archeological reports• photographic albums• archival materials• museum collections• recreational opportunities• natural histories• patterns, cycles, processes• adaptations, interactions, behaviors• cultural histories• landscape features• historic structures• books, publications• diaries• historic graphics• recent photographs• existing exhibits• field notes• controversial issues• institutions with pertinent collections• resource people• oral histories• correspondence files• Internet• previous land owners• WPA reports• unit files• long-time park users▪ includes knowledgeable park staff and retired employees.


Once you have determined the kinds ofresources that could be available foryour project, investigate where theymight be housed. Consider state parkslibraries, museums, archives, thedepartment's central files, localgovernment offices, universities, privatecollections, etc. Use the referencesbelow to help you compile a list of thelocations possibly holding relevantresources for your project. For moreinformation on research refer toPlanning Strategies: Research Design(page 38).

Useful References:APPENDIX B: Selected ResearchInstitutions in California

Guide to California State ParksPhotographic Archives.

California State Parks. Sacramento, June, 1996.

Morris, Patricia, ed.California State Parks Museum

Directory. California State Parks. Sacramento, May, 1995.

The Official Museum Products andServices Directory.

American Association ofMuseums. Washington, D.C., publishedannually.

California Library Directory, 1996.Library Development Services

Bureau,California State Library.

Sacramento, 1996.Identify relevant resource materialsand where they can be found:

Related Resources and Interpretation

Parks, and the interpretive programsthey offer, do not exist in a vacuum. There may be existing interpretivefacilities and programs outside the parkof a similar nature to those beingplanned. Be sure to investigate them. Itmay not be worthwhile or appropriate tocopy existing interpretation handledsatisfactorily at other nearby facilitiesand programs. Contact and seek advicefrom other nearby interpretiveprofessionals. Ask them aboutprograms, facilities, budgets, audiences,and funding sources. Inquire if there isa need for the type of facility beingproposed.

Check with:

▪ existing museums▪ local historical societies▪ local, government operated parks▪ commercial parks▪ national forests▪ zoos▪ commercial tours▪ concessions▪ national parks▪ other state parks▪ other community programs/events▪ city government▪ county government▪ other state agencies▪ colleges/universities▪ non-profit groups▪ botanical gardens▪ science centers▪ resource centers


Understanding the goals and objectivesof nearby interpretive facilities will helpyour team better define the proposedproject's purpose. Do not duplicateservices and programs already availablein the community.

Useful References:

Morris, PatriciaCalifornia State Parks Museum


The Official Museum Directory.The American Association of

Museums. Washington, D.C., publishedannually.

Smith, Betty PeaseDirectory: Historical Agencies in

North America. American Association forState and Local History. Nashville.

Note nearby interpretive facilities andtheir focuses:

Park Visitors' Profiles

Who are your visitors and what are theirexpectations? People who visit parksare not homogeneous. The success ofyour project may hinge on identifying: who is presently using the park, who isnot, and who would you like to havecome? What brings visitors to yourpark? What are their patterns of use? How long do they plan to stay? What dothey gain from their visits?

Information may already be available onyour target audiences through local andstate government statistics on family/household expenditures, lifestyle

groups, and trends in the marketplace;chambers of commerce; and specializedpublications on marketing, which provideinformation on interests and attitudes ofdifferent groups.

Define your park's actual, potential, andtarget audiences in terms of thesefactors:

▪ interests▪ resource familiarity▪ general ages▪ time availability▪ social context of their visit▪ mobility patterns▪ socio-economic background▪ income▪ male/female ratio▪ proximity of residence to park▪ access to the park▪ motivation for coming▪ use of leisure time▪ relationship to subject matter▪ school use▪ education levels▪ educational needs▪ language skills▪ disabilities▪ ethnic/cultural identities▪ groups using the park*▪ foreign visitors▪ fee resistance

*Organized groups may include:families, bus tour companies, daycamps, scouting organizations, clubs,churches, fraternal organizations,historical societies, etc.

Visitors bring with them their ownperceptions of the world. It is importantfor you to have an idea of those views.


Increasing awareness of youraudience's needs can take severalforms. Ask questions. Involve peoplefrom within a culture that will be thesubject of your interpretation. Use focusgroups. Try surveying your visitors. From your analysis, what do you believeare your visitors' requirements andexpectations (beyond their immediateneed to use the restroom, desire to shopfor gifts, or to sit in an air conditionedspace)? Understanding what motivatesvisitors to come to parks and to seek outinterpretation will enable you to use thebest strategies and methodologies forreaching your audience.

Estimate the number of visitors who willbe using the proposed interpretivefacilities. It will be important to thedesign parameters of the project. Determine expected peak visitationnumbers (such as after Thanksgiving),as well "slow days." The expected"carrying capacity" for groups, such asorganized tours and schools, should bemanageable not only in terms of thestaff, but also in terms of a site orbuilding's management andpreservation.

Useful References:

Ambrose, Timothy and Crispin PaineMuseum Basics. International

Council of Museums (ICOM). NewYork, 1993.



Machlis, Gary E. and Donald R. Field,eds.

On Interpretation: Sociology forInterpreters of Natural and CulturalHistory. Oregon State University Press. Corvallis, Ore., 1992.

McLean, KathleenPlanning for People in Museum

Exhibitions. Association of Science-Technology Centers. 1993.

Who is your present audience:


Who is your potential audience?

Who is your target audience?

______________________________________________________________________________BEFORE YOU BEGIN: Requirements, Special Concerns

REQUIREMENTS andSPECIAL CONCERNS

Interpretive Objects

Interpretive collections comprise objectsthat contribute to the sense of place. These may include items that areoriginal to a site, period antiques ormodern reproductions, or objects thatotherwise support various interpretivethemes. When planning an interpretiveproject, consider the park's interpretivecollections. Their records, and anyproposed major acquisitions need to beanalyzed. In consultation with the park'scollections manager, assess thecollection's strengths, weaknesses,omissions, conservation needs, andsecurity. (Reproduced objects,including those intended for use in livinghistory programs, demonstrations, andenvironmental living programs, areusually not considered part of the park'sformal collections.)

Capitalizing on the strengths of yourpark's collections may make the processof development a lot easier and moreeffective. Collections may even definethe direction of the project. When usinga readily available collection, more timecan generally be directed toward theplanning and design aspects of aproject.

Be aware of potential sources forobjects in your park. Collections mayhave been kept in storage---long heldfor future exhibits and changing exhibits. Also, libraries or archives may betreated as a collection when they areintrinsically valuable to the park projector are of research importance.

Consider: Why, how, when, and by whomwere collections developed; be aware ofany legal restrictions relating to acollection or individual objects; The types of objects in thecollections, for example: "The SmithFamily furnishings---a complete set of1890 tinsmith tools and equipment"; Check the presence or absenceof museum management records(catalog cards, gifts and loandocuments, etc.), specifically notingrecord types; and Note other pertinent backgroundinformation pertaining to the collection.

Acquisitions for the interpretive projectshould be in agreement with your unit'smission and policies, as stated in thepark's general plan (if available). Generally, acquiring collections, otherthan reproductions for hands-on use bystaff or docents, should be guided by awritten scope of collections statement(approved by the DistrictSuperintendent), or specific approvedfurnishing (or exhibit) plans as they ariseout of the development process. Because storage, registration, andmaintenance is expensive, acquisitionshould concentrate on immediate ratherthan on future needs. Before acquiringany new objects, consider the adequacyof available facilities and the staff timerequired to protect and preserve them. Again, any acquisitions should be madein consultation with the park's collectionmanager.


How will objects be used:

▪ hands-on, discovery areas▪ visible storage▪ living history programs▪ travelling exhibits▪ outreach programs▪ computer displays▪ formal exhibit cases▪ "suitcase exhibits" for schools▪ research▪ replica sales▪ indoors▪ outdoors▪ house museums▪ historic setting exhibits▪ photographic displays▪ demonstrations---scouts, schools▪ environmental living programs▪ guided tours▪ exhibit van/trailer▪ illustrations in publications

Facility or program use will dictate thekind of objects that are gathered for aninterpretive project, whether original,typical of the period, reproduction, orreplica. Individual objects vary indurability and significance. Theirselection must conform with theirexpected use. Each must be evaluatedby a museum curator on a case-by-casebasis before they can be authorized foruse in a project.

Every situation will have to be closelyanalyzed. Some typical situations arelisted below.

Through careful planning,monitoring, and strategic mitigation,objects can be displayed in formalexhibits without jeopardizing long-termpreservation. Because exhibitions allowmany people to view, enjoy, and learn

directly from the objects themselves, it isgenerally an appropriate and desirableuse for collections.

An image may be the best meansfor interpretation, when objects could beharmed by continuous or repeateddisplay, or when they are rare or fragileand beyond the Department's ability toprotect them. (The use of images maybe subject to intellectual property rightsrestrictions.)

Interactive interpretive methods---touch tables, living history, andenvironmental living programs---allinvolve intensive "hands-on" use ofobjects. Although potentially meaningfulto the user and visitor, thesedemonstrations accelerate wear andmay result in the total loss of objects. Extended hands-on use is inappropriatefor most museum objects, and modernsubstitutions should be sought. Hands-on use of artifacts requires thecompletion of an "Authorization forExtended Hands-On Use" form (DPR934).

Interpretive objects in a unit's collectionare subject to the same policies andprocedures that affect all museumcollections under the care or custody ofthe Department of Parks andRecreation. These are outlined in theDepartment Operations Manual and inthe Museum Collections ManagementHandbook. Objects acquired as aninterpretive asset and maintained as aresource are a continuing responsibility. They require research, curatorial care,conservation and preservation. It isimportant to carefully consider andreview the Department's needs whenconsidering collections acquisitions.


Ongoing collections management tasksare required of every park withcollections. Objects on exhibit and instorage must have a completedhousekeeping/maintenance schedule(DPR-473 form) on file to ensure theirproper maintenance. Staff should betrained in curatorial methodology toproperly preserve and interpret thecollections.

Museum collections security involvesprotecting exhibited and stored objectsfrom environmental damage, naturaldisasters, and from intentional orunintentional human interaction. Youshould discuss with the collectionsmanager the security measures in placeat your park and those securitymeasures that will be needed for yourproject. Emergency plans that addresstheft, vandalism, flood, earthquake andfire dangers should be developed bystaff and incorporated into the overallsecurity for new and existing exhibitsand storage areas.

Emergency planning should identifypotential risks to the collection andmethods for protecting objects fromsuch risks. The plan should list objectsof irreplaceable value to the unit. In anemergency, the list could be used toevacuate objects in priority order ofimportance (see the Department'sOperations Manual).

Useful References:

"Museum Collections Management,"Department Operations Manual.Museum Collections ManagementHandbook.

Department of Parks andRecreation. Sacramento, 1986.

Notes on Collections beingconsidered for the InterpretiveProject:


Graphics

Graphics are critical to nearly everyinterpretive project, whether used asperiod objects for living history activities,depicting lifeways or events in an exhibitat a visitor center, or illustrating anorientation video. Graphics can be: petroglyphs and pictographs, historic ormodern photographs---black and whiteor color---sketches, woodblock prints,etchings, lithographs, paintings, maps,charts, architectural drawings, films,video tapes, computer-generatedimages, and works created specificallyfor a project. They may represent atime period, a culture, spacial distances,a landscape, or an emotion---oftencapturing the imagination and explainingwithout words.

Graphics can be located through anumber of sources. When going to aninstitution to research images, be sureto bring along an outline of ideas andconcepts that may be incorporated intothe project. During early planningstages, photocopies of an image may beall that is needed. Create a GraphicsInventory, referencing the images beingconsidered for the project (seeSUPPORT MATERIALS FORINTERPRETIVE PROJECTS). Later,when more definite decisions are madeabout the project, better quality imagescan be obtained.

Explore the following sources forgraphics:

▪ California State ParksPhotographic Archives▪ The Bancroft Library, UCBerkeley▪ Henry E. Huntington Library

▪ California State Library▪ college & university libraries1

▪ Library of Congress▪ California State Parks' libraries2

▪ public libraries3

▪ private libraries and archives4

▪ California State Archives▪ National Archives▪ California Historical Society▪ historical societies5

▪ The Oakland Museum▪ historical museums6

▪ natural history museums▪ government agencies▪ college & university departments▪ private collections▪ Smithsonian Institution▪ National Park Service▪ United States Geological Survey▪ National Geographic Society▪ American Film Institute▪ commercial archives/collections7

▪ business & corporate archives8

▪ publishers▪ newspapers▪ churches▪ art museums & galleries▪ Internet

Examples:

1 UC Davis Shields Library,Stanford University Special Collections,Beinecke Rare Book and ManuscriptLibrary at Yale University2 California State Railroad MuseumLibrary & Archives, Marshall GoldDiscovery SHP library3 San Francisco Public Library,Denver Public Library, New York PublicLibrary4 Society of California Pioneers5 American Antiquarian Society,Worcester, Mass.; Chicago HistoricalSociety; New York Historical Society;


Oregon Historical Society; San DiegoHistorical Society6 Amon Carter Museum, FortWorth, Texas; Buffalo Bill HistoricalCenter, Cody, Wyoming; Henry FrancisduPont Winterthur Museum, Wilmington,Delaware; Los Angeles County Museumof Natural History; Mystic Seaport; TheThomas Gilcrease Institute of AmericanHistory & Art; Shelburne Museum;Southwest Museum; The Museums ofStonybrook7 Bettmann Archives, CulverPictures, Pat Hathaway Collection,Solotype, Time-Life8 Wells Fargo Bank History Room,Sunkist Growers

Images selected for any interpretiveproject should:

• Engage the visitor;• Convey a message, as well or better

than words;• Fit thematically;• Not overwhelm the story or object;

and• Have the proper copyright

clearances.

It is very important when seekinggraphics for an interpretive project, thatyou obtain an understanding of theircopyright status. Using an image for anexhibition, publication, or film is a formof reproduction that may violatecopyright law, if the work beingduplicated is copyright protected. Besure to investigate its status. Drawings,paintings, prints, etc. older than 75years may be in the public domain andmay not require permission to utilizethem. However, whenever usingimages from another institution, always

indicate the source with a "courtesy of..." line. (Refer to the Guide toCopyright Research for a moreinformation on copyright.)

Useful References:

APPENDIX B: Selected ResearchInstitutions in CaliforniaApplegate, Brenda

Guide to Copyright Research. Park Services Division, California StateParks. Sacramento, March 1996.

Notes on Graphics:


Culturally Sensitive Subjects

California State Parks serves diverseaudiences. Visitors represent manyethnic/cultural groups, as well as foreigncountries. When developing a project,you may be confronted with somepotentially controversial issues. Theteam must decide if and how thismaterial will be presented or addressed. For instance, a question of "voice"arises when the staff developing aproject is of a different culture than theaudience or the subject of the project. Whose voice will be represented? Whose voice will dominate the project? Will there be multiple voices expressed? Everyone's perspective or "truth" is notthe same.

Exhibits and interpretive programs arepowerful media. Your programs canaffect how visitors view certain ethnicgroups---not only how they existed inthe past, but also how they areperceived today. The comments heremostly relate to exhibits and programsilluminating Native American cultures. However, they can apply to anyinterpretive exhibit or program thatpromotes an understanding of beliefsystems and historical points-of-viewdifferent from those held by mostvisitors.

The traditional anthropological approachmay not be the best way to interpretNative American cultures. Thatconventional method compartmentalizesvarious aspects of a culture intosubjects: language, settlement patterns,religion, subsistence, clothing andadornment, etc. These divisions areseen as artificial to most Indian people,who view life as a seamless,

interconnected whole. At the sametime, an assumption cannot be madethat all Native American cultures viewlife the same way.

At the beginning of the planning effort, itis important to involve the elders andspiritual leaders of the Native Americangroup being interpreted, as advisors. Interpretive plans and objects for displayshould be reviewed by them to ensurethe messages are accurate and theobjects designated for display are notsacred or sensitive. Do not assume thatbecause an object is a contemporaryreproduction, it will not be viewed assacred or sensitive, even if it is made bya non-Indian. An object may havemeaning to Native Americans becauseof what it symbolizes.

Another important reason to involveNative Americans in an interpretiveproject is to insure the project is incompliance with the Department'spolicies related to the Native AmericanGraves Protection and Repatriation Actof 1990 (NAGPRA). NAGPRA is alegislated attempt to redress historicinjustices to Native Americans. The lawrequires the repatriation of NativeAmerican human remains and funeraryobjects, including those made toaccompany burials, as well as sacredobjects and objects of cultural patrimony(as defined by the law).

Most materials within the Department'scollections have been evaluated. However, to determine whether anobject is sacred, culturally sensitive, ororiginated from a burial, you should startby communicating with the Department'sNAGPRA coordinator in the ParkServices Division. The Department's


NAGPRA compliance is beingcoordinated by that division. Havingconsulted extensively with NativeAmerican individuals and groups, thecoordinator may be able to provide youwith the names of Native Americanadvisors in your area.

If the culturally affiliated tribal elders andreligious practitioners feel that certainobjects should not be displayed, it isbest to follow their wishes. Furthermore, if local tribal membersbelieve that an object might be subjectto NAGPRA, California State Parks'Park Services Division should benotified immediately. The portrayal of Native Americans orother groups should be done withrespect and objectivity. It requires anopenness to new ideas, multiple pointsof view, and diverse cultures. It alsoinvolves proactivity and tolerance. Whatconnotes "respect" among one group ofpeople may not be the same or obviouswhen dealing with unfamiliar cultures.

The following checklist may be helpful:

▪ Identify and involve culturallyaffiliated groups in the planning process.

▪ Be sure the display of ceremonialregalia will not offend the NativeAmerican group it represents.

▪ Native American cultures in theexhibit should be interpreted as "livingcultures," not just existing in the past. Avoid the use of past tense.

▪ When possible, personalize theinterpretation by featuring knownhistorical or contemporary individuals.

▪ Avoid stereotypes.

▪ Interpret objects fully andaccurately.

▪ Involve native people ininterpreting their own culture throughhands-on interpretation, design,demonstrations, living history, leadingtours, etc.

▪ Represent objects as being partof a whole cultural system.

▪ Use the culture's language in theinterpretive project. This is an importantelement that demonstrates respect,however be certain translations arecorrect.

▪ Use art produced by NativeAmericans, when possible.

▪ Do not assume that the views ofone Native American group or individualwill apply to other Native Americans.

California State Parks should take theinitiative and serve as a catalyst forpromoting public discourse, leading tointerracial understanding, tolerance, andrespect.

Useful References:

Five Views: An Ethnic Historic Site


Survey for California.California Department of Parks

and Recreation. Sacramento, 1988.

Karp, Ivan and Steven D. Lavine, eds.Exhibiting Cultures: The Poetics

and Politics of Museum Display. Smithsonian Institution Press. Washington, 1991.


On Interpretation: Sociology forInterpreters of Natural and CulturalHistory. Oregon State University Press. Corvallis, Ore., 1992.

Note ethnic/cultural groups in yourarea that could be involved in theinterpretive planning:


Limitations to Access

There may be a number of seriousaccess issues to be discussed as part ofthe project's planning. Admission tofacilities or activities may be limited byseveral situations, some of which maybe modified.

What factors might restrict or affectpassage to or through any of theproposed facilities or activities?

▪ weather▪ architectural barriers▪ floor loading▪ ceiling heights▪ power supply▪ environmental conditions▪ historic structure▪ natural barriers▪ visitor disabilities▪▪ subject matter▪ ongoing construction▪ ongoing archeologicalexcavations▪ habitat sensitivity▪ environmental concerns▪ language barriers▪ lack of staff▪ transportation▪ communication methods▪ nearby parking▪ restrooms▪ entrance fee▪ physical risk▪ equipment▪ lack of outreach▪ remoteness▪ staff uninformed▪ security▪ periodic flooding

▪See next section: Barrier-Free Access

or Other Alternatives. Consider howthese could be decreased or eliminatedwith the development of your project.

Note any barriers to access that maybe a problem for your project andhow they might be overcome:


Barrier-Free Access or OtherAlternatives

There are all kinds of barriers to access. Our state's growing population isbecoming more culturally diverse. Inaddition, more and more foreign visitorsare coming to California. Languagebarriers present an increasing problemfor communication within State Parks. Knowing your audience and their needscan help you to devise solutions forovercoming these barriers.

Parks that offer visitors good physicalpassage to interpretive facilities andresources cannot be considered totallyaccessible unless staff can alsoeffectively communicate with visitorswho have disabilities. California StateParks' policy is to provide an accessibleenvironment in which all visitors aregiven the opportunity to understand,appreciate, and participate in this state'scultural, historical, and natural heritage.

Remember, people's personalities arenot consumed by their disabilities. Adisability is but one aspect, and usuallynot the dominant one, of each individual. Everyone likes to be considered aperson with unique feelings, thoughts,experiences, and abilities. Treat each ofyour park visitors as an individual. Many physical barriers are caused byattitudinal barriers which are often theresult of misconceptions andunfamiliarity.

In 1990, the Americans with DisabilitiesAct (ADA) became law. It directed thatpeople with disabilities must be allowedto participate in regular programs andthat they could not be discriminated

against, or treated separately, becauseof their disabilities. In compliance withthis law, California State Parks may notrefuse to allow a person to participate ina service, program, or activity simplybecause that individual has a disability. Programs and services must be given inan integrated setting, unless separate ordifferent measures are necessary toensure equal opportunity. Even if aseparate program is offered, individualsmay choose to participate in thestandard program. State Parks mustensure that communications withindividuals having disabilities are aseffective as communications with others. When necessary, State Parks mustfurnish auxiliary aids and services toensure effective communication, unlessit would result in an undue burden tostaff or a fundamental alteration of thefacility or program.

Consider how each of the followingmight impact your audience:

▪ signs▪ walkways, ramps, stairs, rails▪ light levels▪ counter and exhibit heights▪ type style and size▪ captioning▪ Braille text▪ assistive listening devices andother aids▪ accessibility levels posted▪ surfaces---flooring, paths, trails▪ printed scripts of A-V programs▪ large print publications▪ alternative media*▪ parking for disabled visitors▪ easy access to publictransportation▪ seating meeting ADA standards


▪ talking maps▪ text telephones (TDDs)▪ drinking fountains, restrooms▪ shade-covered areas▪ staff sensitive to hidden disabilities▪ outreach to disabled communities▪ exhibit text in other languages▪ brochures/booklets in otherlanguages

* Alternative media developedspecifically for disabled visitors:interpretive walks, talks,demonstrations, Braille publications,large print publications, captioning,assistive listening devices, audio tours

ADA requires that a sign language ororal interpreter be hired any time one isrequested in advance by a visitor.

Good interpretation always relates themessage to the audience,communicating in a way that is bothunderstandable and provocative to theindividual listener. This requires theinterpretive planner to be sensitive tothe interests and special needs of theentire audience. A range of interactive,touchable, and sensory interpretivefacilities and programs can help toreinforce written or audible informationfor many visitors. Refer to All VisitorsWelcome: Accessibility in State ParkInterpretive Programs and Facilities forideas, from personal services to thealteration or development of accessiblefacilities.

When in doubt about a proposed facilityor program, contact representatives ofthe affected disabled community nearthe park. They can best advise yourplanning team about the most

appropriate and effective methods formaking the project accessible. Bymaintaining continuing, opencommunication with your targetaudience and responding to their needs,your project can be made more inclusiveand accessible.

Useful References:

American Association of Museums.The Accessible Museum: Model

Programs of Accessibility for Disabledand Older People. AmericanAssociation of Museums. Washington,D.C., 1992.

Porter, ErikaAll Visitors Welcome:

Accessibility in State Park InterpretivePrograms and Facilities. CaliforniaState Parks. Sacramento, 1994

Note alternate forms of access thatcould be integrated into yourplanning efforts:


Related Use of the Space/Facility

Parks may develop and promote theircredibility by offering activities andfacilities to complement and supporttheir interpretive project(s). These mightinclude a laboratory or research space;an auditorium for special events andinterpretive activities; a classroom foronsite school programs; or ademonstration area; to name just a fewexamples. More in-depth or specializedinformation often can be provided inthese facilities that will be of interest tomany people. They can help to createcommunity involvement, pride,increased park attendance, greaterrevenues, and media exposure.

Special programming can also bedirected toward specific segments ofthat audience, such as school childrenor people with disabilities. Setting asidean area for temporary or travelingexhibitions, for example, can beparticularly useful for showing aspectsof the park that change with theseasons, or for reflecting upon the site'sspecial relevance to topical issues. Introducing an element of change canencourage return visitation.

Food and drink may be required forspecial occasions like receptions,exhibition previews, eveningentertainment, or cooperatingassociation or corporate/sponsorhospitality events. These uses maybring in new audiences to thespace/facility, serving people who maynot have previously come to the park.

A principal consideration should be howwell the proposed activities relate to theconcept or goals of the project. Some

have a cost that can affect budgets,timetables, and daily operations(security, scheduling, supervision ofstaff, etc.). Planning for these activitiesshould be considered well in advance ofthe project's final development stages.

Checklist:

▪ contact station▪ security area▪ guest book/register▪ suggestion box▪ temporary exhibits▪ traveling/changing exhibitions▪ collections storage▪ storage for sales area▪ volunteer storage space▪ restrooms▪ research area▪ library and archives▪ auditorium▪ lounge for staff and volunteers▪ audio-visual area▪ scientific laboratory▪ insect zoo▪ discovery room▪ planetarium▪ interpretive garden▪ nature trail▪ boardwalk/overlook▪ art gallery▪ aquarium▪ staff offices▪ conference room/staff training room▪ classroom▪ conservation laboratory▪ living history programs▪ demonstration area(s)▪ historic re-enactments▪ workroom▪ exhibit design and construction shop


▪ period craft work areas▪ Chautauqua stage▪ food service▪ kitchen/catering facilities▪ interpretive sales/gift shop▪ cooperating association office▪ cooperating association storage▪ janitorial office▪ janitorial storage area and sink▪ picnic area▪ special events activities area▪ rest area for visitors▪ baby changing facilities▪ laundry facilities▪ living history storage space▪ Junior Rangers storage▪ Junior Lifeguard storage▪

The best planning will reflect upon allthe adjacent uses that could potentiallyrevolve around the interpretivefacility/program. Assess theserelationships in terms of primary andsecondary needs and determine how tosmoothly integrate them into the project.

Note proposed adjacent uses andtheir relationships to the interpretiveproject:


Revenue Generation and AlternativeUses

Give attention to the interpretiveproject's revenue generation potentialand any possibilities for concessionactivities, including special events, at theoutset of planning. Proposed revenueventures should reflect positively uponthe mission and themes of your parkand should accommodate park visitors'needs and interests. Try to respond tovisitors' requests and community needsif you can, but not at the expense of thepark's overall objectives.

Significant opportunities may exist to"theme" a particular activity, giving it aspecial feel or distinctive concept relatedto the park. A little imagination and flaircan provide not only an enjoyable anddifferent experience for visitors, but alsorevenue for the park. Some facilitiesmay be adapted with little or no impacton the space, if forethought has beengiven to the activity during the initialplanning phases.

Consider the following revenue sourcesor alternate uses:

▪ entrance fee collection▪ performance venues▪ concession-operated store▪ cooperating association sales▪ receptions▪ banquets, dinners, potlucks▪ concerts▪ music festivals▪ athletic events▪ folklife festivals▪ competitions▪ demonstrations▪ film festivals

▪ art festivals▪ carnivals▪ handcraft fairs▪ farmer's market▪ orange festival▪ bird watching/whale festivals▪ parades▪ old-timers day▪ ethnic programs▪ holiday festivals▪ fandangos▪ antique machinery demonstrations▪ storytelling activities▪ bird watching events▪ eagle tours▪ fall flyway festivals▪ bat flight breakfast▪ geology walks▪ cemetery tours▪ flower festivals▪ horse-drawn vehicle activities▪ holiday special events▪ harvest fairs▪ jazz festivals▪ staged plays and programs▪ fishing derbies▪ food festivals▪ commercial tours▪ training programs▪ candle-light tours▪ astronomy/star talks▪ Native American big times▪ weddings▪ radio or television events▪ dramatic presentations▪ special exhibitions▪ fee-based interpretation*▪ souvenir replicas▪ audio-video tapes▪ audio tapes▪ publications, postcards▪ posters, maps▪ movie location site▪ mail order catalog


▪ interpretive concession▪ convention site▪ organizational meetings▪ fund raising events▪ film locations▪ host for conference/workshops▪ exhibition previews▪ informal education programs▪ craft exhibitions▪ dance performances▪ demonstrations of museum skills▪ training events for park professionals▪ cook-offs▪ rental space

* Fee-based interpretation may include:walking tours, bus tours and otherspecial request tours, seminars andother programs, environmentaleducation, special events (e.g. artists inthe park, music festivals, living historyweekends, field seminars with guestspeakers, etc.).

Retail sales deserve an entire bookdirected toward that subject alone. Tryto reflect the theme and the identity ofyour park project in the range of itemsoffered for sale. People generally likemementos clearly linked to the sitesthey visit. Develop an understanding ofyour audience/customer, their interests,and needs. Let people have access tothe goods. They may be more likely tobuy items they can inspect. Also,remember to budget for a certainamount of theft and shrinkage(breakage, out-of-date stock, etc.). Tryto meet customer requests, but not atthe expense of your overall objectives.

Consider the modifications or additionsthat will have to be made to the space

(electricity, counters, storage space,special lighting, sound systems, audio-visual equipment, kitchen facilities, salesarea, etc.) to accommodate proposedalternative uses. Are your plannedactivities compatible activities with thestructure(s) and setting(s) of the park? Be sure they are accessible to allvisitors.

Useful Reference:

Porter, Erika R.All Visitors Welcome:

Accessibility in State Park InterpretivePrograms and Facilities. CaliforniaState Parks. Sacramento, 1994.



Notes on the project's revenuegeneration potential:


Modifications to the Building orSetting

If this project will be in a natural/culturalsetting, how will it impact the site? Public Resources Code 5024 requiresthat any building over 50 years of agemust be evaluated for its historicalsignificance. When a building isconsidered significant, 5024.1 requiresconsultation with the State Office ofHistoric Preservation in the earlydevelopment stages of a project. Mitigation of the project's impacts maybe a condition of its advancement. Some aspects of this consultation andreview have been delegated toCalifornia State Parks. Contact yourdistrict historian or the department'sService Centers for advice.

Avoid ruining pristine areas and scenicviews with interpretive signs anddisplays. Sometimes it is better to letthe resources speak for themselves. Abrochure or leaflet may also be a moreappropriate method for communication.

Determine if there will be adequatefuture funding to maintain the building,facility, or site when there is a need torepair or replace the roof, walls, plaster,gutters, windows, lighting, flooring,hardware, plumbing, furniture, heatingand cooling systems, alarms, trails,fences, signs, plantings, etc.

Checklist:▪ Provide access with the least impact to the resources and structures.▪ Offer alternative methods of access for inaccessible areas.▪ Limit structural changes.

▪ Document modifications.▪ Be aware of safety considerations and health hazards.▪ Assign and adhere to load limits in buildings.▪ Preserve the viewshed.▪ Preserve the historic landscape.▪ Complete California Environmental Quality Act (CEQA) review.▪ Complete 5024 review.

Notes on possible building or sitealterations:


Staffing Considerations

The staff of an interpretive facility shouldreflect its nature and purpose. Determine the work that needs to beperformed and ensure that it is clearlysomeone's responsibility. By notidentifying the workload at the outset ofthe planning process, vital operations---administration, maintenance, security,curation of collections, guided tours,etc.---may be left undone. Whenplanning a new project or modifying anexisting facility, consider who will staffand sustain it. Will the development betruly feasible if there is insufficient staffto maintain it? Will special knowledge orskills be required for the project? Whattraining will employees and volunteersneed?

Have you included requisite space innon-public areas of the project to meetthe staff's (including volunteers)particular concerns?

Consider these personnel, their roles,and responsibilities:

▪ cashier/fee collector▪ housekeeper▪ maintenance staff▪ guide▪ custodian▪ grounds keeper▪ archeologist▪ paleontologist▪ historian▪ on-site conservator▪ park ranger▪ museum director▪ curator▪ interpreter▪ museum technician

▪ archivist/librarian▪ restoration specialist▪ volunteer coordinator▪ docents/volunteers▪ bookstore management staff▪ security guard▪ public relations/marketing staff▪ park aid▪ trainers/teachers▪ audio-visual specialist▪

Useful Reference:



Notes:


Safety and Security

Concern for visitor safety and thesecurity of objects on display shouldbegin with the planning and designphases for each interpretive facility. Aswith any public or private establishment,your park may be liable for an injuryreceived there. Loss or damage canoccur, whether intentional or accidental,through floods, fires, earthquakes, orother disasters, as well as through theftand vandalism. Develop the project inways that will minimize or manage risks. Security is not only vested in thephysical methods for safe guardingobjects and buildings, but also in thepeople who oversee them and their dailypractices. Exposure to safety andsecurity problems may increase withstaff carelessness, poor design andengineering, inadequate maintenance,or other unsafe practices.

Identify potential risk factors for yourproject:

▪ lack of environmental controls▪ cleaning practices▪ tripping hazards▪ hanging objects and rigging▪ heights of overhangs▪ counter heights▪ sharp objects▪ glazing materials▪ lighting---too bright or too dim▪ open flames, fire▪ electrical safety▪ animal bites, stings, etc.▪ hot objects▪ fragility of objects▪ instability of interpretive objects▪ value of items on display

▪ slippery surfaces▪ height of stairways and ramps

Methods for mitigating threats to safetyand security:

▪ security for collections storage▪ secure large objects▪ safeguard all objects▪ photo documenting inventory▪ daily "walk-throughs"▪ building occupancy limits▪ safety and directional signs▪ sound control▪ available first aid kit▪ emergency plan in place▪ risk management plan in place▪ security guard▪ first aid/safety training for staff▪ opening/closing procedures▪ cash handling procedures▪ intrusion alarms▪ vandalism▪ defensive plants▪ available phone radio▪ background checks▪ access to sheriff's office▪ insurance for special events/movies▪ emergency notification guide

Once an interpretive facility has beendeveloped, arrange for daily "walkthroughs" to identify and resolve safetyand security concerns before theybecome a problem.

Useful References:

Museum Security and Protection: AHandbook for Cultural HeritageInstitutions.

International Council of Museums


(ICOM) and the International Committeeon Museum Security. New York, 1993.



Ralph, Larry J."Visitor Safety in Exhibit Design

and Production," Exhibitionist, Spring,1993.

Notes on safety and security:

Other Considerations

What about the availability of resourcesfor project development? Will there be astorage area for newly acquired objectsfor the interpretive project? Is there apreparation area for cleaning andconservation work, house museummock-ups, preparatory exhibitconstruction, etc.?

While developing the project, considercreating a marketing campaign for thecompleted project to maximize itsimpact. (See the Marketing andPromotion section under FOLLOWTHROUGH for more discussions on thesubject.)

Notes:

______________________________________________________________________________BEFORE YOU BEGIN: Planning Strategies

PLANNING STRATEGIES

Project Timetables

A detailed timetable should be preparedfor every interpretive project, outliningthe critical path for decision-making andany time considerations---historicanniversaries, building completiondates, construction time frames, etc.---that will govern the project'sadvancement. PERT---a "ProgramEvaluation Review Technique" canshow all phases of the project, includingwho is responsible and any critical duedates. It is a graphic tool---a flow chartthat details the work to be done.

Briefly, a PERT chart shows therelationship of one activity to another,which steps need to be completed first,as well as any important due dates. Each line or box on the chart is a job,task, or activity that is part of the wholeproject. The lines represent the timerequired to complete each task. Thechart can track work to be donesimultaneously, as well as activities thatmust follow one another. Overlappingand interrelated activities are alsoidentified.

Work backwards from the proposedopening date to establish allotted timeframes for aspects of the project. Timelines for projects need to matchbudget allocations. Be realistic. Willthere be other park commitments thatneed to be addressed in this sameperiod? When creating a schedule,allow sufficient flexibility toaccommodate unanticipated problemsor delays. Some activities may requireextensive lead time. These may include

research, or the reproduction orconservation of objects to be used in ahistoric setting exhibit, 5024 andCalifornia Environmental Quality Act(CEQA) reviews, etc. Other work maybe interdependent or may occursimultaneously, such as the creation ofan exhibit catalog or promotionalmaterials.

A timetable or PERT chart shouldcontain most of the following elements:

Assemble the Team Plan to---

Assess the ExistingSituation

Define Goals & ObjectivesResearch (consider

special situations--e.g. seasonalchanges)

Evaluate CollectionsEstablish ThemesInventory GraphicsPrepare Audio-Visual

Elements Write the Interpretive Plan Write the Furnishing Plan Prepare Preliminary Designs Develop Preliminary Exhibit Plan Budget---Consider ProjectFeasibility Revise Project ("too expensive"or "not achieving objectives") Circulate for Department Review Involve Public in Review Arrange for CEQA, 5024 Review Acquire Objects---

PurchaseReplicatePreserveConserve

Research Copyright/Permissionto Use Develop---


Final Project DesignTextObject Preparation for

ExhibitCatalog ArtifactsAcquire Audio-Visual

EquipmentDevelop Audio-Visual

ProgramTest Ideas on Focus

Groups


Contract---PrepareAdvertiseAward ProcessContract Management

Construction---Carpentry, etc.Walk-ThroughsInstallation

Train Staff/Docent Develop Maintenance Schedules(DPR 473 forms) Marketing and Promotion---

Prepare BrochureDevelop Exhibit Catalog

Create Teachers' GuidesWrite Press ReleasesProduce souvenirs,

replicasPromote Events

Follow-Up---EvaluateWarranty WorkRepairsRevisionMaintenance

Don't forget to incorporate anniversariesand other critical due dates that will notchange within the timetable.

Useful Reference:

Bryan, Dave"How the Exhibit Builder Can

Avoid Scheduling Mishaps," ExhibitBuilder. 6, No. 6, 1989, pp.34-40.

Prepare a draft timetable for theproject.

(Refer to the example on the next page.)


Example of a project timetable.


Defining Measurable Outcomes

Viewing and critiquing interpretivefacilities elsewhere can help your teambuild a better understanding about theproject's desired outcome. Also, visitingother sites may provide ideas that mightwork for you, as well as a betterunderstanding of those that won't.

What kind of physical and emotionalinvolvement do you want visitors to havewith the park's resources? Determinewhat it is you would like to accomplishwith the project from the outset. Writtenstatements of goals and objectives willbecome the basis for program policies. They will also provide the public with aclear understanding of the role andpurpose of your proposed project. Setyour goals early. Keep them simple. Goals broadly outline whatinterpretation aims to accomplish. Objectives describe how the goals willbe met in a general way.

Interpretive Goals are generalstatements that express the things youwould like to have happen, althoughthey are not very specific ormeasurable.

Examples:

Visitors will be able to experiencethe park using their different senses. Visitors will gain an appreciationfor archeology and its role in revealingthe history of Monterey State HistoricPark's Cooper-Molera Adobe. Visitors will understand how thedifferent cultures in Old Town SanDiego's past related to the soil and thelandscape of the region. Visitors will be oriented to Shasta

State Historic Park's buildings and sites,to help them gain the most from theirvisit. Visitors will learn the importanceof preserving and protecting natural andcultural resources in the park. The staff at Castle Crags StatePark will develop methods for showingpark trails to visitors who cannot walkthem.

Interpretive Objectives aremeasurable. Sometimes these arefurther refined as learning, behavioral,and emotional objectives.

Learning Objectives---What do you wantvisitors to learn or remember?

Examples:

Every visitor will be able toidentify the work performed by an earlyCalifornio vaquero. Grade school students willremember the reasons why Rootvillewas established. High school students will be ableto describe what the daily regimen waslike for an enlisted soldier at Fort Tejon.

Behavioral Objectives---What do youwant visitors to do?

Examples:

Grade school children will leavethe park with one or two simple resourceconservation measures to use at home. A majority of park visitors willlearn about the native plants in the areaand will be able to identify many of themin the park. Visitors will find the historicbuildings in the park, after being


oriented to their location in the visitorcenter.

Emotional Objectives---How do youwant visitors to emotionally relate to theresources? How will they change oralter their attitudes? What values doyou want them to take home?

Examples:

Visitors will develop an empathyfor the Chinese, who worked in the goldfields of California. Visitors will understand the valueof recycling and will practice it regularly. Visitors will value the pygmyforest, treating it with respect and asense of stewardship.

Consider what you want yourinterpretive project to communicate topark visitors. Several goals andobjectives can be established for eachproject. Park projects should bedeveloped to be more thaninformational; they should beinterpretive.

By defining goals and objectives, theproject can be evaluated at criticalpoints to calculate its effectiveness. Evaluation---even before the project isdeveloped---allows alterations to bemade when they are least expensive tothe project. Evaluation should be builtinto the interpretive planning process,testing and fine tuning before finaldevelopment and installation.

Upon completion, evaluation will helpyou measure the success of yourinterpretive project and if your goals andobjectives have been met. Did visitorsto your project/program make sense of

the interpretation? Did their intellectual,emotional, and behavioral responsesagree with your original intentions? Were visitors satisfied with theirexperiences? Interpretive projectdevelopment should be a continualprocess of setting goals, verifyingresults, and refining the project. Only inthis way can you can be assured thatyou are communicating with youraudience and that they understand yourmessage.Useful References:

Doering, Zahava D. and Andrew J.Pekarik

"The Exhibition Dialogue: AnOutline," Exhibitionist, Summer/Fall,1993.

Veverka, John A.Interpretive Master Planning.

Falcon Press Publishing Company.Helena, 1994.

Note your preliminary interpretivegoals and objectives for the project:


Research Design

After assessing the park's resourcesand establishing the interpretive goalsfor the project, you will need toformulate a plan to guide research. Askyourself, what is the "big idea" you wishto convey through your project? Examine the park's general planelement or interpretive prospectus forthematic direction. To help you stayfocused and organized, outline theconcepts to be interpreted. The outlinewill allow you to understand what youknow (or don't know), what is available,as well as any limitations orshortcomings in the materials. This willserve as your research design.

You may need to address theseinformational needs in your research:

The identification of resources---plants, animals, historic sites, buildingstyles, collections; Factual points---names, dates,events; Resource issues---naturalprocesses, implications of humanactivities on species; Cultural perspectives---multiplepoints of view, cultural practices; and The values, meanings, andphilosophies to be represented andinterpreted by the project.

Research will probably lead you to newareas of concern or to other valuableinformation that might be incorporated inthe project. (Some subject areas,because of their complexity, may requirethe services of an outside expert orscholar.) Projects should be basedupon the most up-to-date informationavailable. Be sure to allocate enough

time for research. It is easy to be "ledastray"---away from your

original focus. Refer to your outlineoften.

When looking for materials for yourproject, be guided by the list of relevantresources and their locations, gatheredearlier by your team. (See pages 10-11,Assessing the Existing Situation:References and Resources.) Compile alist of collections and institutions withpertinent materials to be examined andspecific questions or concerns to beaddressed, to insure that research isdone carefully, comprehensively, andeconomically.

Develop regular procedures for theconduct of your research. Record thedata you collect in a systematic manner. Use 3" X 5" cards and type your notesor record the information using acomputer database. Be neat! Ifpossible, photocopy materials to verifyerrors in transcription. Be sure to keeptrack of authors, titles, dates, recordbooks, etc.---any details about theinformation and where it came from.

Look for appropriate images, as well. Historic photographs, drawings,paintings, maps, etc. may proveinformative and useful for illustrations inthe final project. (Review your notes onGraphics---see pages 18-19.) Also,locate objects---historic artifacts,reproductions, modern equivalents, ormounted specimens, etc.---that might beapplicable. (Refer to your notes onInterpretive Objects--see pages 15-17.) If possible, photograph items that mightbe of value to the project. Note theirsize, weight, condition, catalog number,


location, and any other facets that mightbe of importance. Again, keep track of

the information and sources in asystematic manner.

Remember, not everything has beenrecorded or saved. Research entailsfinding those things that have survivedand analyzing them. As you gather theinformation and materials, examinethem critically for any biases. Askyourself, are there errors? Is eachaccount objective? Was the author onsite at the time he/she wrote about anevent? Could he/she fully appreciatethe situation? In general, a report orstory's value increases in proportion toits nearness in time and space to thewitness and the events he/sheobserved. Do not assume that becausesomething or someone is old, that thematerial you are examining is factual,tasteful, logical, well-designed,organized, up-to-date, old-fashioned,unique or "typical of the period," etc.

Historians refer to two types of sources: primary and secondary.

A primary source is from anevent. A secondary source is about anevent.

Primary sources are generallyconsidered more reliable thansecondary sources for information. Tryto base your interpretive project onprimary evidence whenever possible.

Re-examine your original researchoutline. Once you have searched,recorded and evaluated the availableresources for the project, systematically

arrange the material. Keep in mind theproject's interpretive goals andobjectives, which have been identified inthe previous section. (See pages 36-37,Planning Strategies: DefiningMeasurable Outcomes.) Make sureyour information is accurate. Bestraightforward in your interpretation ofthe material. Present it in a manner thatcommunicates the broadestunderstanding of the subject. There isnever an excuse for inaccuracy.

In reporting your research clearly andhonestly, cite references, interviews,graphics, and interpretive objects withfootnotes or endnotes, and keep abibliographic list at the back of thedocument. You may wish to follow thebibliographic format employed in thisWorkbook's "Useful References"sections. Your written report willbecome one of several resources usedto develop the final interpretive plan. Itwill also serve to justify and support theproposed direction taken by the projectand will become one of the principalreferences used by interpretersdeveloping programs on site. Yourreport's usefulness will be dependentupon its thoroughness, accuracy, andrelevance.

In summary, use the following basicresearch procedures:

1) Select a topic/theme.

2) Outline the concepts to beinterpreted.

3) Find the facts. Track down allrelevant information.

4) Record the information


systematically.

5) Critically evaluate the informationcollected.

6) Arrange the material in a logicalpattern.

7) Report your research resultsclearly and honestly.

Consider how important research is toCalifornia State Parks and to its role asguardian and interpreter of this state'snatural and cultural resources. Thepublic has bestowed their trust in theDepartment to properly representCalifornia's heritage. The Department'sinterpreters have an obligation to portrayour state's past and present accuratelyand honestly.

Useful References:

Bean, Lowell John and Sylvia BrakkeVane

California Indians: PrimaryResources. Ballena Press. Ramona,1977.

Bean, Walton and James RawlsCalifornia: An Interpretive History.

5th edition. McGraw. 1988.

Barzun, Jacques and Henry F. GraffThe Modern Researcher. 5th

Edition. Harcourt, Brace, Jovanovich,Inc. New York, 1992.

Favretti, Rudy J. and Joy PutmanFavretti

Landscapes and Gardens forHistoric Buildings. 2nd Edition. American Association for State and

Local History. Nashville, 1991.

Life on the Edge: A Guide to California'sEndangered Natural Resources.

BioSystem Books. Santa Cruz,1994.

Nunis, Jr., Doyce and Gloria RicciLothrop, ed.

A Guide to the History ofCalifornia. Greenwood Press. Westport, Conn., 1989.Seale, William

Recreating the Historic HouseInterior. American Association for Stateand Local History. Nashville, 1979.

Outline the interpretive scope of yourproject. Identify areas that need tobe researched thoroughly.


Educational Considerations

The California State Parks Systempreserves and maintains some of themost significant natural and culturalresources in the state, the nation, andthe world. Because of this, our StatePark interpreters have the responsibilityto provide programs and exhibits thatreflect upon and communicate thosevalues and meanings to park visitors. Having defined the learning objectivesearly in the planning process (see pages36-37, Defining Measurable Outcomes),what main ideas or points should visitorstake away with them after interfacingwith the proposed project? The mosteffective interpretation is developed inconsideration of its intended audience---children, adults, people with disabilities,etc.

What kind of relationship will theproposed project have with itsaudience? Will it speak to them? Lecture? Preach? Or, will it connectpark visitors to familiar experiences, askquestions, or challenge them to solve aproblem? Will your audience be treatedlike children, if they are adults? Or, viceversa? (Review the principles andobjectives for interpretation in thesection The Role of Planning inInterpretation, pages 2-4.) Themessage, as well as the media used tocommunicate the information, may ormay not be appropriate for allaudiences. Avoid anything that soundslike a lecture or an encyclopedia.

Be aware that people learn and processinformation differently, depending upontheir age, education, and experiences. Young people gain most of theirknowledge by observing, classifying,

measuring, gathering information, andmaking inferences. Try to matchlearning styles with interpretivetechniques.

Examples of learning styles andtechniques for effective learning▪:

IMAGINATIVE:Reasons--Asks, "Why?"Use components that move their

emotions; scenic treatments; humanand community elements; and periodsettings.

ANALYTICAL:Wants Facts--Asks, "What?"Offer facts through as many

media as possible--text, labels, audio,and video.

PRACTICAL:Tries Possibilities--Asks, "How?"Provide for involvement--have

visitors contribute; help them to see howthey can use their newly acquiredknowledge; use touch tables and roleplaying.

DYNAMIC:Applies Learning--Asks, "What

if?"Offer interactive interpretation.

Let visitors try out and experiment. Develop "discovery" areas.

▪ Learning styles and techniques foreffective learning courtesy of Peter D.Barton, Executive Director of theAltoona Railroaders Memorial Museum.

Learning by discovery can be fun forchildren (as well as adults). If gearedtoward children, it should provideplanned experiences to stimulate


curiosity and develop skills. Let them use their newly acquired awareness,skills, or understanding in some way tocomprehend what they've learned, butkeep the experience informal.

If school groups comprise the majority ofyour targeted audience, consult theCalifornia Department of Education'svarious educational frameworks whendeveloping the project. Address morethan the fourth grade level in yourplanning. Work with school programliaisons and involve local teachers. Integrate your project with nearbyschool curricula to make it an obviousattraction for learning outside theclassroom. Identify related pre- andpost-visit activities and projects thatmight expand learning beyond parkboundaries to the schools.

As your project nears completion,organize interpretive concepts andappropriate resource materials into ateacher's guide and/or educational kit. Materials in such a kit might includestudy prints, reprints of documents,slides, objects, videos, models, andsuggested activities. Be sure thatsufficient training and workshops areoffered to guide teachers who wish totake advantage of the park as aneducational resource.

To complement the project, offer a diversity of educational programs andactivities within the community. Varietyin programming will stimulate interest inthe park and encourage return visitation.

Consider:

▪ college classes in the field▪ environmental educationprograms▪ Junior Ranger Programs▪ Junior Lifeguard Programs▪ Environmental Living Programs▪ Environmental Studies Programs▪ Elderhostels▪ internships▪ service learning▪ docent training▪ lecture series▪ living history programs▪ self-guided brochure▪ scout programs▪ campfire talks▪ staged dramatic programs▪ publication projects▪ outreach programs

Useful References:

English-Language Arts Framework forCalifornia Public School, KindergartenThrough Grade Twelve.

California Department ofEducation. Sacramento, 1987.

Grinder, Alison L., and E. Sue McCoyThe Good Guide: A Sourcebook

for Interpreters, Docents and TourGuides. Ironwood Publishing. Scottsdale, Ariz., 1985.

Health Framework for California PublicSchools: Kindergarten Through GradeTwelve.


History-Social Science Framework forCalifornia Public Schools: KindergartenThrough Grade Twelve.



Literature for History-Social Science:Kindergarten Through Grade Eight.


Mathematics Framework for CaliforniaPublic Schools: Kindergarten ThroughGrade Twelve.


Pitman-Gelles, BonnieMuseums, Magic & Children.

Association of Science-TechnologyCenters. Washington, D.C., 1981.

Science Framework for California PublicSchools: Kindergarten Through GradeTwelve.


Tucker, Michael S.A Teacher's Guide to Sutter's

Fort. California Department of Parksand Recreation. Sacramento, 1992.

What educational considerations willbe a part of this project?

(Use the pages for Additional Notes at theend of the Workbook.)

Selecting MediaMedia can be an especially powerfulteaching tools. Choosing the bestinterpretive media to carry yourmessage demands careful deliberation. Depending upon your choice of media,visitors could find your messagefascinating or dull, compelling ortedious, shallow or complex. Use theknowledge of your park's resources andits visitors to build solid "interpretivebridges." Know your audience. Try toconnect them to the natural, historical,and recreational resources of the park inpersonally meaningful ways. Yourmedia selection should be anentertaining, educational, and efficientway of presenting the material.

There is no one best medium for allsituations. For example, theadvantages of using audio-visuals andspecial effects must be weighed againstthe cost of the equipment, ongoingmaintenance, the ease of operation,staff time, and their impacts on thephysical space and visitor flow. Mediashould be selected not only to serve thepublic, but also to preserve the integrityof park resources and to be compatiblewith its facilities. Self-guided brochuresand booklets may eliminate the need tomar the natural or historic environmentwith signs and exhibits. They alsoenable visitors to learn about a site at alater time.

Since various media have differentstrengths (and people love variety)choose a mixture of media. Dynamicand interactive media are usually betterthan static. Media should bemeticulously researched and edited, andany visuals chosen, selected for theircompelling nature.


Insert scan of media selection matrixhere


narration should also contribute tooverall audio-visual presentations. Besure to obtain proper copyrightclearances when using music, graphics,and quoted text. The "Media SelectionMatrix" to the left may help you to selectthe right interpretive tools for your task. Also, networking and brainstorming mayhelp you to find good media solutionsand avoid problems.

Be realistic about the time, money, andother resources needed to create thevarious media being considered for theproject.

Remember the following about media:

▪ Getting the facts correct iscrucial.▪ Ideas alone do not work; theyneed to be interpreted.▪ A clear storyline is essential.▪ Production value is important.▪ Use compelling visuals and/orsound.▪ Obtain copyright clearances inadvance.▪ Edit the media to move the storyforward.▪ Awaken audience's curiosity.▪ Good interpretation changesbehavior.▪ Remember to developaccessibility into the media.

Engage peoples' senses and you willcapture their minds. The greater thesensory involvement, the more effectiveand permanent the learning. Toparaphrase psychologist Carl Rogers,by involving the whole person, peoplelearn rapidly in ways they do not soonforget, and in a manner that haspractical meaning for them.

Check the potential for the followingmedia in your project:

▪ guided tours▪ living histories▪ formal exhibits▪ historic setting exhibits▪ dioramas▪ interpretive boardwalk/trail▪ hands-on, discovery areas▪ audio-tours▪ electronic activities/games▪ videos/films▪ large-screen film (e.g., Imax)▪ Environmental Living Programs▪ Environmental Studies Programs▪ live stage productions▪ demonstrations▪ Junior Ranger Programs▪ Junior Lifeguard Programs▪ traveling exhibits▪ outreach exhibits/activities▪ music▪ publications

Useful References:

American Association of MuseumsMuseums and Technology:

Selected Source List. Washington,D.C., 1996.

Koester, StephanieInteractive Multimedia in

American Museums. Archives andMuseum Informatics. 1993.

Notes on potential media:

(Use the pages for Additional Notes atthe end of the Workbook.)


Public Involvement

Make an effort to bring the public intothe design and review process. Yourteam should respond to the projectrequirements, as well as the interestsand concerns of those who will beaffected. In the long run, publicinvolvement can save time and money,and may produce a better interpretiveproject, meeting the needs of thecommunity and visitors alike.

Keeping the lines of communicationopen is important to a community'sperception of a project and itssatisfaction with it. Contact should beinitiated to gather information from, andto inform the public about theinterpretive planning that is proceeding. This involvement can includecommunity meetings, talks withinterested parties, opportunities forfeedback on test prototypes, etc.

Consider the best times to include thepublic in the process of developing theproject plans. Refer to previous thesections, Assembling a Team (pages 6-7), Requirements and Special Concerns: Culturally Sensitive Subjects (pages 20-22), and Barrier-Free Access or OtherAlternatives (pages 23-25) for morematerial on involving the public. Interpretation works most effectivelywhen it relates to the experiences of itsaudience.

Methods for involving the community:

▪ public meetings▪ public feedback on prototypes,

mock-ups▪ organizational meetings

▪ interested constituents▪ contact recognized experts▪ workshops▪ response cards▪ comment books▪ sign-up list▪ bulletin board▪ Internet▪ E-mail▪ letters▪ informal observation▪ informal conversations▪ educational organizations▪ visitor surveys▪ newsletter▪ media releases▪ public service announcements▪ education stations on cable▪ speakers for service groups▪ consultants from ethniccommunities

Briefly note how the public will beinvolved in the project:


Budget

A basic budget will be needed for the project before any preliminary designcan begin. The size of the budget willdetermine the design choices open tothe project---from the choice of media tothe scale of development. As theproject proceeds, actual costs can becompared against budgeted items.

What facets of the project'sdevelopment need to be budgeted?

▪ salaries and wages▪ shipping/travel▪ artifact acquisition▪ storage during development ▪ architectural work▪ building modifications▪ landscaping▪ design development▪ equipment purchases▪ fabrication▪ installation▪ graphics reproduction▪ copyright permission costs▪ public meetings▪ project revision▪ mounted specimens acquisition▪ marketing and promotion▪ contract management▪

How is the project to be funded?

▪ fully funded▪ partially funded▪ marketing campaign planned▪ federal or state grant▪ individual gift▪ cooperating association funds▪ corporate sponsor▪ self-supported

▪ local foundation▪ civic organization support▪ municipal, county, or state taxes▪ bond act▪

Consider the long-range implications formaintaining and operating the proposedproject:

▪ staff salaries▪ rent▪ utilities▪ program costs▪ updating exhibits▪ maintenance▪ outreach▪ updating equipment▪

Notes on the project's budget:

______________________________________________________________________________OUTLINE FOR WRITING AN INTERPRETIVE PLAN

OUTLINE FOR WRITING ANINTERPRETIVE PLANAn Interpretive Plan summarizes anddocuments the relevant data anddecision-making that directs theinterpretive project. It offers supportmaterials and background informationcritical to its development. TheInterpretive Plan is, in essence, the"paper trail" and guide map for theproject. This section of the Workbookoffers an outline for writing the variouschapters of the Interpretive Plan. Itsformat arranges the material logically toincorporate the initial planning that hasbeen undertaken thus far on behalf ofthe project.

Follow the directions indicated for eachchapter, using the notes you havecompiled in your earlier step-by-stepanalyses. Remember, this is youropportunity to "sell" the project within thedepartment. When writing, choose yourwords carefully and package the finalInterpretive Plan in a way that willencourage the project's development. The final approved plan will becomeyour marketing tool, as well as yourinstrument for implementation.

BRIEF OVERVIEW OF THE PROJECT

Once you have reviewed and analyzedthe preceding sections, brieflysummarize the impetus for the project,its context, location, description,interpretive significance, the spaceavailable to the project, its expectedduration, and the source(s) of funding. Describe the project's planning team,how information was gathered, andcommunications were handled with the

public, culturally affiliated groups, peoplewith disabilities, etc. Indicate theintended audience for the project.

Use your notes gathered from theprevious sections indicated below towrite the overview of the project.

� Why is this project needed?(pages 4-5)

� Assessing the Existing Situation:° Planning Documents

(page 8)° The Interpretive Project

(page 10)

� Assembling a Team (pages 6-7)

� Planning Strategies:° Research Design (pages

38-40)° Public Involvement (page

46)° Budget (page 47)


SUMMARY OF EXISTINGCONDITIONS AND SPECIAL

CONCERNS

What park planning documents nowguide the project's development? Indicate any directions or actions theypropose that may affect the project. Briefly identify the capabilities, andlimitations of the park's resources, sites,facilities, the staff potentially involved inthe project, and the anticipatedaudience for the completed project(especially if a change is expected as aresult of the development). Indicateother uses (related activities, revenuegeneration, etc.) that my impact theproject. What safety and securityconcerns will there be?

Use your (applicable) notes from theprevious sections (listed below) to writea summary of the existing conditionsand concerns. Again, keep thesummary brief.

Assessing the Existing Situation:Planning Documents (page 8-9)Park Visitors' Profiles (pages

13-14)

Requirements and Special Concerns:Interpretive Objects (pages 15-17)Graphics (pages 18-19)Culturally Sensitive Subjects (pages 20-22)Limitations to Access (pages 22)Barrier-Free Access or OtherAlternatives (pages 23-25)Modifications to the Building or Setting(page 29)Related Uses of the Space/Facility(pages 25-26)Revenue Generation and Alternative

Uses (pages 27-28)Staffing Considerations (pages 30)Safety and Security (page 31)Other Considerations (page 32)

GOALS AND OBJECTIVES

What are your basic concepts or ideasfor the project? At what level ofunderstanding will the information bepresented? How do your goals fit inwith the general plan's purposes? Theyshould support each other.

Examine your notes from the previoussections (listed below) to write theproject's goals and objectives.Planning Strategies:

Defining Measurable Outcomes(pages 36-37)

Educational Considerations(pages 41-42)

Once again take a moment to thinkabout how your project could beevaluated and measured uponcompletion to determine whether or notit has met satisfactorily the goals andobjectives you are about to establish.


THEMES

What's a Theme?

The best interpretation is characterizedby a clear sense of purpose. Themestatements provide a point-of-view or anapproach to a particular subject. Theyare concise. The best theme is asimple, complete idea that defines theinformational scope and the perspectiveto be offered. Interpretive themes offera bridge for visitors to help themunderstand the significant natural,cultural, and recreational resources of apark.

Examples:

Whether green with growth,standing as dead "snags," or fallen asdecaying logs, trees are home andsupermarket for many kinds of life. How we view and understandCalifornia's streams determines how wetreat them. The coastal dune communityshifts through time and space as lifegets a foothold in the sand and thenfinally fixes it in place. Military equipment in the 1850smade the army an effective militarymachine in pursuit of its mission. The Stanford's mansionsymbolized political authority, wealth,and power in 19th century California. John Bidwell's success as afarmer helped to establish Californiaproduce as a symbol of excellencethroughout the world.

A unifying theme or overall theme isused when planning park visitor centersor multi-subject exhibits. The unifying

theme provides a conceptual focus andgeneral approach for the interpretiveofferings. It establishes the overall toneand direction and implies the desiredoutcome interpretation should have onvisitors' attitudes and perspectives. Theunifying theme is presented through theinterpretation of the primary, secondary,and supporting themes.

Each exhibit station in a visitor center,interpretive trail, or touch screenprogram requires a separate point-of-view or theme which complements theoverall theme.

Primary themes define the mostessential ideas, like the chapters in abook. Primary themes carry thecommon thread of the unifying theme totell a complete story.

Supporting themes provide moredetailed perspectives on one or more ofthe primary themes.

Secondary themes provide valuable,but non-essential information related tothe unifying and primary themes. Likesidebars or footnotes in an article,secondary themes may be onlytangentially related to the unifyingtheme.

Remember:

▪ Themes must relate to visitorinterests, the resources, and the missionof the park.▪ Themes need a clear point ofview expressed as a simple statementor question.▪ Themes should showrelationships and processes--not justfacts.


▪ Individual themes shouldcontribute to a memorable "take home"message (the unifying theme).

Interpretive Themes should be identifiedin the park unit's general plan orinterpretive prospectus. If either hasbeen developed, restate them here. Ifnot available, develop interpretivetheme(s) only after considerableresearch and thought. (Some oldergeneral plans list only topics--notthemes.)

For this chapter, be sure to include the:

• Unifying Theme• Primary Theme(s) and possibly• Supporting Theme(s)• Sub-Theme(s).

INTERPRETIVE PERIOD(S)

The Interpretive Period sets the historicframework for interpretation within apark unit, directing and focusinginterpretive themes, facilities, andactivities to represent specific years. The Interpretive Period should beidentified in the park unit's general planor interpretive prospectus, if either hasbeen developed. There may be aprimary as well as several secondaryinterpretive periods for the park.

Below is an example from Shasta StateHistoric Park's General Plan:

Primary Interpretive Period: 1849-1895:

Shasta State Historic Park shallrepresent a flow of history that capturesthe essence of the Gold Rush and itseffect on the Shasta area. The primaryperiod, 1849 to 1895, encompasses thecommunity's swift rise, and growth as aneconomic and political base, to its long,slow decline. Significant years withinthe primary period of Shasta City will berepresented at different locations in thepark to demonstrate in threedimensions, the flow of history. Theseperiods include the following years:

1849-1850, representing theearly Gold Rush community as abooming village of tents and log cabins;


1852-1865, portraying ShastaCity at the height of its economic andpolitical strength, but beforemerchandising practices were affectedby the Civil War;

1878-1895, illustrating thecommunity through its decline, with itssurviving businesses.

Secondary Interpretive Period,Pre-history-1848:A secondary period

encompasses the long era prior to thediscovery of gold in northern California,allowing for the interpretation of theWintu during the pre-contact period anda discussion of the impact of earlytrappers and Anglo-American settlers onthe area.

Secondary Interpretive Period, 1895-Present: The twilight years of Shasta, its

rediscovery, and the efforts to restoreand preserve the historic community willbe encompassed in this secondaryinterpretive period.

Interpretive Period(s) should beidentified in the park unit's general planor interpretive prospectus. If either hasbeen developed, restate the InterpretivePeriod here. If not available, developthem only after considerable researchand thought. Include the:

Primary Interpretive Period(s) Secondary Interpretive Period(s)

OVERALL INTERPRETIVEDIRECTION

This section of your document is the"fork in the road" for interpretiveplanning. The overall interpretivedirection will have different implicationsfor planning, research, writing anddevelopment. Choose wisely, basedupon your audience and the goals andobjectives you have identified for theproject. Interpretation should provokethe interest of your park visitors andinvite their involvement in its resources. The final form of your Interpretive Planand/or Furnishing Plan will be unique,perhaps a blend of both, created toaddress the specific needs you haveidentified and the goals you wish toaccomplish.

Review the information you havegathered in the previous sections---Planning Strategies: EducationalConsiderations (pages 41-42) andSelecting Media (pages 43-45).

Explain how you plan to approach theproject in terms of the following: avisitor center, museum exhibits,travelling exhibits, interactive media(e.g., touch screen video), interpretivelandscape or trail, an audio-visualprogram (e.g., interpretive film, video),and/or a Furnishing Plan for: historicsetting or vignette exhibits, or anycombination thereof. (Be sure to followthe Guide for Preparing a FurnishingPlan for historic setting exhibits.) Whatis the expected duration of thecompleted project? Will it bepermanent? Temporary? Or, relocatedone or more times?


Useful References:

Radosevich, SteveGuide for Preparing a Furnishing

Plan: Furnishing and InterpretingHistoric Structure Museums. CaliforniaDepartment of Parks and Recreation.Sacramento, 1994.




VISITOR FLOW PLAN(S)

Create conceptual floor plan(s) and/orsite map(s) to scale, showing existingand proposed interpretive activities. Indicate uses of adjacent spaces on theplans. Refer to your notes in theprevious sections on Requirements andSpecial Concerns: Related Uses of theSpace/Facility (pages 25-26) andRevenue Generation and AlternativeUses (pages 27-28). Development ofthese areas may happen concurrentlywith research and design work for thisInterpretive Plan.

Visitors will self-pace themselves asthey move through the facilities andresources, but planners must considermechanisms to enable them to rest or toavoid park or "museum fatigue." Consider the placement of benches,shaded areas, etc. in your plan. Also,take steps to insure that every visitorhas access to and from the interpretivefacilities (including parking, sidewalks,trails, ramps, entrances, etc.); accesswithin the space; access to goods andservices offered (counters, shelving,exhibits, programs, merchandise);access to restroom facilities; and accessto any other privileges, advantages, oraccommodations provided by CaliforniaState Parks.

Refer to your notes from the previoussection on Requirements and SpecialConcerns: Barrier-Free Access or OtherAlternatives (pages 23-25).

When planning your project, do notforget to provide "way-finding"information about park activities that willbe available to visitors. They will want

to know what there is to see and how toget there. "Way-finding" mechanismsmay include directional signs (showingthe location of amenities, like restroomsand elevators), bulletin boards thatdisplay park information and programschedules, brochure holders, a parkmap, and a contact station staffed bypark personnel. A short, conceptualstatement about the facility---its overallthemes or ideas---can also be helpful inclarifying visitor' understanding andexpectations for the facility.

Safety and security should be of utmostimportance to you in planning theinterpretive project. Re-examine yourearlier notes from the Requirements andSpecial Concerns section (pages 31-32). Try to avoid, mitigate, or protectthe visitor and park resources from anysafety or security concerns.

Useful References:



Trapp, Suzanne, Michael Gross andRon Zimmerman

Signs, Trails, and WaysideExhibits: Connecting People and Places. UW-SP Foundation Press. StevensPoint, Wis., 1994.


INTERPRETIVE STATIONSAND MEDIA

Keep interpretation to the minimumnumber of stations needed to conveythe theme or concept. For eachproposed exhibit within a museum orvisitor center or other interpretiveproject, identify the following:

Theme or Sub-theme

The overall, unifying theme is the key. Keep your attention focused on thatidea. Interpretation at each station mustlink and support the main unifying themethrough the primary themes and sub-themes. (Do not confuse the theme orsub-theme with an exhibit title. Theycan be different.)

Interpretive Goal

Select a goal or goals for eachinterpretive station from the ones youhave developed earlier in thisInterpretive Plan outline.

Interpretive Objectives

Indicate the objectives for eachinterpretive station from ones you haveformulated previously in this InterpretivePlan outline. Through your interpretiveapproach, you can establish the kind ofrelationship you would like visitors tohave to the park's resources.

Storyline and Background Research

Information provided should explain,define, prove, support, or illustrate thetheme. The storyline can offer a setting,a cast of characters, chronology ofevents, anecdotes, descriptions,

comparisons, cause and effect, etc. Structure the amount of information tothe space available or to the interpretiveactivity. A tiered system of presentationtakes into consideration the varyingneeds and interests of the visitors. Consider your audience. Create aconceptual hierarchy that organizes theinformation into increasingly morecomplex levels of detail.

All statements of significant facts andquotations should be footnoted. Alldirect quotations from sources must beenclosed in quotation marks or indentedin paragraphs, each followed by thecitation. Example: (Hare, 1988: 15). References should be listed at the backof the Interpretive Plan.

Proposed Media

An interpretive bridge can be builtbetween the audience and yourinterpretive themes using media. Describe the media to be used in eachinterpretive station. Choose your mediawisely to get the most benefit from yourthematic ideas. Remember, the mediais not your message! Keep your mediaconcepts simple to highlight the maintheme. Refer to your notes from thesection on Selecting Media (pages 43-45). If an audio-visual program isproposed, images will need to be closelycoordinated with the script. Also,suggest the type of narrators or othervoices to be used in its production.


Refer to your notes from the section onInterpretive Objects (pages 15-17). Based upon the goals and objectives,the theme, and your knowledge about


available collections, make arecommendation (where appropriate) forinterpretive objects that should be used. Include object identification or catalognumbers or other distinguishingfeatures. Note any requirements for theobjects---extra support needed forheavy items, special environmentalconditions, security needs, particularviewing angles, etc. Also, include theoverall dimensions of the object(s).

Design Concepts

Before establishing a concept for theinterpretive station's design, review yournotes from Assessing the ExistingSituation: Park Visitors' Profiles (pages13-14) and Requirements and SpecialConcerns: Staffing Considerations (page30), to better understand your audienceand the staff resources that will beavailable to the project upon itscompletion. Involve your planning teamand designer(s) in brainstormingsessions to generate ideas and to weighoptions. Keep in mind the purpose ofthe project. The basic design approachshould satisfy the interpretive goals andobjectives for the project. Is it just forfun? Or, intended to teach specificconcepts? Leave the process open aslong as possible and try to select thebest design options, considering theaudience, staffing requirements, goalsand objectives, and themes.

Be aware of your audience and howdifferent styles of learning may affecteach individual's perception andunderstanding of the interpretation. Projects should be designed to reachnot only those targeted, but also the"streakers, strollers, and studiers" withinthat group (Klein: 17). Employ variety

and diversity in the design to stimulatevisitors and to capture their interest. Information should be selected to reachseveral different levels of interest amongyour audience. (Most people will spendno more than 35 to 45 seconds whenviewing a single display.) The successof your interpretive station will rest uponthe interplay of visual and verbalelements.

Involve the visitor! Interpretation shouldbe, as much as possible, a sensoryexperience.

I hear and I forget;I see and I remember;

I do and I understand. --- Chinese proverb

Respect your project's interpretivecontext whether it's a historic interior ora quiet natural scene. Designinterpretation to enhance the site'sambiance. Avoid detracting from it.

Consider these factors in your design:

▪ The nature of the audience.▪ Level of visitor interaction.▪ The Americans with DisabilitiesAct Standards.▪ Space requirements for visitormotion and comfort.▪ Durability.▪ Ease of upkeep.▪ Attractiveness to visitors.▪ Limiting text to maintain interest.▪ Elements that will tantalize orprovoke visitors.▪ Avoidance of "trendy" colors andtypestyles.▪ Flexibility for future changes.▪ Light levels and their effect onartifacts and the audience.


As you select images, artifacts, andequipment for the project, be sure toincorporate them in your list of supportmaterials. You may need to gaincopyright approvals for the use of someobjects. Allow sufficient time forprocurement or conservation activities.

Poor design may not be corrected easilyin subsequent production phases. Thesuccess of a design is always reliantupon good planning and organization. Design concepts must be approved (seepages 64-65) before design details canbe finalized.

Useful References:


forInterpreters, Docents and TourGuides. Ironwood Publishing. Scottsdale, Ariz., 1985.

Kennedy, JeffUser Friendly: Hands-On Exhibits

That Work. Association of ScienceTechnology Centers. 1990.





Witteborg, Lothar P.

Good Show! A Practical Guide forTemporary Exhibitions. 2nd ed.Smithsonian Institution TravelingExhibition Service. Washington, D.C.,1991.

Schematic Designs

Outline the sequence or flow of theproject in visual form. Developpreliminary designs, drawings, sketches,and diagrams. They should berendered in a general scale. (If theproject does not have its own designeras part of the planning team, it will beessential to employ one from theoutside, possibly under contract.) Asseveral variations may be possible,choose the "best" scheme based uponteam consensus and public or focusgroup feed-back.

Supplementary Interpretive Activities

Who is using your park? Someconsideration needs to be given to theorganized groups, especially schools,that will be interested in viewing thecompleted exhibits or facilities. (Reviewyour notes from Planning Strategies: Educational Considerations, pages 41-42.) While not essential to allInterpretive Plans, supplementaryactivities can dramatically enhanceaudiences' responses to interpretation. Support activities could be developed tooffer these groups a greater awareness,appreciation, understanding, and,possibly, skills.

Supplementary activities might include:


• pre-visit activities for school groups• teacher's guides and materials• post-visit activities for school groups• suggested reading lists• brochures• guidebooks• lectures• demonstrations• period participatory activities• puppet programs• workshops• discovery areas• living history programs

Think about them when planninginterpretive programs and facilities. Perhaps the focus of the facility or itsdesign should incorporate ideas orspaces that would be conducive tothem. There are many existingteacher's guides that can be consultedfor examples or suggestions ofappropriate activities. Also, contact yournearby County Office of Education orvisit school supplies stores. (If time isshort, supplementary activities may bedeveloped at a later date.)

Useful References:

California Women: Activities Guide,Kindergarten Through Grade Twelve.

California State Department ofParks and Recreation. Sacramento,1988.

Collecting Their Thoughts: UsingMuseums as Resources for StudentWriting.

Smithsonian Institution. Washington, D.C.

Smithsonian Resource Guide for

Teachers.Office of Elementary and

Secondary Education. Washington, D.C.




Environmental Education Activity Guide,Pre K - 8.

Project Learning Tree. Washington, D. C., 1993.

SPACE FOR OTHER ACTIVITIES

Refer to your previous notes from theRequirements and Special Concerns:Related Use of the Space/Facilitysection (pages 25-26). Explain how theallocation of space for other activitieswill impact/support the interpretiveproject.

SAFETY AND SECURITY

Safety is a necessity and a legalobligation in the preparation,development, and operation of yourfacility. Review your notes onRequirements and Special Concerns:Safety and Security (pages 31-32).

Double check your plans to insure that(where appropriate):

▪ Warning signs and protection areprovided where hazards cannot beavoided.▪ The facilities do not promote thedestruction of resources.▪ New facilities do not displace orimpact unnecessarily fragileenvironments or native species.▪ Trail or exhibit clearances provide

for the safe movement andaccommodation of all visitors.▪ Signs and exhibits areconstructed for security, but can also beeasily accessed for maintenance bystaff.▪ Fixtures and object supports arephysically safe for both objects andvisitors alike.▪ Objects are mounted in such away that they will not be physicallyaltered or damaged.▪ Methods used for display aregood conservation practices.▪ Objects are used in such amanner that it will not harm them, wearthem out, or cause environmentaldamage.▪ Where critical, objects are placedin a controlled environment (controlledhumidity, heat, and light) that limits theirdegradation.▪ Touchable objects▪---used inhands-on, discovery areas, aresupervised. (Working parts must beeasily replaced, if they wear out.)▪ Working exhibits can be operatedsafely and not pose a hazard for visitors.▪ The interpretive facility complieswith public health and safety regulationsand the Americans with Disabilities Act.▪ The Interpretive Plan implementsfire marshal recommendations andcomplies with the fire code.

▪Objects used in discovery areas requirethe completion of an "Authorization forExtended Hands-On Use" form.

Where problems or concerns have beenidentified, note them in this section.


PRELIMINARY COST ESTIMATES

Review your earlier thoughts regardingPlanning Strategies: Budget (pages 46-47). Good interpretive projects requireadequate resources. Each project hasits own needs. Be realistic about thetime, money, and other resources youhave to complete your project. A basicbudget for a project is required beforethe preliminary design stage can begin. The size of the budget will dictate thedirection and many of the choices opento a designer.

POTENTIAL PROJECT PHASING

Perhaps funding for the entire projectcannot be made available all at once. Ifdollars appear insufficient to completethe entire project, would phasing orprioritizing be appropriate? Qualityprojects always take time. Canadditional funding or "in kind" support beraised? Consider revising the project. Seasonal considerations (park visitation,weather, etc.) may also be a factor inlimiting development to a few months. Ifthe project is to be phased, indicate thepotential stages required to meet theseconcerns.

REFERENCES

List any references---books,manuscripts, oral interviews, collections,etc.---used to develop the InterpretivePlan at the back of the document. Youmay wish to apply the bibliographicformat at the end of this Workbook foryour citations.

______________________________________________________________________________APPROVAL PROCESS

SUPPORT MATERIALS FOR INTERPRETIVE PROJECTSThe following sections describe the kinds of ancillary materials that can be essential forfacilitating the design and production of interpretive projects. These critical elementscan be assembled simultaneously with the Interpretive Plan.

GRAPHICS INVENTORY AND ACQUISITION

Review the section, Requirements and Special Concerns: Graphics (pages 18-19) forinformation on where to obtain graphics. Photocopies of the images should be sufficientfor the Graphics Inventory. Once they have been identified, create an outline for theirorganization. It should be logical for the project being developed. You might also wantto consider a broader organizational pattern for the graphics, reflecting the widerinterpretive needs of the park. (Every graphics inventory will be different, depending onthe subject matter and the images.) There is no "right way" to organize them. Forexample, one scheme could group images of an historic community or a complex ofbuildings as follows:

A. Plats and MapsB. DrawingsC. Photographic OverviewsD. Street ViewsE. Block Fronts/Individual BuildingsF Commercial ActivitiesG. Social OccasionsH. GovernmentI. Festivals/Special EventsJ. Related ViewsK. PortraitsL. Group PhotographsM. Ephemera

Another strategy might be based upon the date of the graphics, for example:

A. Pre-1848 LandscapesB. Gold Rush Period LandscapesC. 1855-1900 Ranch and Farm LandscapesD. 20th Century ViewsE. People in the 19th CenturyF. People in the 20th Century

Graphics inventories based upon the material culture of a particular period could be


arranged as follows:

A. Historic Maps and DocumentsB. Views of CommunitiesC. Structures

1. Religious2. Military3. Residential4. Commercial5. Markets

D. Furniture and FurnishingsE. Tools and EquipmentF. Work ActivitiesG. Entertainment, Social ActivitiesH. Religious TraditionsI. TransportationJ. Clothing and Accessories

Use clear, three-hole-punched "Top-Loader" sleeves to hold the images. These aresealed on three sides and will help keep the graphics from "migrating" or dropping out ofthe sleeves. Behind each image place a separate sheet of paper listing the followinginformation:

• The project name.• A letter/number combination assigned for the purposes of this graphics inventory

(e.g. A-3, the letter designated the section and the number noted the image withinthe section).

• The subject or theme (from your outline).• A description of the image.• The origin of the image and that collection's catalog number.• Any secondary source for the image (book, pamphlet).• The artist or photographer's name.• Its copyright status.

Arrange them from the oldest to the most recent within each section of your outline andplace the clear sleeves in (preferably) "D-ring" binders.

Entering the reference information on a computer data base will allow you to managethe graphics in several ways that may prove helpful, as for example an index by date.

Planners and designers will use the graphics inventory to choose the final images forthe project. Make sure that funding will be available to purchase good qualityphotographic reproductions (glossy black and white prints, color transparencies, slides,etc.) after they have been identified for use in the project. Upon receipt of the images,


immediately label them as to their original source and catalog number (if that has notalready been done).

INTERPRETIVE OBJECTS ACQUISITION LIST

When preparing an Interpretive Plan or Furnishing Plan, it will be important to identifyany objects needed for the project. Review your notes from the section Requirementsand Special Concerns: Interpretive Objects (pages 15-17) and the section onInterpretive Stations and Media in the OUTLINE FOR WRITING AN INTERPRETIVEPLAN. Your acquisition list will be based upon previous analyses, the project's themes,storyline, design concepts, and the projected use of the objects.

Be sure to investigate:

▪ What is available from the park's own collections? ▪ What is its condition? ▪ Is it fit for display? ▪ Are there any restrictions? ▪ Will special preparation or restoration be needed?


Your list should include the following information for each interpretive object:

• The object's proposed location---exhibit, room, or site.• Reference number (generally assigned for an historic setting in a Furnishing Plan)• Object name.• Object identification number (if one is available).• Illustration of the object.• Description, including its traditional use, dimensions, and weight (if known and

important to the project).• Justification.• Environmental conditions required for its use.• Security needs.

Once objects have been acquired for the project, have them properly cataloged anddocumented with photographs and measurements.

A word of caution: In the process of acquisition, California State Parks assumesresponsibility for the preservation and protection of the object. If not used, that objectmay require a considerable commitment in resources---staff time, storage space,curation, security, and maintenance---and will provide little or no return to the public. For this reason, selectively acquire objects.

REPRODUCTIONS, MODERN EQUIVALENTS ACQUISITION LIST

Review the section on Requirements and Special Concerns: Interpretive Objects (pages15-17). A list similar to the Interpretive Objects Acquisition List will need to be preparedfor reproductions and modern equivalents. The acquisition list for reproductions andmodern equivalents should contain the following information:

• The object's proposed location---exhibit, room, or site.• Reference number (generally assigned for an historic setting in a Furnishing Plan)• Object name.• Object identification number (if one is available).• Illustration of the object.• Description, including its traditional use, dimensions, and weight (if known and

important to the project).• Justification.• Environmental conditions required for its use.

Once these objects have been acquired for the project, have them properly catalogedand documented with photographs and measurements.


MOUNTED SPECIMENS ACQUISITION LIST

When preparing an Interpretive Plan or Furnishing Plan, it will be important to identifyany mounted specimens that may be needed for the project. Review your notes fromthe section Requirements and Special Concerns: Interpretive Objects (pages 15-17)and the section on Interpretive Stations and Media in the OUTLINE FOR WRITING ANINTERPRETIVE PLAN. Your acquisition list should be based upon previous analyses,the project's themes, storyline, design concepts, and the projected use of thespecimens. Preparing and mounting natural history specimens for display is an art. Creating life-likeplant and animal displays will require skilled professionals. Follow federal and stateregulations with regard to handling rare and endangered species. Before consideringany plant or animal specimens in your project, consider the pest control requirementsthat may be necessary to maintain your exhibit(s).Some mounted specimens may need to be changed or rotated often to keep thedisplays life-like.

Select the taxidermist for your project with care. Good taxidermists will have extensivereference libraries and materials to inform them about biology, anatomy, and habitats. Ask for the names of their customers, check their references, and examine examples oftheir most recent work at showrooms and museums. When contracting for the work, beprepared to leave a deposit for the up front costs associated with preparing a specimenfor mounting.

Useful Reference:

Wild Harvest Exhibit: Manufacturing Methods of Exhibit Components.Royal British Columbia Museum. 1989.

SPECIAL EQUIPMENT LIST

Review the Interpretive Plan's Design Concepts which are detailed for each InterpretiveStation and the Proposed Media.

Consider:

▪ assistive listening devices▪ magnifiers▪ TDDs (telecommunications devices)▪ captioning for films


▪ audio tours▪ audio-visual equipment▪ tactile relief maps▪ talking maps▪ models▪ computer stations▪ mannequins▪ wireless, infrared equipment▪ other languages▪

Useful Reference:

Porter, Erika R.All Visitors Welcome: Accessibility in State Park Interpretive Programs and

Facilities. California State Parks. Sacramento, 1994.

PROPOSED TEXT OR TEXT OUTLINE

Interpretive text should do more than merely convey facts. It should be relevant, telling astory that engages the reader written in a style the average visitor can understand. When writing text, ask yourself frequently: "Why should the visitor read this?"

• Text should be thematic and organized, to capture and hold the reader's interest. • Your title should be a "grabber," relating clearly to the interpretive theme.• Subtitles present key theme-supporting ideas for those who may not take time to

read the text.• Ideally, blocks of text should stand on their own, because visitors may not read

them in the desired order.• Present the material in increasing complexity from concrete to abstract, basic to

complex.

• Text should be accurate, clear, concise, and lively. Choose you language carefully. Do not let the text date the project.

• Check your facts, and watch that your writing style doesn't allow the facts to bemisconstrued.

• Avoid technical jargon, clichés, and potentially offensive terms.• Consider using colorful, authoritative, and thought-provoking quotes.• Keep the text readable---use common words, simple sentences, and short

paragraphs.• Try to limit the text to two hundred words or less, although situations vary. Let

graphics help tell the story.


• Write in the active (not passive) voice, using strong, vivid verbs. Try to avoidqualifying terms (except, almost, etc.) that weaken your statements.

• Text should be critiqued and edited by competent reviewers. Anticipate rewriting thetext several times to enhance its clarity and readability. Allow plenty of time forreview, but establish a mutually agreed-upon time frame for its development.

• Have several people review and edit the material.• Use computer programs to check the text's grade level. Be certain that it

matches your target audience.• Determine in advance who should have the final authority for the text's approval.

• Pretest the text using mock-ups to check its effectiveness. Finished text should bepleasant to view.

• Select an attractive, appropriate typeface.• Avoid using all capital letters. For readability, finished text should utilize upper

and lower case lettering and be 24-30 point type for object labels and 48-60 pointtype for main text, depending upon the distance of the viewer to the text.

• Consider how type size, spacing, contrast, and relation to eye level affect thetext's readability.

• Eye-catching graphics will help draw visitors to the text.

Consider packaging the text with appropriate graphics to market to park visitors or to begiven out as part of a teacher's packet.

Useful References:

American Association of Museums/Metropolitan Museum of ArtStandards Manual for Signs and Labels. Washington, D.C., 1995

Ham, SamEnvironmental Interpretation: A Practical Guide for People with Big Ideas and

Small Budgets. North American Press. Golden, Colo. 1992.


Hare, RobertCommunities of Change: An Interpretive Survey of California Natural

Communities Found in Selected California State Parks. California Department of Parksand Recreation. Sacramento, May 29, 1992.

Serrell, BeverlyExhibit Labels: An Interpretive Approach. AltaMira Press. Walnut Creek, Calif.,

1996.

Trapp, Suzanne, Michael Gross and Ron ZimmermanSigns, Trails, and Wayside Exhibits: Connecting People and Places. UW-SP

Foundation Press. Stevens Point, Wis., 1994.

Witteborg, Lothar P.Good Show! A Practical Guide for Temporary Exhibitions. 2nd ed. Smithsonian

Institution Travelling Exhibition Service. Washington, D.C., 1991.


COMMENT AND APPROVAL PROCESS

REVIEW OF IMPACTS ANDMODIFICATIONS

Determine if the proposed project iswithin or exceeds the carrying capacityfor the building or site. Examine yournotes from Requirements and SpecialConcerns: Modifications to the Buildingor Setting (page 29). Be sure that theproject is properly reviewed within thedepartment and/or by the State HistoricPreservation Office. The method ofreview will vary from project to project.

INTERPRETIVE PLAN REVIEW

Planning Team Review

During the planning stages of theproject, evaluation can save time andmoney and perhaps produce a betterproduct. Consider the interpretive planyou have just created only as a draft. Your entire project team must be giventhe opportunity to review the plan. Expect to make changes and beprepared to accept constructivecriticism. Group consensus willstrengthen the support for the final planand its implementation.

Who will have the final authority forapproval or rejection of the InterpretivePlan at each identified phase ofdevelopment? Establish time frames forthe review period. Design conceptsmust be approved before project designdetails can be finalized.

Be sure to allow adequate time in yourschedule for a proper review.

Check your project. Does it:

▪ Meet the interpretive goals andobjectives?▪ Attract visitors?▪ Provide good access?▪ Satisfy visitor expectations?▪ Address the interpretive themes?▪ Minimize impacts on the park's resources?

Peer Review

Solicit comments. It will be important forthe interpretive planning team to seekpeer review of the proposed project,both during its preliminary and its finalstages of design. Evaluation should bebuilt into the planning process. Reviewthe list of individuals and groups youhave identified for involvement with theproject (see page 7) and discuss theproject with them.

Request time from one of theDepartment's Service Centers and theInterpretation Section of Park ServicesDivision. Also, consult staff at otherparks with similar resources or withprojects comparable to the one beingproposed.

Do more than send the InterpretivePlan. Arrange an informal meeting todiscuss the project. Listen to theircomments. Different viewpoints will be


helpful in assessing the overall projectand eliminating potential problems.

Public Comment

Review your notes from the sectionsPlanning Strategies: Public Involvement(pages 45-46) and Requirements andSpecial Concerns: Culturally SensitiveSubjects (pages 20-22). Try using arange of methods for reaching thecommunity whose opinion is ofimportance to your project. In someinstances, keep meetings informal innature. Uniformed staff may inhibit or"put-off" people attending, disincliningthem to contribute comments.

Models, mock-ups, or prototypes canoffer early visitor feedback to test theeffectiveness of the presentation. Forexample, a full-scale mock-up of the textmay point to a problem with its size orlocation. Time and money can be savedby problem-solving at this point beforeactual development begins.

CHANGES TO THE PROJECT

Modifications should be made at variouspoints, when they are the leastexpensive to be made.

DEPARTMENT REVIEW ANDAPPROVAL

Critical questions need to be answered:Can we afford this? Will staffing besufficient? Key reviewers, generally thedistrict superintendent, should be askedto confirm all agreements and decisions

in writing as soon as possible followingthe review.

______________________________________________________________________________FOLLOW THROUGH

FOLLOW THROUGH

WORKING DRAWINGS, MATERIALSLIST, SPECIFICATIONS, FINISHED

TEXT

The final design concept is detailed inworking drawings (plans and elevationsdrawn to scale) and specifications,indicating materials and manufacturingtechniques. Specifications outline howparticular aspects of the project'sdevelopment will be carried out andindicates key points at which the projectwill be checked.

Samples of materials should befurnished, if there will be questionsabout their manufacture or nature. Consider the suitability of materials forthe project (plywood or lumber, glass orPlexiglas, sealants, paints, etc.), as wellas its ventilation, security, accessibility,and maintenance. Whenever possibleuse environmentally safe products andprocesses.

Be particularly cautious in the handlingof museum objects. Materials andmethods should be compatible withrecommended conservation practices. Ensure that the environment specified---heat, humidity, and security---isappropriate for the materials beingdisplayed. Consider the light sourceand the radiation spectrum it produces,along with its intensity and heat. Beaware that low light levels may alsoaffect an area's accessibility.

Complete the text and have it reviewedby all parties concerned, before it becomes part of the project's

specifications.

Once final decisions have been made,the details approved, and the contract(s)signed, no major alterations should bemade to the project. Changed afterdevelopment begins can be very costly.

Useful Reference:

Witteborg, Lothar P.Good Show! A Practical Guide for

Temporary Exhibitions. 2nd ed.Smithsonian Institution TravellingExhibition Service. Washington, D.C.,1991.

SEARCH, ACQUISITION, ANDPREPARATION TIME

In addition to the cost of the objects,time and wages need to be factored intothe process of readying a project. Consider the necessary time requiredfor finding artifacts and other objects,their acquisition, cataloging, preparation,possible conservation and installation. Permission may be required toreproduce photographs or objects. Allow sufficient time for this task. Often desired items may not beavailable or are too expensive. Sometimes compromises must bemade.

ESTIMATING PLAN COSTS

______________________________________________________________________________FOLLOW THROUGH

Reviewing and adjusting the budget forthe Interpretive Plan may be necessaryat several intervals. As the designadvances, actual costs can becompared against the budget and it canbe adjusted accordingly.

REVISING THE PLAN

The project may need to be phasedbased upon the actual costs of itsdevelopment. Refer to the section onProject Phasing (page 57-58) and makerecommendations accordingly in thecontract. If parts of the project can beproduced for less than its estimate,perhaps more of the project can bedeveloped.

CONTRACTING

Finding the Right Contractor

Although the State Contract Register isusually mandatory for advertising thework, it is often the least effectivemethod for finding a contractor for yourinterpretive project. Visit othermuseums and look for the level ofcraftsmanship that you would like tohave at your interpretive facility. Findout who did the

work and contact the contractor(s) tosee if they have an interest in yourproject.

Other sources to look for potentialcontractors include:

▪ The Official Museum Products

and Services Directory▪ The Exhibit Builder Source BookDirectory▪ The National Association forInterpretation Membership Directory---"Green Pages"▪ The Yellow Pages for local andregional telephone companies▪ California State Park's NorthernService Center's list of contractors▪ Advertisements in local areanewspapers▪ Other park units or districts whichhave had good experiences withcontractors

Insure that the contractor is qualified todevelop your project. In the Instructionsto Bidders Section of your contract, bespecific about what you will beexamining regarding references and besure to:

▪ Check (all aspects of) at least 3jobs within the past 3 years. Bespecific. They must be similar to thework called for in your contract.▪ Carefully examine samples of thecontractors' prior work, photographs,and publications.▪ Check any sub-contractors whoare being proposed to do the work.▪ Ask if there are any judgementspending against the company or sub-contractors.▪ Follow up on references,licenses, performance bonds.When many contractors respond to yourinitial proposal and your project is largeand complex, "weed out" or narrow thefield of respondents by summarizing theproject in more detail and sending it tothem (before transmitting the finalspecifications for the contract). Thosetruly not interested or qualified may drop

______________________________________________________________________________FOLLOW THROUGH

out.

Contract Language

Prior to signed a contract, clearlyestablish everyone's roles andresponsibilities. Furnish information onmaterials, methods, fabricationtechniques, etc.

Include in the contract language (unlessotherwise specified):

▪ All new materials▪ UL approved electrical▪ Meets all existing codes▪ Safety precautions/requirements for all site work▪ Safe operation of equipment▪ Responsibility for damage to building▪ Insurance▪ Performance Bond▪ Progress reviews▪▪ All guarantees and warranties on:

WorkmanshipMaterialsEquipment

▪ Clear statement of ownership ofintellectual properties developed for theproject.▪ Extend courtesy andconsideration toward staff and visitors

▪ Include in writing, agreed upontime frames for the submittal of eachstage of work and who has approvalauthority. Progress payments could bebased upon these critical dates.

Walk-Throughs

If you are working with an historicbuilding or even a new one, it is a goodidea to arrange a walk-through for theproject. The time and place for thewalk-through should be indicated in theproject package you send out tointerested contractors. It can be mademandatory, but that is not always a goodidea. Contractors who have been in thebusiness for a while know what to lookfor. Let them be responsible for anymeasurements. Adequate time shouldbe allowed after the walk-through forcontractors to adjust their bids basedupon what they have seen.

The onsite visit may give you theopportunity to discover problems youmight not ordinarily have seen. Takegood notes. What you have learnedshould be shared with all of the bidders,even if they did not attend the walk-through. You may be writing anaddendum to the contract based uponwhat you have learned. Things youmight have overlooked when writingyour package, or that need to be seenby a contractor to fully understand mayinclude:

▪ Grades▪ Soil types▪ Door sizes for access at the timeof delivery or installation.▪ Low beams, chandeliers, pipes, wainscoting.▪ Uneven floors, walls out-of- plumb, sagging ceilings.▪ Electric service, outlet placement.▪ Ambient light, lighting.▪ Support for fastening exhibits.▪ Building materials and their condition.▪ Available work space.

______________________________________________________________________________FOLLOW THROUGH

▪ Materials handling and storage space.

Contract Management

Once the contract is awarded, designateone person to be the "official" contactperson/contract manager in anycommunications with the contractor. Others may be included in the review (insome cases this may be mandatory,such as an engineer's evaluation), butany responses should come from thecontract manager in writing.

Contractors can often suggest ways todo things more cheaply. Agree ordisagree in writing. Do not leave thedecision up to the contractor. Aftertelephone conversations and any oraldiscussions keep written notes---do notprocrastinate! If you hesitate a day ortwo to respond, work may progress to apoint where it could be very costly toreverse. Small changes, approved ornot, may be misconstrued later, if notagreed upon in writing.

Monitor the contract. Poor qualityproduction reflects badly upon thedesign---no matter how good the designmay be at the project's outset. Changesrequested after fabrication begins canbe quite costly. However, some minordesign adjustments may save moneyand may improve the final project for thebetter.

Useful References:"Accounting Workshop: ContractAdministration."

Contract Services Unit, SupportServices Section, AdministrativeServices, California State Parks. December 13, 1995.

Department Administrative Manual.California State Parks.

The Exhibit Builder Source BookDirectory.

Published yearlyJanuary/February.

Levine, Melissa Smith"Selecting and Contracting for

Exhibition Services," Exhibitionist, Part1--Winter, 1994, Part 2--Fall, 1994.

The National Association forInterpretation Membership Directory.

National Association forInterpretation. Fort Collins, Colo.,published annually.



Thompson-Klein, Mark"Landing the Right Fabricator,"

Exhibitionist, Winter, 1994.

Thompson-Klein, Mark"Some truths about Fabricating

Quality Exhibitions," Exhibitionist, Fall,1994.

______________________________________________________________________________FOLLOW THROUGH

INSTALLATION AND FOLLOW UP

Installation is the culmination ofplanning, design, development, andproduction. Work may involve the finalphase of placing trail panels, adjustingand arranging objects, producingphotographs and audio-visual programs,testing lights, temperature and humiditycontrols, and seeing to any last minutedetails and adjustments.

The scheduling of installation workshould consider staff availability, thespeed and efficiency of constructionwork, off-peak days for park attendance,and access to the project site.

Once the project is nearly complete,arrange a final walk-through with thecontractor. Check everything receivedvery carefully. Develop a "punch List"for items that need to be finished.

Collect from the contractor:

▪ Keys to anything---doors, cases,equipment, doors▪ Any resources you have loaned-- -books, digital files▪ Warrantees, guarantees, repair manuals▪ Touch up paint▪ specifications---color chips, brand names▪ "As built" drawings▪ Copyright permission letters or forms for use of graphics, text, and music▪ Clear film positives, negatives

You may require the contractor toprovide training for park staff regardingcare, maintenance, operation, and

interpretation. Finally, track the invoiceto insure that the contractor has beenproperly paid.

Photograph the project for the record. Note elements that did or did not workfor future modifications.

MARKETING AND PROMOTION

Merchandise and publications thatsupport and promote your project shouldbe planned concurrently with itsdevelopment. Examples of these mightinclude teacher's guides, brochures,guidebooks, exhibition catalogs, posters,maps, reproduction objects, etc.

Marketing should be proactive, notreactive. Catching and holding thepublic's interest can be difficult. Promotion is persuasive communicationdirected toward a target audience. Ithighlights elements that will increase theodds for motivating people to visit yourpark or your facility.

Knowing your audience is key. Reviewyour notes from the section Assessingthe Existing Situation: Park Visitors'Profiles (pages 13-14). Beforedeveloping a marketing plan, establishobjectives and be guided by theinterests of your target audience.

Consider presenting a number ofactivities to market the interpretiveproject upon its completion, such as aninvitational reception, guided tours,lectures, workshops, demonstrations,school group presentations, and filmand slide programs. Recognizepromotional opportunities and tie-ins.

______________________________________________________________________________FOLLOW THROUGH

Involving television, radio, andnewspaper media in promotionalactivities creates greater visibility for theproject's potential audience.

Allow sufficient time to recruit staff/docents and to conduct special trainingprior to the project's formal opening.

Useful References:

Burnett, John J.Promotion Management.

Houghton Mifflin Company. Boston,1993.

Catherwood, Dwight W. and Richard L.Van Kirk

The Complete Guide to SpecialEvent Management. John Wiley &Sons. New York, 1992.

MAINTENANCE/REPLACEMENTSCHEDULES

It is essential to develop maintenanceand housekeeping plans for any newinterpretive facility at its outset. Parkstaff should be involved in creating amaintenance manual and/or schedulefor insuring that everything is properlycared for. Schedules should includereplacing light bulbs, lamps, andequipment; servicing equipment; andupdating interpretive information.

A contingency fund should also beestablished for repairs and alterations tothe project. Take photographs of thenewly completed project to offer a pointof comparison for maintenance and as arecord of the project in case of a natural

disaster, theft, or vandalism.

______________________________________________________________________________EVALUATING/MEASURING SUCCESS

EVALUATING/MEASURINGSUCCESS

DID YOU MEET THE PROJECTGOALS AND OBJECTIVES?

How will the interpretation be evaluated? Success is often measured byattendance or gate receipts. Countingvisitors is one measure of success;however, it does not measureeffectiveness. Evaluation provides anobjective measurement of specificgoals. Only through evaluation can wetruly know if our goals have beenrealized and if the project is a success. Decisions about changing any projectshould be based upon evaluation. Thisevaluation can occur in the planning andthe production stages, as well as afterthe project has been completed.

John Veverka (Veverka: 82) hasidentified six main elements in theevaluation process:

1. Identify the objectives that you want to evaluate.2. Select the most appropriate evaluation technique or tool.3. Apply the technique and obtain results. A time table on when and how you are going to do the evaluation(s) can be a helpful tool.4. Compare actual results to the results desired from the objective(s).5. Do an analysis of the results (Did you accomplish your objectives? Why or why not?).

6. Make recommendations forimprovement.

To solicit visitor feedback, consider thefollowing:

▪ comment forms▪ survey cards▪ comment book/visitor register▪ interviews▪ letters▪ personal contacts▪ suggestion boxes▪ visitor surveys▪

Useful References:

Lewis, WilliamInterpreting for Park Visitors.

Eastern National Park and MonumentAssociation. Philadelphia, 1980.

Medlin, Nancy C., Gary E. Machlis andJean E. McKendry

Self-Critique: A Tool forEvaluating Interpretive Services. National Park Service and University ofIdaho.



______________________________________________________________________________EVALUATING/MEASURING SUCCESS

CHANGES TO THE PROJECT

Opening the interpretive project to parkvisitors should not be the end of it. Through the evaluation process, youcan find out what has worked for visitorsand what has not. Try the visitorfeedback methods listed on the previouspage. Use this information to improveyour project. This will be an ongoingcyclical process. Your efforts will begreatly appreciated by a public eager tolearn about their California State Parkresources.

______________________________________________________________________________APPENDIX

APPENDIX

INTERPRETIVE GLOSSARY

SELECTED RESEARCH INSTITUTIONS IN CALIFORNIA

HISTORY OF INTERPRETIVE PLANNING IN CALIFORNIA STATE PARKS

BIBLIOGRAPHY FOR INTERPRETIVE PLANNING

_____________________________________________________________________________APPENDIX: Selected Research Institutions in California

INTERPRETIVE GLOSSARY

Amphitheaters and Campfire Centers

An amphitheater or campfire center canbe a very effective interpretive facility. Itprovides space for day or evening talks,workshops, demonstrations, audio-visual programs, dramatic productions,puppet shows, Junior Ranger programs,and special events. These facilities andthe routes to them need to be physicallyaccessible to visitors using wheelchairsand other assistive mobility devices. Atcampfire centers and amphitheaters, theprograms themselves need to beaccessible to all visitors, including thosewho may have hearing, learning,mental, or mobility impairments.

Apprentice Historian Programs

Apprentice Historian Programs promotethe understanding and appreciation ofhistory and culture among children andyoung people. Under direction,"apprentice historians" utilize sites,buildings, structures, objects, books,and archival materials to learn moreabout identifying, evaluating, andprotecting historic resources. Activitiesteach some of the basic principles ofresearch, including skills and techniquesfor site examination, interviews, groupdiscussion, written tasks, etc. Thepurpose of the program is to foster agreater awareness of the diversecharacter of California's heritage whichwill in turn encourage its protection andpreservation.

Audio-visual Programs

Audio-visual programs include movies,slide programs, video programs (bothinteractive and passive), and audiomessages. Audio-visual programs arewell-suited for telling sequential storiesand providing overviews of parkresources.

Audio-visual media can transport visitorsthrough time and space to experiencesignificant historic events or dramaticnatural processes. Soundtracks,movement, color, and special effectsmake audio-visual media especiallyeffective at suggesting reality andevoking an audience's emotionalresponse. These media can beportable, provide consistent informationto large numbers of visitors, and can bebroadcast. They also may interpretinaccessible resources. Videos may beproduced for purchase and viewed laterby visitors. The high production andmaintenance costs may limit the use ofsome forms of audio-visual media.

Campfire Activities

Campfire activities evoke the romanceand nostalgia of the Old West and thedistant past. They are a time forcampers and staff to share songs,stories, jokes, and perform silly skits. The comfortable, relaxed, and informalnature of campfire activities allow manyvisitors to be especially receptive toenvironmental concepts concerning theprotection of park resources and theworld in general. Campfire activities arefun, as well as educational.

Cooperating Associations

Cooperating associations are public


benefit, nonprofit corporations undercontract to California State Parks. Theyare formed to support and further theDepartment's interpretive andeducational services to park visitors. The associations accomplish this bysponsoring, publishing, purchasing,distributing, or selling items whichincrease visitor understanding andappreciation of State Park Systemvalues and purposes. They may alsoreceive funds from donations,membership dues, admissions to specialevents, and other park-related activities.

Demonstrations

Interpreters can effectively show visitorsmodern recreational skills. They canalso present how traditional activitiesand crafts were produced in the pastthrough live demonstrations. Theseactivities not only help visitors step backinto another time, but also bring themcloser to other traditions and cultures. Historic techniques should be presentedas accurately as possible for a specificinterpretive period. Demonstratorsshould be well-versed in their crafts andwelcome visitors' inquiries. Safety atdemonstrations must be carefullymonitored. Possible demonstrationsmight include the following:

animal husbandryarcheologyassayingbasket makingbeer brewingblacksmithingbread making and bakingCalifornia Indian skills and craftscandle and soap makingcarpentrycarving

cooper workdancingequipment restorationfarrier workflint knappingfly tyingfire starting without matchesfishingfood preparationfoundry workfreight packingfurniture makinggambling gamesharnessing horses or oxenharvestinghorticultural practiceshistoric sign paintingleather workingmilitary drillsmillinerymining and mining equipmentnavigational instrumentspainting landscapesperiod construction techniquesperiod music and instrumentsperiod photographysaddle and harness manufacturingsewing and embroideryshoe- and bootmakingsign paintingspinningspring cleaningsteam enginesstone sculptingstorytellingtransmitting telegraph messagestimber cuttingtinsmithingtoy makingtypesetting and printingwagonwright workwater-powered equipmentweaving

Docents


Every park volunteer is an importantrepresentative of the California StatePark System and central to the accuratedissemination of information andinterpretation. Docents are a specialgroup of highly trained volunteers whointerpret the cultural, natural andrecreational resources of State Parks tovisitors. Each has had formalizedtraining in a park's history, naturalhistory, park purpose, themes, policies,procedures, facilities, and good publiccommunication skills. With their ownindividual approaches, they provide aninformed, scholarly foundation tointerpretive programs. Although trainingand supervising a volunteer programrequires time and money, the rewardsare many for the park and its docentsalike.

Dramatic Presentations

A dramatic presentation on a formalstage or platform can be an effectivemedium for conveying historicinformation. The presentation can beone person playing the role of a historicpersonality who tells stories andconverses with the audience. Or, it maybe a multi-person stage presentation,re-creating a historic incident. Thefacilities and the routes to the stagingareas need to be physically accessibleto visitors using wheelchairs and otherassistive mobility devices. Theprograms themselves also should beaccessible to all visitors, including thosewith hearing, learning, mental, ormobility impairments.

Environmental Living andEnvironmental Studies Programs

Many State Park unit staffs work closelywith local school systems to developprograms that utilize State Parkresources. Environmental livingprograms (ELPs) offer childrenovernight park experiences that explorethe interaction between people and theirenvironment. Immersed for a brief timein the lifestyles and technologies of thepast, students learn firsthand from theirexperiences and use this information tounderstand elements of the culture orera they have studied. Environmentalstudies programs (ESPs) have goalssimilar to environmental living programs,but are organized without the overnightstay. ESPs are, however, structured toprovide equally informative experiencesin the allotted time. Both programs focus on the unit'sinterpretive themes. In addition,planners for both programs coordinatewith teachers to incorporate conceptstaught in the classroom. Both involvedemonstrations and hands-on activities,and follow-up student assignments. Aswith living history programs, interpretersin period attire add a heightened senseof historic realism to these programs. ELP and ESP planners should inquire inadvance of their programs aboutindividual student needs that should beaddressed that may affect how theprogram is presented, the overnightstay, or an emergency situation.

Exhibit Vans or Trailers

Vans and trailers can be adapted tofunction as mobile interpretive centers totake to schools, shopping centers, andto special events. Mobile exhibits mayfocus attention on particular aspects ofthe park or on specific themes. They can become part of a park's outreach


program for special populations, who forvarious reasons may not be able tocome to the park. They may also bedeveloped to entice more visitors to thepark. Mobile exhibits can be useful indistricts where several relatively smallunits, having similar resources, do notjustify the development of a large,permanent interpretive center.

Feasibility StudyA feasibility study outlines thepossibilities, limitations, and constraintsfor producing an interpretive project. The project's feasibility will depend uponthe budget, timetable, location, concept,and the availability of resources, suchas collections.

Formal ExhibitsFormal exhibits are interpretive media inwhich historical or natural history objectsor ideas are displayed apart from theiroriginal contexts. Exhibits impartmessages relative to certain themes. Formal exhibits are versatile and canutilize many media: encased objects,natural history dioramas, models,murals, historic setting vignettes, three-dimensional maps, text and graphicspanels, video monitors, and audiotracks, to name a few.

Objects are usually shown in thecontrolled environments of aninterpretive center or museum. Objectsthat characterize or portray a parktheme can arouse interest, conveycomplex ideas, and transcend barriersof culture and language. Historicallysignificant objects bring authenticity and"presence" to the interpretation of ahistoric site.

Formal exhibits also can be interpretivepanels (without objects) illustrating anevent, activity, site, or people. Theymay be located in a natural setting, suchas outdoor trailside panels. Outdoorexhibits offer flexibility and conveniencefor visitors who may not have the time totake a guided natural history walk or tosee a living history Program.

Formal exhibits should be madeaccessible to all visitors, including thosewith hearing, learning, mental, ormobility impairments.

Guided Walks and Tours

Walks, tours, and car caravans bringtogether skilled interpreter(s), attentivevisitors, and interesting resources. Guided tour programs orient andinterpret natural features andphenomena, landscapes and plants,towns and architecture, people of thearea, historic trades and activities, etc. Personal interaction with a liveinterpreter are often the most rewardingand memorable part of a park visit. Tours should interpret specificresources, but be flexible enough tomeet unexpected interpretiveopportunities; a variety of visitorinterests, levels of education, learningcapabilities and disabilities; differentgroup sizes; and time restrictions.

Hands-On Exhibits and DiscoveryAreas

Hands-on exhibits and discovery areasoffer visitors an opportunity to handle,examine, or otherwise explore objectsrelated to the park's resources andthemes. Exhibits can be composed ofhands-on natural or cultural objects,


models, discovery boxes, photographicenlargements, interactive games, flip-books, interactive videos and computerprograms, environmental monitors(weather, tides, earthquakes, etc.),microscopes, and live animals andplants.

These types of exhibits have particularappeal to children, who enjoy playacting,experimentation, and touch. These arethe kinds of interpretive programs thatsatisfy Freeman Tilden's "fundamentallydifferent approach" for addressingchildren's needs. Staffing requirementsand maintenance costs can be high fordiscovery areas.

Historic Landscaping

Historic landscaping provides preserved,reconstructed, and restored valuablethree-dimensional contexts forinterpreting the lifestyle, technology,economy, society, and personalities of aparticular historic period. Historiclandscaping may include plant materials,wild and unkempt areas, groomedornamental and vegetable gardens,walkways, sheds, corrals, fences,outbuildings, and domesticated animals. They provide settings for interactiveinterpretive programs and arethemselves interpretive as outdoorexhibits. Historic landscapes require asmuch research and planning as thebuildings they often surround.

Historic Reproductions

Reproductions are objects specificallycreated to duplicate historic objects. Two classes of historic reproductionsexist. "Custom historic reproductions"are objects carefully replicated, based

upon research pertaining directly to aspecific site. "Mass-produced historicalreproductions" are copies of period-styleobjects manufactured for general retaildistribution.

Historic Setting Museums andVignettes

Historic setting museums (also calledhouse museums) are of two basic types: formal and adaptive. Formal historicsetting museums are static---visitorsview the exhibits from behind barriers. Usually the objects in these exhibits areoriginal to the site or are artifacts of thesame period. Historic setting vignettesare displays developed to re-createparts of rooms or historic areas--often inconjunction with formal exhibits.

In an adaptive historic setting museum,visitors may be encouraged to movethrough the space. In addition, objectsmay be touched. Adaptive historicsetting museums are typically used byliving history re-enactors ordemonstrators to portray a site, anevent, or an activity. The furnishings inan adaptive house museum are replicasor reproductions, expected to wear outthrough use and eventually to bereplaced. The disadvantages forhistoric setting museums include findingappropriate original or reproductionobjects for use in displays (an oftendifficult and time-consuming task),providing high quality maintenance(often costly), and meeting the need forincreased security (also expensive).


Historic Structures

Historic structures are original,preserved, restored, or reconstructededifices of a particular period. They areused variously for historic settingmuseums (house museums), visitorcenters, museums, interpretive centers,concessions, park offices, and storage. Historic structures may have suchfeatures as narrow hallways and entries,steep or monumental stairways andsteps, a second story with no elevatoraccess, and heavy doors. Theseelements can pose difficulties for peoplewith disabilities, actually formingphysical barriers that may make somestructures unavailable to them. If it isnot possible to make the historicstructure and its interpretive programsphysically accessible, especially ifalterations would threaten or destroy astructure's significance, the Americanswith Disabilities Act requires thatalternative measures be undertaken,such as providing audio-visual materialsand devices to interpret inaccessibleareas.

Indoor Audio-visual Facilities

An audio-visual facility provides acomfortable, preferably darkened, spacefor presenting movies, slide, video, andmulti-media programs. Theaters can bedesigned as multi-purpose facilities forlectures and special events.

Disadvantages may include therelatively high cost to build and equipthese facilities and the need for trainedstaff to operate and maintain audio-visual equipment. New facilities shouldalso meet the Americans withDisabilities Act standards.

Information and Interpretive SalesCounters

Visitor centers and most interpretivecenters include an information/salescounter. Interpretive books, pamphlets,videos, reproductions, and interpretiveobjects help reinforce and expandvisitors' learning experiences and serveas tangible reminders of their park visit. To avoid confusion with a unit's historicresources, no antiques, old collectibles,or archeological specimens should besold within a park either through theDepartment, a concession, or throughaffiliated cooperating associations.

As with other park interpretive facilities,steps should be taken to provide visitorswith ready access to sales counters. Adjustments may need to be made tomerchandise displays, counter heights,and signage to insure compliance withthe Americans with Disabilities Act.

Interpretation

Interpretation may relate newinformation, stimulate the senses,challenge the imagination, or incite newperspectives. Interpretation enhancesthe public's understanding andenjoyment of natural, cultural, andrecreational resources by encouragingappreciation of their values.

Interpretation is founded on the premisethat knowledge deepens the parkexperience, providing lasting benefitsnot only to individuals, but also tosociety in general. Interpretationenables park visitors to betterunderstand their relationship to theenvironment and helps to promote the


preservation and sustainable use ofresources within and beyond a park'sboundaries.

Information Centers, Visitor ContactCounters, Kiosks

Information centers, visitor contactcounters, and kiosks are staffed facilitiesessentially developed to provideinformation. Often they are the first stopin the park for visitors. Park admission,maps and brochures are generallyobtained there. Some also contain afew interpretive exhibits, a telephone,and limited sales. Visitor contactcounters are often located within largepark visitor centers and museums.

Interpretive Concessions

Interpretive concessions are privatebusiness establishments that, inpartnership with the State, enhance thepublic's understanding of commercialventures and other activities that tookplace on a site during a specific era.They an important role in parks byproviding needed services to visitorsand by helping to ensure the creation a"living" historic environment. They caninvite visitor involvement, as well asoffer lasting mementos of a parkexperience. Commercial uses of buildings and sitesshould be compatible with a park'sinterpretive themes and period(s). Concessionaires must have and bewilling to demonstrate the specialknowledge, experience, and skillsappropriate to the interpretive needs ofa park. In the best cases, the primarysources of revenue for a concessioncome from products or services whichare themselves interpretive or

representative of the unit's resources.


Interpretive collections are comprised ofobjects that contribute to the sense ofplace. These may include items that areoriginal to a site, period objects ormodern reproductions, or objects thatotherwise support various interpretivethemes.

Interpretive Plans

An interpretive plan defines aninterpretive project for development,taking its direction from the interpretiveelement within a general plan. Depending upon the nature of theproject, professionals are assembled towork together as a planning team toprepare the written document. Thescope of the interpretive planencompasses these factors: analysesof existing conditions; the anticipatedaudience; areas of special concern--culturally sensitive subjects,accessibility, staffing, safety andsecurity, etc.; relevant resources--collections, graphics, landscapefeatures, historic structures, etc.; theestablishment of goals and objectives;and the expansion of interpretivethemes and periods. The plan makesspecific recommendations for eachproposed interpretive component,including the storyline, media, designconcepts, interpretive objects, andschematic designs.

Interpretive Prospectuses

An interpretive prospectus eitherprecedes or follows the development ofa general plan's interpretive element.


Like the interpretive element, it not onlyexamines environmental influences andvisitor expectations, but also defines thepark's interpretive themes, periods,facilities, and media. In addition, itproposes interpretive activities andcollections management policies, andmakes recommendations with regard tointerpretive concessions, cooperatingassociations, and interpretive priorities. Unlike the interpretive element in ageneral plan, the prospectus is "free-standing." It offers more analyses of thepark's interpretive resources, includingphysical and biological features, andrecreational activities, and provides ahistorical narrative, in addition to makingsuggestions for needed research andfuture acquisitions.

Junior Lifeguard Programs

A Junior Lifeguard Program is aneducational program designed to teachyoung park visitors, ages 9 to 16 yearsof age, about lifeguarding skills and theshoreline environment. Structuredprograms are offered at state beacheson the ocean environment--marine life,tides, currents, waves, beach hazards,beach manners, and aquatic safety. Activities include games, competitions,swimming, body boarding, surfing, skindiving, and exercise. Other JuniorLifeguard Programs are made availableat state reservoirs and focus on inlandwater environments, swimming, andsafety. Participants must pass a test toqualify for the program and have parentor guardian permission to take part.

Junior Ranger Programs

The Junior Ranger Program is astatewide educational program designed

for children ages 7 to 12 years. Participants can join the program at oneunit and take part in other Junior Rangeractivities as they visit different units ofthe State Park System. The programemphasizes stewardship of parkresources and connects park resourceissues to global concerns. Childrenparticipate in a series of interpretiveactivities on the topics of geology;Native Californians; history; plant andanimal life; energy; water; weather andclimate; ecology; safety; survival andcrime prevention; and park careers. Participation in the program enableschildren to earn buttons, badges, andcertificates, while learning more aboutthe world around them.

Live Interpretive Activities

Live interpretation, or personal servicesactivities, provide direct interactionbetween a ranger, docent, or other staffand the park visitor. Ranger- or docent-led activities can include walks, tours,talks, demonstrations, campfireprograms, dramatic presentations,Junior Ranger programs, puppet shows,living history programs, environmentalliving programs, environmental studiesprograms, touch tables, interactivecomputer programs, outreach programs,and other activities such as interpretiveconcessions. These personal servicesare effective interpretive media becausethey allow visitors to participate andinteract, permitting immediateresponses to what is actually occurringat a given moment and place.

Living History Programs

Living history programs combineauthentic activities, objects, and historic


persona in replica attire, to re-create anevent in which visitors gain insights intothe history of a site, occurrence, and/orperiod. Living history has become animportant interpretive media for manyhistoric parks. Interpreters in periodattire can add a heightened sense ofrealism to historic buildings and sites.

Living history programs require not onlyaccuracy of detail, but also participantswho are willing to share their specialknowledge with others. It is throughinteractive presentations that visitorsgain an understanding of how thedemonstration, scenario, or re-enactment fits into a larger historicpicture. Convincing living historyparticipants are trained well in advanceof the event and regularly provided withupdated or additional materials for theirprogram.

Historic-style clothing and tools must beas accurate as possible for theseprograms---down to the choice offabrics, methods of construction, andaccessories. Replica period clothing,accessories, tools, and other materialsused for interpretive activities should beacquired, maintained and storedsecurely in a designated location withinthe park. The benefits of a daily livinghistory programs can be realized in apark by having interpretive staff andconcessionaires wear appropriate periodattire and by re-enacting historicmoments.

Modern Equivalent Objects

There are a number of objects that aremanufactured today with the sameappearance and function as their

historic counterparts. Some cast-ironskillets, dishes, carpentry or gardeninghand tools, and bolts of cloth fall intothis category.

Museum Collections Facilities

A "clean" space is required whenaccessioning, researching, cataloguing,and photographing collections. Thisarea should not only be safe andsecure, but also environmentally stable,where permanent records related to thecollections can also be stored.

Museums

According to the definition set by theAmerican Association of Museums: amuseum is an organized and permanentnonprofit institution, essentiallyeducational or aesthetic in purpose, witha professional staff, which owns and/orutilizes tangible objects, cares for them,and exhibits them to the public on someregular schedule.

Original Objects

Any historical items that can bedocumented as having actually beenassociated with a structure during aparticular period are considered originalobjects. These can be furniture,paintings, china, machinery, farmequipment, tools, etc., or moreephemeral items like letters. Originalobjects tell a story and establishauthenticity. There are two categoriesof original objects: (1) Those that are, infact, the object with a known historicallocation; and (2) Those that are from the


structure, and are the correct type andstyle, but are not necessarily used intheir historical locations.

Outdoor/Wayside Panel Exhibits

Outdoor or wayside panel exhibits offergeneral orientation and introductoryinformation on prominent park featuresand sites. Wayside exhibits aregenerally two-dimensional, containingtext and graphics, but may alsoincorporate objects. Outdoor exhibitsinterpret resources in the immediatevicinity or may be displayed off-site toencourage travel to the area. Theyhave the advantages of always beingavailable, being relatively inexpensive,and allowing visitors to view them attheir own pace. Their disadvantagesinclude vulnerability to vandalism, thestatic nature of panel interpretation, andthe visual impact of exhibit structures onthe natural and historic views.

Outreach Programs

Off-site "outreach" programs extendpark interpretation into localcommunities. These programs enableprofessional staff and docents to sharetheir interests, skills and knowledge withthose sectors of the community that areunable or have yet to come to parksites. Outreach programs can takemany forms---workshops, classes, talks,audio-visual programs, demonstrations. And, they can be shaped for eachgroup's needs. Older adults, peoplewith disabilities, and school childrenmake ideal audiences for off-siteinterpretive programs. Also,presentations made to local servicegroups help to build community supportfor park programs. Creating and staffing

a booth at local fairs is an excellent wayof encouraging new visitors to come to aunit. Television and cable stations areanother way of extending parkinterpretation into the community.

Period Objects

Historic objects dating to a specificperiod, but with no known connection toa particular structure, are consideredperiod objects. Their use in a historicstructure can be supported by known orinferred similarities to originalfurnishings. Often, transient, ephemeralitems---posters, newspapers,toothbrushes, soap, commerciallypackaged goods, etc.---may no longerexist for a certain structure, but can bedocumented to the period. Use of theseobjects can help to create a morecomplete historic environment in historicsetting museums.

Period Participatory Activities

Period participatory activities are ones inwhich visitors participate in recreatingthe past. Visitors who take part in suchprograms will remember their visits to apark well after their departure, becauseof their own personal involvement in re-creating the historic scene. Participatory activities occur in adaptivehouse museum spaces and outdoorsites, where they are compatible withand suitable to the historic setting andthe interpretive period. Participationmethods include hands-on interactivelearning experiences and role playing.

Period participatory activities that re-create historic activities include:


billiardsbowlingbread makingcandy makingcare of animalsriding carriages, wagons, and horseschildren's gamesclothing constructiondancingfarm choresflint knappingfly tying and fishingfood preparationgambling gamesgardeningIndian hand gamesmilitary drillsmining methodsmusical performancesneedle craftspainting and fine artsperiod holiday activitiesperiod plays and pageantsretail merchant activitiesrope makingschool sessionssingingspring cleaningtin workingtoy and puzzle making

Publications

Publications are portable media that canrange from brief overviews to in-depthexaminations of a park's resources. They tell sequential stories well. Produced by California State Parks,cooperating associations, othergovernment agencies, or by privatepublishers, they may include trail guides,maps, field guides, nature checklists,children's books, teachers' guides,coloring books, activity books, generalhistory books, reference books, and

graphics. Publications can be used invarious ways. They may be printed inseveral languages for foreign visitors,produced in large print to aide visitorswith visual impairments, or sold assouvenirs, or developed as a source ofrevenue.

Their limitations include the need forstaff or dispensers to distribute them;the litter potential for materials givenaway free; the high cost of printing inlarge enough quantities to permit a lowper unit price; and the preference ofsome visitors' to listen to an interpretivemessage rather than read it. Publications that greatly depend upontext may not be useful to the very youngor people with visual impairments or andthose with difficulties reading.

Brochures, teachers' guides, and self-guiding brochures should be updatedwhen important information changes. Cultural and natural heritage researchproduced for a park should beconsidered for publication to keep theinformation current and to broaden thepublic's understanding.

Puppet Programs

Shadow puppets, string and rodpuppets, marionettes, and hand puppetshave been used for thousands of yearsto entertain and educate, and tocomment on society and politics. Theseprograms are an excellent way ofcommunicating resource informationand values to children and adults alike. They can be employed to helpindividuals see critical issues from avariety of perspectives, as well as tobetter appreciate the world aroundthem. Through stories, songs,


improvised dialogues, and jokes, livepuppetry can engage and focus theattention, imagination, and emotions ofaudiences around important interpretiveconcepts.

Reference Library and Archives

A reference library and archivesprovides a ready source of informationand graphics for park staff, volunteers,researchers, and concessionaires. Thisis essential for the accuratepresentation, ongoing development, andrefinement of interpretive programs. Park reference libraries and resourcecenters should include copies ofrelevant photographs; basic historicalworks on the area and California;resource works on period attire, historictrades, and businesses (whereappropriate); natural history references,relevant periodicals; Department ofEducation frameworks; teachers' guides;and resource management references. The library and archives should haveappropriate storage, environmentalcontrols, security, and controlledaccess.

Park archives that include rare or fragiledocumentary materials must be locatedand securely stored with the necessaryenvironmental and access controls. Thematerials should be managed byindividuals trained in archival methods.

Reference Number

When preparing a Furnishing Plan or anInterpretive Plan, a unique number isassigned to each interpretive objectproposed for inclusion in the project. The numbers are used to distinguish

objects within inventories, acquisitionlists, and other reports. They are alsoused on documents to verify thepurchase of objects. The number itselfusually consists of a location numberand a number assigned to the object. For example, object number ten withinroom one would be written 1-10. Thisnumber is usually different from acatalog number. However if the objecthas an existing catalog number, it maybe used as the reference number.

Reproduction Object

A reproduction object is a currentlymanufactured duplicate of a historicalobject, either mass-produced or custommade, as it appeared at a specifiedpoint in time.

Self-guided Interpretive Activities

Self-guided interpretive activities includehistoric setting museums and vignettes,historic landscapes, interpretive trails,formal exhibits, outdoor exhibit panels,models, audio-visual programs--videos,slides, and film, and brochures offeringinterpretive information.

Self-Guided Trails

Self-guided trails interpret the extent ofa historic area's development or anatural area's variety of life forms,forces, and natural elements. Self-guided trails interpret resources throughbrochure descriptions keyed tonumbered posts or recognizablelandmarks, cassette tape versions ofbrochure text, trail panels, or throughvisitor-activated message repeaters. Self-guided trails can serve large


numbers of users, at their own pace,and at all times. Some trails, such asboardwalks and observation decks, canbe expensive to build and maintain.

VignettesVignettes are areas within formalexhibits that, with the use ofarchitectural features and/or furnishings,illustrate a particular historical person,event, activity, or period.

Visitor Centers/Interpretive Centers

A visitor center is a staffed facility thatprovides a comfortable space in whichvisitors can make a transition from theircar or other transportation to the natural,cultural, or recreational environment. Most visitor centers help people tobecome physically comfortable in thenew setting by providing informationservices, restrooms, drinking fountains,first aid resources, public telephones,and interpretive sales. They may offer avariety of in-depth interpretive media---formal exhibits, historic setting vignettes,and audio-visual facilities---to inspirevisitors to explore, learn about, andprotect the area's resources.

The disadvantages of visitor centersinclude their high cost of construction,maintenance, and staffing. There mayalso be limitations in presenting asequential story, as few visitors dutifullystudy all of the exhibits in the plannedorder. Objects on display also requireadditional maintenance and security.

Workshop and Storage Areas

Workshop and storage areas can beinvaluable for preparing exhibits and

items for exhibits and other interpretiveactivities. Materials, equipment, andtools storage must be kept separatefrom a museum collections facility.

____________________________________________________________________________________APPENDIX: Selected Research Institutions in California

SELECTED RESEARCHINSTITUTIONS IN CALIFORNIA

First utilize all local research institutionsand resources in your area to obtaininformation on your specific project. These may include public libraries, localhistorical societies, courthouse records,census, local newspapers, and private

photographic collections. Havingexhausted these sources in your search,other institutions and their collectionsshould be considered. Listed below aresome of the larger institutions that mightbe consulted when conducting research.

The Bowers Museum of Cultural Art2002 Main StreetSanta Ana, CA 92706

Telephone: (714) 567-3695Fax: (714) 567-3603

California Academy of SciencesGolden Gate ParkSan Francisco, CA 94118

Telephone: (415) 221-5100Fax: (415) 750-7346

California Afro-American MuseumExposition Park600 State DriveLos Angeles, CA 90037

Telephone: (213) 744-7432Fax: (213) 744-2050

California Historical Society673 Mission StreetSan Francisco, CA 94105

Telephone: (415) 357-1848Fax: (415) 357-1850 E-Mail: [email protected]: http://www.calhist.org

California Museum of Photography3824 Main StreetRiverside, CA 92501

Telephone: (909) 787-4797Fax: (909) 787-4797

California State Archives1020 O StreetSacramento, CA 95814

Telephone: (916) 653-7715Fax: (916) 653-7134

California State Library900 N StreetSacramento, CA 95864

Telephone: (916) 654-0176(California History Room)Fax: (916) 654-0064

Mailing address:P.O. Box 942837Sacramento, CA 94237-0001


California State Library, Sutro Library480 Winston DriveSan Francisco, CA 94132

Telephone: (415) 597-0463Fax: (415) 731-4477Internet: [email protected]

California State Parks PhotographicArchives2517 Port StreetWest Sacramento, CA 95691

Telephone: (916) 324-7001Fax: (916) 371-0301

California State Parks ProjectArchivesNorthern Service Center1725 23rd Street, Suite 200Sacramento, CA 95816

Telephone: (916) 324-0077Fax: (916) 324-0888

California State Railroad MuseumLibrary and Archives111 I StreetSacramento, CA 95814

Telephone: (916) 323-8073Fax: (916) 327-5655

California State University, ChicoMeriam LibraryChico, CA 95929-0295

Telephone: (916) 898-5710Fax: (916) 898-4443

Clarke Memorial Museum240 East StreetEureka, CA 95501Telephone: (707) 443-1947Fax: (707) 444-8330

Crocker Art Museum216 O StreetSacramento, CA 95814

Telephone: (916) 264-5423Fax: (916) 264-7372


Gene Autry Western HeritageMuseum4700 Western Heritage WayLos Angeles, CA 90027-1462

Telephone: (213) 667-2000Fax: (213) 660-5721

Eastern California Museum155 Grant StreetIndependence, CA 93526Telephone: (619) 878-0364Fax: (619) 872-2712

Mailing address:P.O. Box 206Independence, CA 93526

Huntington Library, Art Collectionsand Botanical Gardens1151 Oxford RoadSan Marino, CA 91108

Telephone: (818) 405-2100Fax: (818) 405-0225

The Living Desert47 900 Portola AvenuePalm Desert, CA 92260

Telephone: (619) 346-5694Fax: (619) 568-9685

Los Angeles (Central) Public Library630 W. Fifth StreetLos Angeles, CA 90071Telephone: (213) 228-7000Fax: (213) 228-7429

Marshall Gold Discovery StateHistoric Park310 Back StreetColoma, CA 95613Telephone: (916) 622-3470Fax: (916) 622-3472

Monterey Bay Aquarium886 Cannery RowMonterey, CA 93940

Telephone: (408) 648-4800Fax: (408) 648-4810Natural History Museum of LosAngeles CountySeaver Center for Western HistoryResearch900 Exposition BoulevardLos Angeles, CA 90007

Telephone: (213) 744-3466Fax: (231) 937-9426

The Oakland Museum1000 Oak StreetOakland, CA 94607

Telephone: (510) 238-3401Fax: (510) 238-2258

Palm Springs Desert Museum101 Museum DrivePalm Springs, CA 92262

Telephone: (619) 325-7186Fax: (619) 327-5069

Mailing address:P.O. Box 2288Palm Springs, CA 92263

Presidio National Park ServiceMuseumBuilding 2Presidio of San FranciscoSan Francisco, CA 941229

Telephone: (415) 561-3319Fax: (415) 561-2493


Riverside Municipal Museum3720 Orange StreetRiverside, CA 92501

Telephone: (909) 782-5273

Sacramento Archives and MuseumCollection Center551 Sequoia Pacific BoulevardSacramento, CA 95814

Telephone: (916) 264-7072Fax: (916) 264-7582

San Bernardino County Museum2024 Orange Tree LaneRedlands, CA 92374

Telephone: (909) 798-8570Fax: (909) 798-8585

San Diego Historical SocietyResearch Archives1649 El Prado, Balboa ParkSan Diego, CA 92101-1621

Telephone: (619) 232-6201Fax: (619) 232-6297

Mailing address:P.O. Box 81825San Diego, CA 92138-1825

San Diego Museum of Man1350 E. Prado, Balboa ParkSan Diego, CA 92112

Telephone: (619) 239-2001Fax: (916) 239-2749

San Diego Natural History Museum1788 El Prado, Balboa ParkSan Diego, CA 92101

Telephone: (619) 232-3821

Fax: (619) 232-0248

Mailing address:P.O. Box 1390San Diego, CA 92112

San Francisco Maritime NationalHistorical ParkHyde Street PierSan Francisco, CA 94109

Telephone: (415) 556-3002Fax: (415) 556-6293

Mailing address:Building E, Fort MasonSan Francisco, CA 94123


San Joaquin County HistoricalSocietyand Museum11793 N. Micke Grove RoadLodi, CA 95240

Telephone: (209) 368-9154Fax: (209) 369-2178

The Santa Barbara HistoricalMuseum136 E. De la Guerra StreetSanta Barbara, CA 93102-0578

Telephone: (805) 966-1601Fax: (805) 966-1603

Mailing address:P.O. Box 578Santa Barbara, CA 93102

Siskiyou County Museum910 S. Main StreetYreka, CA 96097

Telephone: (916) 842-3836

Southwest Museum234 Museum DriveLos Angeles, CA 90065

Telephone: (213) 221-2164, ext. 230Fax: (213) 224-8223

Mailing address:P.O. Box 41558Los Angeles, CA 90041-0558

Sutter's Fort State Historic Park2701 L StreetSacramento, CA 95814

Telephone: 445-4422Fax: (916) 447-9318

University of California, BerkeleyThe Bancroft LibraryBerkeley, CA 94720-0001

Telephone: (510) 642-3781Fax: (510) 642-7589


University of California, BerkeleyPhoebe Apperson Hearst Museum ofAnthropologyBerkeley, CA 94720

Telephone: (510) 642-3681Fax: (510) 642-6271

University of California, BerkeleyUniversity of California BotanicalGarden200 Centennial DriveBerkeley, CA 94720-5045

Telephone: (510) 643-8040Fax: (510) 642-5045

University of California, DavisShields Library, Special CollectionsDavis, CA 95616

Telephone: (916) 752-2110Fax: (916) 752-6899

University of California, RiversideTomas Rivera LibraryRiverside, CA 92521

Telephone: (909) 787-3221Fax: (909) 787-3285

Wells Fargo History MuseumWells Fargo BankHistory Department420 Montgomery StreetSan Francisco, CA 94163

Telephone: (415) 396-2619Fax: (415) 391-8644

______________________________________________________________________________APPENDIX: Bibliography for Interpretive Planning

BIBLIOGRAPHY FOR INTERPRETIVEPLANNING

"Accounting Workshop: ContractAdministration."

Contract Services Unit, SupportServices Section, AdministrativeServices, California State Parks. December 13, 1995.



American Association of Museums.The Accessible Museum: Model

Programs of Accessibility for Disabledand Older People. AmericanAssociation of Museums. Washington,D.C., 1992.

Museums and Technology:Selected Source List. Washington,D.C., 1996.

American Association of Museums/Metropolitan Museum of Art

Standards Manual for Signs andLabels. Washington, D.C., 1995

Ames, Kenneth, Barbara Franco, and L.Thomas Frye, eds.

Ideas and Images: DevelopingInterpretive History Exhibits. AmericanAssociation for State and Local History. Nashville, 1992.

Applegate, BrendaGuide to Copyright Research.

Park Services Division, California StateParks. Sacramento, March 1996.

Barzun, Jacques and Henry F. GraffThe Modern Researcher. 5th

Edition. Harcourt, Brace, Jovanovich,Inc. New York, 1992.

Bean, Lowell John and Sylvia BrakkeVane

California Indians: PrimaryResources. Ballena Press. Ramona,1977.

Bean, Walton and James RawlsCalifornia: An Interpretive History.

5th edition. McGraw. 1988.

Bryan, Dave"How the Exhibit Builder Can

Avoid Scheduling Mishaps," ExhibitBuilder. 6, No. 6, 1989, pp. 34-40.

California Library Directory, 1996.Library Development Services

Bureau, California State Library. Sacramento, 1996.

California Women: Activities Guide,Kindergarten Through Grade Twelve.

California State Department ofParks and Recreation. Sacramento,1988.

Catherwood, Dwight W. and Richard L.Van Kirk

The Complete Guide to SpecialEvent Management. John Wiley &Sons. New York, 1992.

Doering, Zahava D. and Andrew J.Pekarik

"The Exhibition Dialogue: AnOutline," Exhibitionist, Summer/Fall,1993.


English-Language Arts Framework forCalifornia Public School, KindergartenThrough Grade Twelve.


The Exhibit Builder Source BookDirectory.

Published yearlyJanuary/February.

Favretti, Rudy J. and Joy PutmanFavretti

Landscapes and Gardens forHistoric Buildings. 2nd Edition. American Association for State andLocal History. Nashville, 1991.


for Interpreters, Docents and TourGuides. Ironwood Publishing. Scottsdale, Ariz., 1985.

Guide to California State ParksPhotographic Archives.

California State Parks. Sacramento, June, 1996.

Ham, Sam H.Environmental Interpretation: A

Practical Guide for People with BigIdeas and Small Budgets. NorthAmerican Press. Golden, Colo. 1992.

Hare, RobertCommunities of Change: An

Interpretive Survey of California NaturalCommunities Found in SelectedCalifornia State Parks. CaliforniaDepartment of Parks and Recreation. Sacramento, May 29, 1992.

Health Framework for California PublicSchools: Kindergarten Through Grade

Twelve.California Department of

Education. Sacramento, 1994.

Karp, Ivan and Steven D. Lavine, eds.Exhibiting Cultures: The Poetics

and Politics of Museum Display. Smithsonian Institution Press. Washington, 1991.

Kennedy, JeffUser Friendly: Hands-On Exhibits

That Work. Association of ScienceTechnology Centers. 1990.

Koester, StephanieInteractive Multimedia in

American Museums. Archives andMuseum Informatics. 1993.

Klein, LarryExhibits: Planning and Design.

Madison Square Press. New York,1986.



Levine, Melissa Smith"Selecting and Contracting for

Exhibition Services," Exhibitionist, Part1--Winter, 1994, Part 2--Fall, 1994.

Lewis, William J.Interpreting for Park Visitors.

Eastern National Park and MountainAssociation. Philadelphia, 1980.


Life on the Edge: A Guide to California'sEndangered Natural Resources.

BioSystem Books. Santa Cruz,1994.

Literature for History-Social Science,Kindergarten Through Grade Eight.



On Interpretation: Sociology forInterpreters of Natural and CulturalHistory. Oregon State University Press. Corvallis, 1992.

Mathematics Framework for CaliforniaPublic Schools, Kindergarten ThroughGrade Twelve.


McLean, KathleenPlanning for People in Museum

Exhibitions. Association of Science-Technology Centers. 1993.

Medlin, Nancy C., Gary E. Machlis andJean E. McKendry

Self-Critique: A Tool forEvaluating Interpretive Services. National Park Service and University ofIdaho.

Morris, Patricia, ed.California State Parks Museum


Museum Security and Protection: AHandbook for Cultural HeritageInstitutions.

International Council of Museums(ICOM) and the International Committeeon Museum Security. New York, 1993.

The National Association forInterpretation Membership Directory.

National Association forInterpretation. Fort Collins, Colo.,published annually.

Nunis, Jr., Doyce and Gloria RicciLothrop, ed.


A Guide to the History ofCalifornia. Greenwood Press. Westport, Conn., 1989.

The Official Museum Directory.The American Association of

Museums. Washington, D.C., publishedannually.



Pitman-Gelles, BonnieMuseums, Magic and Children.

Association of Science-TechnologyCenters. Washington, D.C., 1981.



Radosevich, SteveGuide for Preparing a Furnishing

Plan: Furnishing and InterpretingHistoric Structure Museums. CaliforniaDepartment of Parks and Recreation.Sacramento, 1994.

Ralph, Larry J."Visitor Safety in Exhibit Design

and Production," Exhibitionist, Spring,1993.

Regnier, Kathleen, Michael Gross andRon Zimmerman

The Interpreter's Guidebook:Techniques for Programs andPresentations. UW-SP FoundationPress. Stevens Point, Wis., 1994.

Schlereth, Thomas J.Artifacts and the American Past.

The American Association for State andLocal History. Nashville, 1981.

Science Framework for California PublicSchools, Kindergarten Through GradeTwelve.



Seale, WilliamRecreating the Historic House

Interior. American Association for Stateand Local History. Nashville, 1979.

Serrell, BeverlyExhibit Labels: An Interpretive

Approach. AltaMira Press. WalnutCreek, Calif., 1996.

Sharpe, Grant W.Interpreting the Environment.

John Wiley & Sons. New York, 1982.

Smith, Betty PeaseDirectory: Historical Agencies in

North America. American Association forState and Local History. Nashville.

Thompson-Klein, Mark"Landing the Right Fabricator,"

Exhibitionist, Winter, 1994.

Thompson-Klein, Mark"Some truths about Fabricating

Quality Exhibitions," Exhibitionist, Fall,1994.

Tilden, FreemanInterpreting Our Heritage. The

University of North Carolina Press,Chapel Hill, 1977.







Witteborg, Lothar P.Good Show! A Practical Guide for

Temporary Exhibitions. SmithsonianInstitution Travelling Exhibition Service. Washington, D.C., 1981.

______________________________________________________________________________ADDITIONAL NOTES

Workbook for Planning Interpretive Projects in California ... · PDF filebecame clear that a...

Documents

Transcript of Workbook for Planning Interpretive Projects in California ... · PDF filebecame clear that a...