St. John Program

1

historical museumS A V I N G M E M O R I E S

ST. JOHN

2CONTENTS

3

GOALS & MISSION STATEMENT PROJECT OVERVIEWGENERAL MUSEUM GUIDELINESDESIGN DEVELOPMENTEXISTING SPACEBUILDING CODESUNIVERSAL DESIGNFIELD STUDIES RESEARCHSCHEMATIC DESIGN SPACE PLANNING AS BUILT PLANFLOOR PLANFINISHED FURNITURE FLOOR PLANMATERIALS SELECTIONCEILING PLANLIGHTING SELECTIONSTOREFRONTMAIN GALLERYSMALL GALLERYAPPENDIX

4-56-910-11121314-1516-1718-2324-3940-4142-434445464748495051-5758-6061-63

4

“To create a rural museum that embodies the community’s history and spirit of St. John”

MISSION STATEMENT

5

1. Enhance the community’s pride, independence, and spirit.

2. Engage the community through the preservation of the monumental history of St. John.

3. Create an educational environment which encourages all ages to interact with the past.

4. Honor the historical events that have taken place in St. John.

Goalsof museum

6

Senior Interior Design students at Washington State University working with the RCDI will propose a design for a historical museum in the rural town of St. John, Washington. The community wishes to adapt an existing space on the historic main street for the preservation of St. John’s history and proud community spirit.

The designated building for the museum was a historic pharmacy from the turn of the centry that is between the modern city hall and historic insurance company. The museum space has an unfinished interior that is in the process of renovation for the purpose of installing a museum. The community has been generously giving their time and resources to complete the museum.

PROJECT OVERVIEW

7

The design team will interpret the needs of the community through co-design and regularly meetings with the clients. This design will take into consideration: museum design guidelines, the existing space’s condition, adaptive reuse of the building, building codes, and how people will interact and experience the space. Further, it shall give creative options for space layouts, materials, and experiences for each viewer.

This museum will have a small gallery with rotating exhibits as well as engaging static installations. The main gallery entrance invites vistors to explore the space, beginning with an engaging timeline of St. John’s history and early families. The timeline of St. John’s history incorporates world events and local artifacts beginning with the first inhabitants to modern day. The timeline will provide a significant resource planning inspiring new funds, and energies to the completion, including fund raisers and volunteer labor of the completion.

8

A Veterans corner allows for quiet relflection on the courageous pilots from St. John who fought in WWII and the Vietnam War. A gift of three large paintings on the subject of Steptoe battles from the artist Nona Hengen will be displayed in a cozy corner at the end of the contemporary period of the timeline. A genealogy corner allows people to research their ancestors on the internet or in old books at a desk or on a comfortable couch. The historic character and materials are important in the preservation of this building and the finished museum. Original brick on the East wall is to be left exposed, the historic storefront adapted and kept, and glass block sidelights and front door all kept in their original state. The museum will have a modern rustic design aesthetic. The design should respect and carefully include these things and the buildings character.

The final presentation includes physical space plans that include a design for a gallery space, storage, and archival space. Consideration is given to layout, flexible exhibition spaces, traffic flow, viewing experience, ADA/universal design, ceiling systems, lighting, finishes. Also taken into the design considerations is the main access to the museum through the city hall, and monitoring security from here.

9

10

Communities requirements of the space :To be for families and visitors Functional and flexibleEducational Historical Interactive

GENERAL MUSEUM GUIDELINES

Security/Insurance:Security brackets on all hanging and fixed displaysPerimeter alarmsEnclosed Items

These are general design considerations and important information to consider:

UV protection on all windows

11

Lighting:Average of 10 foot candles per hanging display LED track lighting Adjustable fixturesFlood lightingSpot lightingHalogensBroad spectrum lightingUV protective glass on art

Temperature:70 degrees Average 30% humidity

Display:Center view of the piece, Hang at 5’-5” to 60” Description is hung at 4’-6”

Way finding:Used through color and graphics Inferred flow (IGS, 2004, pg. 356)Unstructured flow (IGS, 2004, pg. 356)Structure flow (IGS, 2004, pg. 356)

ADA access3’ door waysMinimum 3’ width aisle through entire space 5’ turn around space required

12

DESIGN DEVELOPMENT

Design Goals & Design Concept1. Fixed elements within a flexible space2. To create an interactive educational space for a multi sensory experience3. Meets the community’s desire to celebrate St. John’s history through design4. Modern design with historical elements

Site analysis

Total SQ FT (with stairs): 1,780 Stairs total SQ FT: 84.4 sq ftTotal SQ FT (without stairs): 1,695’-6” Storage area needed: 416 sq ft

13

EXISTING SPACE

14

Total SQ FT (with stairs): 1,780 Stairs total SQ FT: 84.4 sq ftTotal SQ FT (without stairs): 1,695’-6” Storage area needed: 416 sq ft Occupancy Classification: A-3, [pg. 54 2009, IBC] Floor area in sq ft per occupant: 5 net Load Factor= 15 net, un-concentrated tables and chairsA-3=1279.5/15 = 85.3 peopleOccupant Load: 86 people [Table 104.1.1 Maximum Floor Area Allowance per Occupant, pg 89]Plumbing calculations: 2 Unisex Water closetsNumber of exits: 2Exit access travel distance: 300’ with sprinklers

BUILDING CODES

15

Bathroom5’ turn around3’ to side of toiletToilet height: 17”-19”Toilet paper height: 15”-48”Flush control height: 44” MAX AFFHorizontal grab bars height: 33”-36” AFFVertical grab bars height: 39”-41” AFFSink height: 27”-34” AFFSink depth: 17”-25”Knee space: 8” AFFToe space: 6” AFF

Drinking fountains:Toe space: 6” AFFBottom of fountain 9” AFFKnee space: 8” AFFBottom of fountain bowl: 27” AFFFountain width: 17”-25” Standing height: 38”-43” Wheel chair height: 36” MAX AFF

Mirrors:Bottom of mirror: 35”-40” AFFFinishes:If sprinklers are in stalled less restrictive finishes can be used. Assembly-Existing Under less than or equal to 300 OL. Exits A Other spaces need to be A or B; C on low partitions Interior wall and ceiling finish: A: Flame spread 0-25, new applica-tions, smoke developed 0-450.

16

UNIVERSAL DESIGNDoor handles as levers opposed to knobsEntry ways that are flat and wide Linear building layouts with clear lines of sightSurfaces that are stable, firm and slick resistant Multi sensory experiencesSpecial requirements specific to St. John museum: Locking the front door and entering through city hall Monitored by personnel in the city hall Main street presentation from store front window Store front windows-needing UV protectionAccess to both possible patios Street parking and parking in the back of the building

Spaces requirements: Address the floor load bearing weightADA accessExhibit spaceArchive storage spaceStorage space

Project requirements:Designing a flexible exhibition spaceStorage/archival space Quantitative requirements/space requirements:Exhibition space: 80% Storage space: 20% Furniture Filing Cabinets Seating Archive Station Display Cases Prep and Cleaning

17

18

Spatial requirements: Break up the space at the entrance, force them to navigate and invest gateBiography:• Maketheareacome alive through the Historians eyes• Interactionthatinvolves all ages• Wroteinpresenttense to engage viewers• Balanceofoversized items/animals Design:• Thinkofthevisitorfirst• Objects&visuals• Lesswords• Poseaquestion• Don’ttellthewhole story Exhibits:• Muststandalone• Don’ttrytotellpeople what to look at first • Evokesociallearning

“ The museum needs to explain itself, protect itself, hold up itself ”

FIELD STUDIES - MAC

19

20

How to set up exhibits:•Communitybasedvolunteer

set ups

•Combinephotoswithoral

history clips

Funding:

•Membershipbringsinmoney

•Donations

•Taxdeductiondoublesfor

education

•Fund-raisers(HarvestDinner)

•Commissioner

support

FIELD STUDIES - McConnell Mansion

21

22

FIELD STUDIES - WSU Museum of ArtMeeting with WSU Art Director Anna Marie:

• 70degreesistheperfecttemp.• 30%humidityaverage• Dryerfortextiles• Museumgradeglasshasabluehue• Light:standardmuseumuselights• Broadspectrum• Cannescanchangespotlightspectrum through a time period

Insurance:• Perimeteralarms• Enclosed• Securitybrackets• Wallrepair• Burlapandpaint

Light:• Fullspectrum• UVprotectiveglassonart• Footcandlesperpiece:10FC• Colorabsorbslight• Floorplanisbuiltinatriangletobalancethecolor/eyearound• Don’thavepiecesfightforviewersattention• 5’-5”-60”sightlineforcenterofartpiece

• Whitewallsallowviewertosoakitin• Cornerskeepimagesfromdivingintocorner.Add4”moretooneside• Traffic-haveartwork&partitionsguideyouthroughthespace• Storage:• Vaultsforstorage• Largepiecestostoreinslots

23

24

RESEARCH

1. Motivate Visitors:Target an audience — the general public and/or specific communities (1)2. Focus Content:Filter content so visitors are not bombarded with information overload (1)3. Immersion:Engage visitors within a “story” (1)4. Modularity:Present smaller themes instead of one larger complex topic (1)5. Skimmability:Information should be easy to take in because visitors are often standing and/or have different levels of education (1)

6. Patterns:Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing framework patterns (architectural elements) (1)7. Capture Curiosity:Use storytelling techniques to engage visitors (1)8. Interaction:Give visitors a “fun” experience by tapping into their emotion (1)9. Integrate Technology:Technology should enhance visitor’s experience, not detract from it (1)10. Layer Content:Present information in a hierarchical manner (1)“By taking a closer look at museum exhibit design — you will

Sensing Architecture “Top ten tips to great museum exhibit design” http://sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/

25

Sensing Architecture “Top ten tips to great museum exhibit design” http://sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/

26

RESEARCH

Interactive Display: Text displayed all around-displayed on the floor was engaging Giving the users something to look at every where, not just the wallsBug Exhibit. Up close and personal A way to make the design visible to allManchester United’s lLocker Room: Setting the room up like an actual space Making it look REAL/AuthenticVintage Fashion: Making it look authentic

27

28

RESEARCH

PHOTO BOOTH:Seattle Art Museum: Vintage photo booth, I like that the people visiting can leave behind their picture if they chose

Not so literally the photo booth, but to take a picture in front of a historic backdrop with photo props.Display Design:SCAD Museum: I like the spatial layout of this museum; the guests have to weave in and out to see the art. They are guided though the space. The wall color is interesting too Chihuly Makes a play on light, rising and setting sun

29

30

RESEARCHElizabeth Gay Hunt . “STUDY OF MUSEUM LIGHTING AND DESIGN” May 2009

“For a museum, the role of light is an essential part of creating an atmosphere prime for discovery, while also preserving artifacts. This can be a very difficult balancing act between meeting preservation needs and forming interactive experiences that achieve the goal of the museum–a place to discover, explore and learn”(p. 6)

“Illumination Engineering Society of North America (IESNA) provides parameters and standards for lighting design in a museum to ensure safety, preserve artifacts, and create an interactive experience for guests of all ages”(p.6)

“Museum designs incorporate daylight because humans relate to nature”(p.6).“Factors such as reflection, glare, acclimation and delineation in the space should be analyzed closely” (7).“Natural light has a high light output and contains very high concentra-tions of Ultraviolet rays. These UV rays are known to damage textiles and artifacts” (p. 8).“IESNA standards range from five to 30 foot-candles depending on the type of artifact (RP-30-96, 14, 1996).” (8).

31

32

RESEARCH Tourism and heritage are not strangers:A study of opportunities for rural heritage museums to maximize tourism visitation

• “ZeppelandHall(1992)defineheritagetourismasasubsetofcultural tourism that is based on nostalgia for the past and the desire to experience diverse cultural landscapes and forms.”

• Museumsshouldconsideradoptingatieredapproachtopromotion based on brochure distribution points commencing at least 1 day’s drive from the museums, erection of roadside billboards (if al-lowed by state laws) well before the museums, and erection of clear locational and directional signage in the towns and in the immediate vicinities of the sites.

• Ifmuseumswishtomaximizetherevenuepotentialofferedby the tourism industry, then they need to give more attention to the importance of providing tourists with detailed current information on the locations of their facilities.

• Pearce(1988)statedthatvisitorsaremorelikelytofindamuseum visit satisfying if they are aware of what to expect prior to arrival.

33

34

RESEARCH

Museum Graphic Design

“Communication is at the heart of any museum design, and the museum graphic design is the means for transmitting your message.”

1 Create hierarchy in information images type information objects

2 Three levels of hierarchy

3. people love looking at images

4. have something that bring your

eye around the room

5. use color and text for easy way

finding

35

36

A cable-based solution deployed from commercial strength open-faced track. Use either transparent nylon, or stronger steel cables. The cable hanging system is the perfect picture hanging solu-tion for art displays, and particularly in galleries and museums, since these rails can support 300 lbs per track length.

The use of cables for hanging pictures is less obtrusive than rods, which are also compatible with these tracks. The open face track design makes this system more convenient than our more discreet systems when used in rapidly changing decors. Either nylon or steel cables may be used with this system of wire hanging pictures.

CABLE SYSTEMS

37

CABLE SYSTEMS

Price for 4 Suspended Posters in Main Gallery:

$25/track x 1 track = $25.00

$7.65/cables x 8 cables = $61.20

$4.85/hooks x 8 hooks = $38.80

Total = ~ $124

38

NYLON BARN DOOR HARDWARE

Nylon Modern Style Barn Door Hardware system will fit any of your roll-ing door hardware needs. This is a contemporary, yet rustic style of barn door hardware. Comes with a lifetime warranty, this modern barn door hardware is made to last.

Made from a premium Nylon material and brushed steel, our door hanger system slides smoother and quieter than any other system out there. The hardware is available in standard or stainless steel withseveral finishes to choose from.

FITS MOST STANDARD AND LARGE DOORSHOLDS UP TO 300 LBSLIFETIME GUARANTEE ON ROLLERS- ROLLERS WILL NOT WEAR DOWN

39

NYLON BARN DOOR HARDWARE

TRACK FINISHES OFFERED:Raw Steel Barn Door HardwareRaw Stainless Steel Barn Door HardwareBrushed Stainless Steel Barn Door HardwareBrushed Steel Barn Door HardwareBlack Barn Door Hardware

TRACK DESIGNER FINISHES:Red Barn Door HardwareWarehouse BronzeGreen PatinaCopper PatinaOil Rubbed Bronze Barn Door Hardware

Price: ~ $500 (with additional track length needed)

40

SCHEMATIC DESIGN

41

42

SPACE PLANNING

43

44

AS BUILT PLAN, NTS

79' -

5"

25' - 2"

EXISTING WINDOW

EXISTING WINDOW

EXISTING DOOR

EXISTING DOORS

EXISTING DOOR

9' - 6" 3' - 0" 2' - 6" 7' - 2" 3' - 0"

7' - 10" 7' - 2 1/2" 7' - 10"

EXSTINGFURRED WALL

EXPOSEDBRICK WALL

9' - 11" 3' - 3 1/2" 9' - 8"

22' -

1 1

/2"

20' -

4 1

/2"

11' -

4 1

/2"

3' -

2"22

' - 5

"

25' -

11

1/2"

2' -

10"

5' -

7 1/

2"2'

- 10

"5'

- 2

1/2"

20' -

5 1

/2"

16' -

6"

EXISTINGFURRED WALL

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T PR

OD

UC

T


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T P

RO

DU

CT

45

FLOOR PLAN, NTS

ARCHIVAL STATIONWITH COMPUTER

TOOL DISPLAY

STORAGE

CLEANING SINK

ROTATING DISPLAYS

180 DEGREE SWINGDOOR

ROTATING BENCH

WOOD SLATS

TRANSPARENTARTIFACTS CASE

TITLE WALL

1900'S STYLE KITCHEN

GENEALOGY CORNER

MAIN GALLERY

REFINISHED BARN DOOR

READING SPACE BELOWSTEPTOE PAINTINGS

TIMELINE ENDS:CONTEMPORARY ST. JOHN

TIMELINE: FAMILESCAME TO ST. JOHN

TITLE WALL

TIMELINE BEGINS:EARLY SETTLERS

FAMILIES

MILITARY ARTIFACTS

FOUNDER EDWARD ST. JOHN

EXISTING STAIRS

TV FOR HOME VIDEOS

TV FOR MILITARY VIDEOS

VETERANS EXHIBIT

BOOKCASE

TIMELINE: ST. JOHN INCORPORATED

SMALL GALLERY

SUSPENDED POSTERS

PRODUCED BY AN AUTODESK STUDENT PRODUCTP

RO

DU

CE

D B

Y A

N A

UTO

DE

SK

STU

DE

NT P

RO

DU

CT


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T P

RO

DU

CT

46

STORAGE

MAIN GALLERYPT-3

VW-1

BR-1

PT-2

PT-4

BR-1

SMALL GALLERY

BR-1

PT-1

PT-1

PT-1

PT-1PT-2

PT-1

PT-1

PT-3

PT-3

PT-4

CD-1CD-2

CD-2

PT-1

PT-1

BR-1

PT-1

BR-1

PT-1

PT-1

PT-3

PT-1

PT-1

PT-2


PRO

DU

CED

BY AN AU

TOD

ESK STUD

ENT PR

OD

UC

T

PRODUCED BY AN AUTODESK STUDENT PRODUCTPR

OD

UC

ED B

Y AN

AU

TOD

ESK

STU

DEN

T PR

OD

UC

T

FINISHED FURNITURE FLOOR PLAN, NTS

FINISH LEGEND

VW-1 VINYL WOOD PLANK FLOORING SPAAF-435

PAINT LEGEND

PT-1 BENJAMIN MOORE SAFARI AF-335PAINT FOR WALLS

PT-2 BENJAMIN MOORE LAPLAND AF-410PAINT FOR 1ST TITLE WALL

PT-3 BENJAMIN MOORE SPA AF-525PAINT FOR 2ND TITLE WALL

PT-4 BENJAMIN MOORE FIJI AF-435PAINT FOR MODULAR

PT-5 BENJAMIN MOORE FRENCH PRESSAF-170 CEILING COLOR

BR-1 EXPOSED BRICK

CUSTOM DECAL TIME LINECD-1

CUSTOM DECAL MAIN GALLERYCD-2


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T PR

OD

UC

T


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T P

RO

DU

CT

47

CEILING PLAN, NTSPRODUCED BY AN AUTODESK STUDENT PRODUCT

PRO

DU

CED

BY AN AU

TOD

ESK STUD

ENT PR

OD

UC

T


PRO

DU

CED

BY

AN A

UTO

DES

K ST

UD

ENT

PRO

DU

CT

CEILING LEGEND

DOWNLIGHT FLUORESCENTCAN-277V

PENDANT LIGHT DISK-100W-120V

GENERAL TRACK LIGHTING 3FIXTURE

TROFFER LIGHT 2X4 PARABOLIC-120V


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T PR

OD

UC

T


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

TUD

EN

T P

RO

DU

CT

48

LIGHTING SELECTION

Direct and task lighting with ceiling panel

49

STOREFRONT

Storefront - Of the St. John Historical Museum

50

MAIN GALLERY

Main Gallery - Of the title wall and the beginning of the main gallery

51

Timeline - On the west Wall

MAIN GALLURY

52

Vietnam Veterans - View of the artifacts and old videos

MAIN GALLURY

53

MAIN GALLURY

Four Pilots - View with the flag

54

MAIN GALLERY

East Elevation - Of the reading area, Steptoe paintings & timeline

55

56

Genealogy Corner - Of the bookcase and the desk

GENEALOGY CORNER

57

Small Gallery - View of the entrance and built-in-cases

SMALL GALLERY

58

West Elevation - Small Gallery & Information Center with television

SMALL GALLERY

59

SMALL GALLERY

East Elevation - Tool display & stage set kitchen

60

Stage Set 1900s Kitchen - Interactive place for kids

SMALL GALLERY

61

APPENDIX APPENDIX-A

CONTACT LIST :Contact: Daniel Crandall Lata County Historical Society Phone: 208-882-1004 [email protected]

Contact: Marsha Rooney MAC- Senior Curator of History 509-363-5309 [email protected]: Jerry Perception Plastics, on 2nd Avenue in Spokane, WA

Contact: Scott BP Color, on 2nd Spokane, WAUse for printing mounting/cutting

Contact: Ryan Hardesty Lighting, MAC Museum Exhibit Designer e-mail [email protected]

62

Citations::1. MET Studio. (2012, Spring). Multimedia exhibit design and interactive museum. Retrieved from http://www.metstudio.com/exhibition_designers/ interior_architects_news.html

2. Center Art LLC. (2012). Chihuly garden and glass. Retrieved from http:// www.chihulygardenandglass.com

3. Seattle Art Museum. (2012). Sam. Retrieved from http://www.seattleart museum.org/exhibit/interactives/andy/default.asp

4. About.com. (2012). About.com southwest travel. Retrieved from http://gosw. about.com/od/route66/ig/Route-66-to-Oatman/Oatman-Wagon.htm

5. SCAD Art Educators. (2012). Scad art educator’s fo rum 2012. Retrieved from https://www.facebook.com/media/set/?set=a.101510406168 86450.460817.26513851449&type=3a. (SCAD Art Educators, 2012)

6. Lehman, M. (2012). Top 10 tips to great museum exhibit design. Retrieved from http:// sensingarchitecture.com/1713/top-10-tips-to-great-museum-exhibit-design/

7. Gay Hunt , E. (2009). Study of museum lighting and design . (Master ’s thesis, Texas State University-San Marcos)Retrieved from https://digital.library.txstate.edu/bitstream/ handle/10877/3203/fulltext.pdf

8. Prideaux, P. R., & Kininmont, L. (1999). Tourism and heritage are not strangers: A study of opportunities for rural heritage museums to maximize tourism visitation . Journal of ravel Research, 37(10), 299-303. doi: 0.1177/004728759903700312

9. Museum Graphic Design. http://www.museum-graphic-design.com/

10.. CABLE SYSTEMS AS Hanging Systems at http://www.ashanging.com/en/cable-system

11. NYLON BARN DOOR HARDWARE Rustica Hardware at http://rusticahardware.com/ nylon-barn-door-hardware/

12. MUSEUM LIGHTING AND DESIGN https://digital.library.txstate.edu/bitstream/

handle/10877/3203/fulltext.pdf

APPENDIX-B

REFERENCES

APPENDIX-B

NOTES AND FIELD WORK

64

TIMELINE

65

66

67

68

SITE MEASUREMENTS

69

70

71

72

73

Notes from St. John Stakeholder Meeting Oct 5th Anna Hartley (Kirk)First Session Notes: Scribe: Beth RossMuseum• WantFlexiblespace• (Combinationof)permanentandtraveling• Lightingforpaintingso HaveUVprotectiononwindowso Wantpaintingsonawalloppositenewdoorsfacingcityhall—focalpoint.• Veteranscornero Quilt in here? Patriotic. • Permanent&Small,flexiblespace>personal• Archival&workspaceinbackofbuilding• Loanedcollection,goal:ownverylimitedo Borrow from communityo Don’thavetokeeptrackiftheyborrow• Collectiondevelopmentpaperwork(talktoMarsha)o Lender/donating• Outsidespace—tractorequipment• Educationnotrevenueo Paid its own wayo Membership,seesomething• Centennialcelebration&peoplelookingforrecordso Place for records• Abstractbooks,phys,recordsofthemuseumo Comfychair,goodlighting(checkwhattheyhaveinthelibrary)• “Journeystories”-onetime,HumanitiesWAw/Smithsoniano Ifhadmoreflexiblespaceo Travelingexhibitscouldoverflow• Engagecommunity,education• Honorthefamilieswhobuiltthecommunityo Timelineevolveso Sawhouse1890,nowfarmw/manyacres• Entertainmentinthe1920’s• Timelinemorestatic?• 1900’skitchenforinteractivekids

OCT. 5 MEETING

74

Rotating:• Moseslakespaceinthebackinteractive• Kidsinthemuseum• Marketothercommunitieso Openmore,betterhourso 5 days a week• Collectionofcameras,buttoncollection-civilwar• Clothingo Tekoa RRs• Librarydigitalizingmaterialso Physical articles• Electronicmediaforexhibitso Maintenance?• Picturestoriesbyphotos>Laborintensivedifficult• Specificstaticnow&laterrotating• 2xsayearchangeour(exhibit?)• OldfilmsonDVDrunningonaTVo ProvideanarrationIdeas:• VeteranspilotsfromWWII• Farmingstories• Donnerpartysurvivor>migration• CAgirl12yearsoldmoveduphere(walked)• Systemofkiosks–modular• Shelving• Modularguywhobuilds(?)

RotatingExhibitsDiscussionPossibleexhibits:• CameraExhibit• Buttoncollection• Arrowheads(nativeAmericasofthePalouse)• FarmEquipment• Photography• LocalParaphernalia• Time-Periodspecificclothing• Children’sdressup/Varietyofdisplaymethods• Designshouldreflectvalues&styleoftown• Abilitytobringinlargeequipment(ifsubfloorisabletotaketheload).

75

• Maintainopeningtocityhall• Preserveglassblock• Maintaincharacter• Cookingdisplay–Dishesetc.• Railroad• Veteransdisplay/honorlocalcommunity,members:WWIIVietnametc.• Sharelocalstories• Narration&Interview• JourneyStories• SteptoeBattles• BarnsorHistoricalHomes/Historic• ArchitecturalElements

76

77

78

10-24-12 MEETING

79

80

Notes:VisittoLatahCountyHistoricalSociety Thehistoricalsocietyhasfourcollectionsofitems:photos(25000),documents,archives,and12000museumitems.Theyhavethelargestcollectionoforalhistoriesinthenorthwest.Oralhistoriesaretranscribedtotext.Theyusequotesfromtheiroralhistorycollectionoftenasphotos captions. (They cite them always). Theydrawfromtheirowncollectionsforexhibits,aswellasothersources.Localcommunitymembersandothersintheresearchcommunityhelpbuildexhibits.Peoplelovephotos.ForexhibitsphotosarescannedprintedandmountedonfoamcoreandthenVelcroedtopanels.Exhibitsintheroundarehowtheyliketosetup.Theyuseeightfoottablesandwithacrylicboxesfordisplay.Theytradeoutexhibitsevery6months,andplanfor9months.Theyborrowfromother museums.Funding:• Statehistoricalsociety(nationallyrecognizedhistoricalsociety).• Volunteers• Heritagetrust• Payingmembers• Donations• Funddrive• Taxbreakfordonationsasincentive.Givingtoaneducationalinstitutiongivesadoubledeductionofftaxes.• Fund-raiserdinners• Commissionerssupporttheyownthemansionmuseum.• Federalgovernmentfunding-house+urban+development

Advertising:• Museumsassociationsadvertising.• Eventstheydo,ice-creamsocial• Advertiseinthepaper• Posters!• Postcardwithevents.With100pluspeoplebulkmailingaccountpos-sible. RobMcCoy-PublicHistory

HISTORICAL SOCIETY

81

PROGRAM DEVELOPMENT

82

MeetingNotesFrom:VisittoMACwithMarshaRooney

• Yourfirstconcerninanexhibitishowyoufindyourstorylineandthen how to display it. • Thenconsiderhowfrequentlyyoucanswitchoutexhibits.• Findyourtargetaudience.• Tellyourstory—findkeyobjectsthathelpanchoryourstory.Thinkofdetails,showyourobjectsandthingsthatrelatetothemandthattheme.• DOtheylikeminimalistorantiqueshoplook?

• Don’tloseallthespaceinthemiddle.Breakitupwithawalltoo;youdon’twanttoseeeverythingallatoncewalkingin.

•• Lighting—protectfromultravioletlight.UVshadingdevicesareimportantonwindowsinanexhibitroom.Becarefulofhavingcracksintheshadingsincelightwillfallinthesameplaceeverydayatthesametimeanddamagetheexhibitinitspath.Beabletoclosewindowscompletely.TherearewindowstickersthatcabeusedtoadvertiseandalsotoblocksomesunlightslightlyandUV’s.

• Lighting—MarsharecommendedLED’sareourlamptype.Withaformalexhibityouneedaformallightingsystemandaflexiblesystem.Lightthatchangefixtureslightlevelsandheight,andorientation.Thinkofspotsandfloods.

• Colorscheme,paintandcolormakepeoplefeelsomething.Thinkof how people feel.

• Tellpeoplesomethingdistinguishablewithconcise/captivationwords.Youcanposeaquestionabouttheexhibit.Thinkaboutwhatmakesyou curious.

• Manypeoplearesociallearners,theylearnbyhavingfunandinteractingwiththepeopletheycametotheexhibittoseeitwith.Inter-generational.

MAC VISIT

83

• Whenconsideringschoolgroupsthinkof10-12peoplewalkingaround(orseveralgroupsofthissize)andhowtheymovethroughthespaceandwithothers in mind.

• Youcandropadatum-linegridceilingstructuretoallowaccesstoceil-ingsystems,butcoverthemvisually.

• Carpetinanexhibitroomaddsalevelofquietandsounddampening.

• Paperortextilesdamageveryeasily.Ifnotchangingthemoutsome-time,steerawayfromthemandhavingtheyexposed.

• AttheMACfortheDavidDouglasexhibittheyliketohaveaplaceofinteraction at each station. The blubs are written in present tense so that you are in it. There are logos they designed to mark where there is interaction. They wouldliketohavehadanaturesoundssoundtrack.Theyhavethematic“pods”sopeoplecanmovethroughthemindividually.Theyusedacidfreematsonthepaperpartsoftheexhibitandglarefreeglassorplexi.ThisalsoisUVnoglareplexi.Lastlytheyincorporatedseatingaspartoftheviewingexperience.

• Wherethereiswritteninformation,theykeptahierarchywithatitle,andquoteandthena50-100wordblurb.Thisaccompaniedgrippingimagery.

• Paintingswerehunglow,withthepartateyelevel.Theyhadalogothatshoweddonottouchwithyourhands.Lowcubesinfrontofapaintingcanhelp protect it.

• Findoutifourclientneedsstorage.

• TheMACdidatimelineofSpokaneonthewallsandthenrotatedthemiddleexhibits.

• TheMAChasasponsorwall.

• Funding—Sponsors,localsponsorsforanexhibitoritem.Fundraisingtosupportthecause/museum/exhibit.Talktograntoffice.CheckoutHeritageCapitalFind,WAstatehistoricalfun.

• Contacts—CentraGraphics(nofingerprint/orcurlingedges)BPColorPrinting.MAC’slightingdesigner.Cubes,PerceptionPlastics.

84

10-17-12 MEETING

85

10-24-12 MEETING

86

87

88

10-31-12 MEETING

89

90

91

11-7-12 MEETING

92

93

APPENDIX-C

PROCESS WORK

94

CIRC. & PRELIMINARY SPACE PLANNING

Circulation and bubble diagrams

Blocking diagrams

96Exploring egress options

97Exploring way-finding

PRELIMINARY FLOOR PLANS

98Exploring way-finding & interactive elements

99Early space planning and design

100Taking sections from multiple plans to make a new plan


Taking sections from multiple plans to make a new plan

102

DISPLAY SKETCHES

Working out display case ideas

103

STEPTOE DISPLAY SKETCHES

Ideas for the Steptoe paintings display

104

PRESENTATION SKETCHES

Organizing deliverables

105

Organizing deliverables

106

REFINED FLOOR PLANS

Taking sections from multiple plans to make a new plan



109Refined space planning, exploring main gallery display


111Refined space planning, exploring main & small gallery display



114Refined space plan

115Refined plan one

116Refined plan two

117

INTERACTIVE DISPLAY SKETCHES

Outdoor camp site & photo booth display ideas

118Veteran interactive display ideas

119Veteran interactive display ideas

120

PERSPECTIVE SKETCHES

Main gallery view from City Hall

121

Title wall sketches

122

View from City Hall looking into the genealogy corner and Steptoe paintings

123

View of main gallery from entry

124

Views of small gallery

125Top: View of small gallery Bottom: View of genealogy corner

126Top: View of kitchenette Bottom: View of timeline and main gallery

127View of main gallery display ideas

128

STOREFRONT DESIGN

Storefront sketches

129Storefront option one

130Storefront option two

131

TIMELINE SKETCHES

Timeline display ideas

132Timeline

134SAVING MEMORIES

St. John Program

Documents

museum space

museum design guidelines

rural museum

finished museum

design team

johns history

space layouts

communitys history