Uploaded bysamvannostrand
516 views

RMP initial meeting phase report

The document outlines plans for redesigning the exhibits at the Railroad Museum of Pennsylvania, with the goals of enhancing the visitor experience, attracting more visitors, and increasing engagement. It discusses the museum's history and current projects, identifies challenges with wayfinding and orientation, and establishes the main interpretive themes to focus on how railroads changed life in Pennsylvania. The redesign aims to better connect the visitor experience across the indoor and outdoor areas through improved signage, orientation, and a unified exhibit design approach.

Embed presentation

Downloaded 10 times
Railroad Museum of Pennsylvania Initial Meeting Phase Report hilferty museum planning exhibit design 08.12.2011
RaIlRoad MuseuM of PennsylvanIa
Table of Contents Introduction 1 Project Overview 5 Observations & Insights 9 Visitor Experience—Preferred Option 15 Appendix 29 InItIal MeetIng Phase RePoRt
Introduction The main goal of the Railroad Museum of Pennsylvania Initial Meeting Phase is to take stock of previous exhibit plans and studies, as well as the approved building plans from the architectural master plan, and from there, reach consensus on a general overview for an exhibit plan to move forward with into the Preliminary Design Phase. The Initial Meeting Phase commenced on June 6, 2011 with a two-day workshop at the site attended by representatives of the Pennsylvania Historical and Museum Commission (PHMC), Railroad Museum of Pennsylvania (RMP), and Hilferty & Associates. The workshop included a site tour (buildings and grounds); a review of previous plans, studies, and present and future projects being considered; a review of the thematic outline and “General Comments Regarding Exhibit Design” provided by PHMC and RMP; a diagrammatic exercise to explore possible placement and flow of main exhibit themes; and a discussion of delivery methods, wayfinding, and learning styles. Through this process, goals of the new exhibits were identified and confirmed. The goals of the new interpretive exhibit are to • communicate on many levels the important story of how railroads have changed the way we live; • enhance the visitor experience; • increase the number of visitors, including those opting to sit in the lobby or go elsewhere while family members explore the museum; • entice visitors to make repeat visits; and • increase patronage of and volunteerism at the museum. InItIal MeetIng Phase RePoRt 1
Desirable components to meet these goals are to • attract westbound visitors to the site; • improve access to the entry and the entrance experience; • orient visitors to the site; • orient visitors to the subject matter; • create a “WOW” moment upon entering the rolling stock hall (RSH) while preserving open floor space for rental functions; • blend stories and “stuff” to create a dynamic environment that will foster visitor curiosity, comprehension, and enjoyment; • develop a sensible and safe connection between the RSH and the roundhouse; and • balance conservation and interpretive needs in the RSH and outside at the rolling stock yard. The meeting moved forward with the reaffirmation that exhibit planning will emphasize the main overarching message: “Railroads changed the way we live,” and work with the five themes (see “Big Ideas”) that the site staff identified. Upon conclusion of the meeting, PHMC reviewed with Hilferty their tasks of submitting meeting minutes (see appendix), developing bubble plan options showing proximity of topics and visitor flow, and providing narrative walk-throughs. Hilferty submitted three design concepts and three visitor experience options. On July 11, PHMC, RMP, and Hilferty held a conference call to discuss the options. On July 25, PHMC communicated to Hilferty its preferred scheme for the design concept and visitor experience. The preferred visitor experience option presented in this report incorporates team concerns and comments as appropriate. Options not selected appear in the appendix. This report will provide the basis for all future design work. Workshop attendees Steven Miller (PHMC) Ann Davis (RMP) Brenda Reigle (PHMC) Patrick Morrison (RMP) Michael Bertheaud (PHMC) Troy Grubb (RMP) Charles Fox (RMP) Craig A. Benner (RMP) Brad Smith (RMP) Sam Van Nostrand (Hilferty) Nick Jmijewski (RMP) Dean Clouse (Hilferty) Allan Martin (RMP) Gerry Hilferty (Hilferty) Deborah Reddig (RMP) Carol Perloff (Hilferty) 2 RaIlRoad MuseuM of PennsylvanIa
Mission statement The Railroad Museum of Pennsylvania collects, preserves, and interprets Pennsylvania’s railroad history for citizens and visitors by preserving and documenting the contributions that Pennsylvania railroading has made to the development of our Commonwealth and the nation. goals The Railroad Museum of Pennsylvania, devoted to preserving and interpreting the broad impact of railroad development on society, seeks to • display over 100 locomotives and cars from the mid-19th and 20th centuries, including the priceless Pennsylvania Railroad Historical Collection; • pursue a major restoration program, which already has restored many of these unique survivors to their original appearance; • conduct educational programs for all ages, provide tours, and hold special events, many in cooperation with outside organizations; • house extensive exhibits of railroad artifacts, plus priceless artwork, books, photographs, and corporate railroad material; • recognize that railroad history is alive and continues to be made in this new millennium; and • enhance the museum’s world-class status through a process of steady improvements involving public-private partnerships. InItIal MeetIng Phase RePoRt 3
4 RaIlRoad MuseuM of PennsylvanIa
PROJECT OVERVIEW Property and Building history The Railroad Museum of Pennsylvania is located on PA Route 741, about a mile east of the center of downtown Strasburg. It sits across the street from the Strasburg Rail Road, making it an ideal location to attract rail enthusiasts. Several other cultural and shopping attractions make this area a tourist destination. The initial museum building opened in 1975. It featured a large train display building and an operating turntable from the Reading Company. In June 1995 a train shed-like addition doubled the indoor display space. In the summer of 2007, a new Art Deco entrance façade and gift shop were completed. Current building projects entail installation of a new geothermal HVAC system in the museum, including the rolling stock hall, and construction of a 16,000-square-foot roundhouse in the rolling stock yard. The HVAC project, scheduled for completion by October 2011, may be completed as late as January 2012. The roundhouse, to be located on the site of the museum’s existing turntable, will provide permanent, climate-controlled storage for the museum’s historic collection of PRR steam locomotives, among other items. Approximately fifteen to twenty percent of the space will be interpretive. Design of the roundhouse, by Erdy McHenry Architecture in Philadelphia, is scheduled for completion by December 2011, opening for visitors in Spring 2013. Site work to accompany the new building includes a paved pathway leading from the southwest corner of the rolling stock hall to the roundhouse. InItIal MeetIng Phase RePoRt 5
exhibit Project history Railroad Museum of Pennsylvania (RMP) and Pennsylvania Historical and Museum (PHMC) staff and various consultants have taken several steps towards developing a new permanent exhibit for the museum in order to enhance the visitor experience. In October 2006, Interpretive Solutions, Inc. (IS) submitted an extensive exhibit script that posed eight major themes of interpretation. In September 2007 Hilferty and Associates, Inc. launched an exhibit planning phase. The Hilferty report, submitted February 2009, identified levels of interpretation, overarching interpretive themes, a visitor flow diagram, an interpretive experience walkthrough, an exhibit budget and schedule. In 2007– 08, RMP conducted visitor and member surveys. Some of the more salient results are as follows: • The top three areas of greatest interest and value are the rolling stock hall, locomotives/cars open for self-guided tours, and the outdoor restoration yard. • The three things visitors enjoy most are nostalgia, the significance of the collection (seeing and touching real things), and sharing time/interest with children and grandchildren. • 75% of visitors to the museum do not bring children with them. • Stewart Junction, the children’s area, is a visitor-favorite. The Initial Meeting Phase, the next step of the planning process for the permanent exhibit commenced in June 2011. This consisted of a review and brainstorming workshop attended by PHMC, RMP, Hilferty staff, and scriptwriter Carol Perloff. From this point, the project is structured to move forward into subsequent phases of design, fabrication and installation, and post-installation. 6 RaIlRoad MuseuM of PennsylvanIa
script status Materials from the interpretive report completed in 2006 provide a basis for scripts, artifact lists, and graphic lists. This will be one of many elements to be used as the project team moves forward to craft a new exhibit plan. Before moving forward, it would be helpful to review the previous script content with PHMC and site staff to confirm what worked and was relevant to the story they want to tell, and what may have been deemed outside of the scope or beyond the space or collections of the museum. It would be very useful to for the design team to acquire any source documents or other background research that supports the script. artifact status RMP has extensive collections on site—both inside and outside—and has started to match artifacts with the stories. The museum has an inventory of 43 locomotives, an Excel spreadsheet inventory for three-dimensional artifacts (catalog number, object name, object location), a Cuadra Star database for three-dimensional artifacts (detailed and searchable information regarding history of use, material, manufacturer,etc.), digital photographs of all artifacts in the Cuadra Star database, and digital scans for about 30,000 historic images linked to the databases. Research status/Plan Looking ahead to the research component of the Preliminary Design Phase, the first step is to determine what research materials already exist from IS. The next step will be to identify holes/gaps in those materials (relevant to the approved content outline) and to develop a strategy for how the site staff and scriptwriter can collaborate to identify photographs, first person accounts, documents, and other archival resources. It is understood that the museum has archival databases for large portions, though less than half of its archival materials. InItIal MeetIng Phase RePoRt 7
8 RaIlRoad MuseuM of PennsylvanIa
Observations & Insights approach/Impression The current museum signage, particularly from the east, does not convey to potential visitors that the building houses a museum about railroads with a spectacular collection. There is a need for signing elements that combine three-dimensional elements and graphics that strongly identifies the museum and encourages people to stop. These elements should include a variety of sizes from those that are visible from the road and from across the street to others that are visible from the parking lot and along the pathway into the museum. The elements should hint at experiences to be had at the museum and build anticipation and excitement. This should extend into the lobby area where visitors are asked to purchase a ticket. In the current arrangement, once visitors enter the lobby, there is no enticement to purchase a ticket because they cannot see anything beyond the lobby and large ticket booth structure. Ideally visitors should be able to see something of interest beyond the ticketing point that encourages them to spend their money and hints at a worthwhile experience. Additionally, it is a future goal of the museum to make the pedestrian crossing from the Strasburg Railroad safer and more inviting to encourage more crossover visitors. facility orientation Because the museum is large, complex, and includes both interior and exterior exhibit elements, clear and comprehensive facility orientation is vital from the moment of arrival. Facility orientation should occur at the parking lots, along the pathway into the museum, and in the museum entry lobby. Wayfinding signage at decision points that include the parking lot, along the path, in the lobby, in the rolling stock hall, and in the rolling stock yard will work with facility orientation to make a visitor’s choices clear. The current lobby ticketing and orientation sequences do not work well. The desk attendant is hard to see behind the counter and themed bars in the ticket windows. Visitors who utilize the restrooms before purchasing a ticket can easily slip past the attendant and into the museum without paying. Large groups often create a bottleneck in the lobby, making it hard for individual or smaller groups of visitors InItIal MeetIng Phase RePoRt 9
to get past. Relocating and redesigning the ticketing counter to act as more of a control point for visitors will help ameliorate these issues. Groups can be led into the multipurpose room for orientation to avoid a bottleneck at the ticket desk. The visitor experience diagrams focus on a ground-level organization with core interpretation happening at this level; changing exhibits and special collections are located in the second level gallery space. The size of the rolling stock hall is potentially intimidating and the random layout of rolling stock and crossover points is confusing for visitors. To avoid this, the creation of a central crossover and program space (a “central spine”) through the rolling stock hall can serve as a central point for facility and subject orientation from which visitors can proceed into the aisles to explore. subject orientation Subject orientation should also begin at the parking lots, continue along the pathways, and into the lobby. Proper location and use of subject orientation will build visitors’ anticipation and excitement as they proceed into the museum and ultimately encourage them to purchase tickets. The museum staff has combined themes from previous interpretive planning exercises from six or eight to five. The visitor diagrams here focus on the distribution of those five themes identified by the museum. However, the synthesis of previous thematic organizations into five themes does create some uneven storyline distributions that can be adjusted as we further develop the script. exhibit design Challenges & opportunities The current exhibits at the Railroad Museum of Pennsylvania are a mix of displays that have been updated over the years, the end result being an array of styles and design approaches that compete with each other. The current effort to redesign the entire visitor experience at the museum is the perfect time to start afresh, creating a coherent and unified approach that is accessible for visitors. Due to the size and orientation of the museum site, the design approach needs to provide strong visual cues that tie the museum’s identity and visitor experience together and help lead the visitor from beginning to end. The design should 10 RaIlRoad MuseuM of PennsylvanIa
connect the entire storyline together and enhance the museum’s visual presence and recognition. The design challenge is to create an environmental context and people stories for a world-class rolling stock collection. The thematic sections provide a structure with which to do that. While the core message is historical significance, contemporary relevance should be imbued into the exhibit wherever possible. Presentation of exhibits will be thematic rather than strictly chronological. While acknowledging the national context of railroad history, the exhibit will stay focused on Pennsylvania. Interpretation will cover stories of all Pennsylvania rail lines. Humanizing the giant rolling stock by telling people stories wherever possible will enrich the visitor experience and optimally expand the museum’s appeal to a broader audience. The museum has a plethora of artifacts, rolling stock, photographs, video, oral histories, and archival resources of Pennsylvania provenance with which to tell the overall story. Although the new HVAC system will improve conditions in the hall significantly, conservation issues will remain a consideration. Many items requiring stringent environmental control will need to be displayed in the upstairs gallery where the environment can be more tightly controlled. Some sensitive items might be displayed in climate control cases in the rolling stock hall. As an alternative to displaying sensitive items, reproductions might be utilized instead. Railroads are a place for bells, whistles, smoke, and smells. The exhibit will take advantage of audio opportunities to make the exhibit multi-sensory. Kiosks for virtual tours of railcars, low-tech interactive exhibits, and a new, more concise yet powerful orientation video—germane to the five major exhibit themes—will enhance the visitor experience. The scale of the RSH poses an opportunity to “WOW” visitors. Design of the central spine will seek to create that marvel of having arrived at a destination while providing a core area for orientation to major exhibit themes. The ability to interchange, move, and update exhibits is key to the success of interpreting a collection that requires periodic “exercising” to keep the moving parts in working order. Any exhibits directly related to particular cars or engines in the rolling stock hall will be mobile to accommodate the need to relocate the collection on a regular basis. Museum staff has also requested space large InItIal MeetIng Phase RePoRt 11
enough to accommodate after-hours programming and events, which mobile exhibits can easily provide, particularly when combined with the central spine area. The new roundhouse will provide a venue to supplement interpretation of How Railroads Work, Made in Pennsylvania, and Working on the Railroad as well as a place to view and preserve additional rolling stock. Main Message & themes The main message for the new interpretive efforts at the Railroad Museum of Pennsylvania as identified by museum staff is: “Railroads change(d) the way we live.” While poignant, this message is a little too broad and therefore does not provide adequate definition and direction for the interpretive efforts. Hilferty offers the following amended main message options for consideration: 1. “Pennsylvania’s railroads connected people, places, and products like never before, fundamentally changing the way we live.” 2. “Pennsylvania’s railroads connect people, places, and products, forever changing the way we live.” The first message fits nicely into the thematic outline as provided by the museum staff on May 25, 2011, which focuses primarily on the history of Pennsylvania’s railroads and how it changed the way we live by connecting people, places, and products. The second option focuses more on the present day connection of people, places, and products and would require the addition of much more present-day information in the thematic outline than exists currently. In 2010–11, the RMP exhibit staff honed the thematic outline, consolidating it from the eight major themes identified in the previous script and the six major themes identified in the Hilferty Planning Phase report to five major themes: 1. Railroads and Their Impact 2. Railroads and the Pennsylvania Landscape 3. How the Railroad Works 4. Made in Pennsylvania 5. Working on the Railroad 12 RaIlRoad MuseuM of PennsylvanIa
Two themes identified in the 2006 interpretive report have been deleted, with partial contents consolidated into the revised outline: • Legacy, Heritage and Future of the Railroads • America on Board: the Railroad and American Ideals Two themes identified in the Hilferty report also have been incorporated into the new organization: • The Cultural Impact of Railroading • Railroads Today The cultural legacy (literature, arts and popular culture) is accounted for in the current Cultural Impact of Railroading within Railroads and Their Impact. Opportunities, one of the American ideals, also find their way elsewhere as does the Industrial Revolution (part of the ideal of progress) in the sections Railroads and Their Impact and Working on the Railroad. One chapter of the 2006 report seems to be completely absent from the revised outline: • The States Become One Nation This material included topics such as nationwide networks, Civil War links the nation, transcontinental railroad, standardized time (covered elsewhere), communication networks (covered elsewhere), market opportunities (covered elsewhere), states linked by a common culture (some of this can be covered in the role of the local depot), politics on tour, war and patriotism (can be covered in the role of the local depot), entertainment (perhaps could be referenced in shaping communities/lifestyles). The one chapter that is reconfigured from the 2006 report with a new title and expanded content is: • Railroads Changed the Way We Live The current working title for this section is Railroads and Their Impact. This section of the exhibit now embraces a disproportionate amount of content and sub-themes compared to the other four thematic sections. During the design phase, it will be important to find ways to disperse this content throughout the exhibit space and explore pulling out a discrete story, like the legacy of the railroads, into a transition to a coda for the exhibit. InItIal MeetIng Phase RePoRt 13
14 RaIlRoad MuseuM of PennsylvanIa
Visitor Experience Narrative— Preferred Option site treatment Placing the Metroliner in front of the museum on the northeast side of the building will greatly enhance the look and feel of the site. This eye-catching artifact will provide an unmistakable visual cue that this museum is about railroads. The main path from the parking lot to the museum is re-routed so that it leads directly from the parking lot to the front entrance. The existing path along the building remains as a secondary option. Signage nodes at the beginning and end of the primary pathway provide preliminary facility and subject orientation. The new path is lined with a few, select signal masts that underscore the museum’s identity. Two small, recreated suburban platforms (of the same era as the Metroliner) are placed along the path so that visitors may rest and seek shelter from inclement weather. The east covered loggia entryway might be framed by a signal bridge, which serves as a visual reference of the entrance location for visitors coming from the parking lot. design approach The unifying design approach utilizes pen and ink style sketches representing the many people, places, and products connected by rail over time. Sprinkled in and among the sketches are black and white photograph reproductions from the museum’s collection. These representations might take form as standing graphic elements, silhouettes, hanging scrims or banners, applied graphics, or a combination and will be shown in varying degrees of intensity. These elements are repeated throughout the museum, both inside and out, and demarcate a path for visitors to take from the parking lot, into the museum, and out to the roundhouse and rolling stock yard. The people, place, and products design approach will function as a unifying aesthetic layer that goes on top of all manner of exhibits such as graphic panels, interactives and activities, media presentations, artifact displays, etc. The purpose of this design “icing” is to provide a constant tie into the main message of railroads connecting people, places, and products. This idea will occur time and again in the design as well as in the text, connecting the major themes to people, places, and/or products. InItIal MeetIng Phase RePoRt 15
Within this unifying aesthetic layer, subtly different, yet distinctive color palettes for graphics could help visitors understand and discern locations of content relating to the big themes. Additionally, use of design ideas and conceits may help in this identification. Graphics of people engaged in work (perhaps drawn from period color-tinted postcards?) could help identify exhibits relating to Working on the Railroad, while the use of a baggage cart motif as a base structure could provide an identity for all exhibits on Railroads and their Impact. Identity of and within the five themes will be balanced with the overall people places and products unifying aesthetic layer. For example, How the Railroad Works can be told through the lens of the connection of people, places, and products. The railroad is the epitome of the intersection of technology (people and their ideas) spurring an industry, which is driven by the need to physically connect products (goods and materials) to places (markets). thematic organization An introductory film in the lobby provides a quick overview of the main messages, followed by displays that lead visitors into the rolling stock hall. Audio-visual elements are placed strategically throughout the hall and in the roundhouse. The sounds of a train station play subtly in the background in certain areas and with punctuating effect. The select use of Doppler-effect audio, which can be used across a range of speakers, will create the feel of an arriving train, motion, and other dynamic effects. The exterior of several railcars are used as projection surfaces where moving images bring the cars to life. These might include a moving wheel effect, a steam effect, or historic film footage. The main presentations of the five main themes are located around the rolling stock hall. Supporting portions of the story are located on exhibit “islands” throughout the hall and roundhouse associated with the cars, engines, and displays that are most appropriate. The use of a different color palette and/or icon for each theme allows visitors to easily identify and follow the themes throughout the museum. 16 RaIlRoad MuseuM of PennsylvanIa
Activities specifically designed for children are located in the current kids’ area as well as sprinkled in with the rest of the exhibits. Hands-on exhibits will be logically distributed throughout the rolling stock hall to encourage involvement by visitors of all ages. The second floor bridge over the rolling stock hall offers several rail height displays that provide fun facts and information relating to what visitors can see from the overlook. The second floor gallery is for changing exhibits as well as semi-permanent displays of special collection items that require HVAC. Options for displays might include a more dynamic recreation of the Pennsylvania Railroad boardroom and an open storage area specifically for sensitive items perhaps with touch screen smart labels that allow visitors to learn about the objects. Visitors can take a path from the rolling stock hall to access the roundhouse, where there are additional interpretive displays pertaining to the five themes. The rolling stock yard includes waysides that convey basic information about a selection of the rolling stock located outside and relates them back to the main themes. InItIal MeetIng Phase RePoRt 17
18 RaIlRoad MuseuM of PennsylvanIa
GRAPHIC LEGEND FENCE RESTORATION SHOP SERVICE DRIVE (GUIDED TOURS ONLY) FENC E 1A 2A 3A 4A 5A 6A 7A 1 2 3 4 5 A 6 FUTURE FENCE 7 OU ROUNDHOUSE 8 STAIR TO TDO 9 OVERLOOK SERVICE 10 ADDITION (FOOTPRINT DASHED) ENTRY PARKING 11 OR ROL 12 LIN B 13 OVERLOOK ABOVE EAST ROLLING STOCK GS T T BELOW THE WEST RO TOC LOCOMOTIVE EXHIBIT HALL LOCOMOTIVE LLING KY EXHIBIT STOCK ARD TURNTABLE BISHOP ROAD C HALL 1915 STREET SCAPE D FENCE STAIR PRIMARY WALK FROM PARKING KIDSP ACE ENTRY OUT DOO ELEV & STAIRS R RO NEW BUS DROP OFF LOBBY STAFF PARKING LLIN ROUNDHOUSE AND PARKING EXISTING G ST CONTROL MULTIUSE OCK EXHIBIT FENCE STAIRS YAR PARKING T T POINT LOBBY D HALL MUSEUM SHOP LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL FUTURE BISPHOP PROPERTY SPUR SECONDARY WALK FROM PARKING (FOOTPRINT DASHED) OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL ROUTE 741 STAIR DOWN TO ROLLING STOCK OVERLOOK HALLS STRASBURG HISTORIC RAILWAY RaIlROad MuseuM Of PennsylvanIa OVERLOOK Existing Museum Plan & ENTRY EXHIBITS Site Environs Including New SECOND LEVEL PLAN Roundhouse Exhibit Hall hilferty museum planning exhibit design 25' 100' 400' InItIal MeetIng Phase RePORt 19 N 0 50' 200' 800'
FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND RESTORATION SHOP (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT WEST RO HALL LLING S FENC TOCK EX E A 1A 2A 3A 4A 5A 6A 7A 1 STAIR TO 2 3 4 5 6 HALL HIBIT FUTURE FENCE 7 FENCE ROUNDHOUSE k 2 av 4 3 4 OVERLOOK 4 3 8 9 OU ADDITION (FOOTPRINT DASHED) CENTRAL SERVICE ENTRY 1 k 5 10 11 TDO 5 4 k OR B 3 1 1 3 3 12 13 so ROL LIN 1 2 1 av 2 4 4 GS T T 4 3 TOC 1 2 5 BELOW THE 3 KY LOCOMOTIVE 5 5 4 5 LOCOMOTIVE 3 5 ARD TURNTABLE 5 BISHOP 3 4 ROAD 4 1 k OVERLOOK ABOVE C 4 k 3 2 1 2 2 k 3 SPINE 1 2 1 5 4 2 4 1 1 5 1915 STREETSCAPE 5 1 3 1 av 3 4 av D 4 STAIR major KIDSP k 5 ENTRY EXISTING SECONDARY WALK FROM PARKING ACE 2 OUT DOO 4 NEW 4 METROLINER CAR (70') so LOBBY STAFF PARKING R RO BUS DROP OFF LIMITED ARRAY OF SIGNAL major ELEV & STAIRS so LLIN ROUNDHOUSE AND PARKING BRIDGES & TOWERS IN G ST EXHIBIT MULTI- OCK CONTROL MODULATED INCREMENTS ALONG PATHWAY NEW PRIMARY av POINT PURPOSE fo YAR FENCE PROCESSION STAIRS SPACE D HALL FROM PARKING fo T T LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL 3 MUSEUM SHOP COVERED LOGGIA OGGIA ENTRY COVE RED L OUTDOOR ROLLING STOCK YARD so fo DROP OFF / TEMPORARY PARKING fo PEDESTRIAN ARRIVAL FENCE FENCE VEHICULAR ARRIVAL so ROUTE 741 STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK RaIlROad MuseuM Of PennsylvanIa Visitor STRASBURG HISTORIC RAILWAY Experience OVERLOOK Diagram SPECIAL COLLECTIONS & Preferred Option Plan ENTRY CHANGING EXHIBIT GALLERY c hilferty museum planning exhibit design SECOND LEVEL PLAN 20' 80' 320' InItIal MeetIng Phase RePORt 20 N 0 40' 160' 640'
VEHICULAR SHADE STRUCTURE: METROLINER CAR: SHADE STRUCTURE: ARRIVAL & PARKING "Suburban Station" themed Relocated Car to serve as exciting prelude to Museum "Suburban Station" themed rest spot, with seating [from Rolling Stock Yard] rest spot, with seating ORIENTATION: PEOPLE PLACES PRODUCTS: SIGNAL MASTS, BRIDGE: Facility & Subject Orientation Kiosk line drawings & interpretation selectively limited array of signal bridges and masts [exterior-grade graphics & structure] used along entry procession along new promenade [exterior-grade graphic silhouette] [exterior-grade graphics & structure] RaIlROad MuseuM Of PennsylvanIa Conceptual Elevation At New Primary Procession from Parking hilferty museum planning exhibit design InItIal MeetIng Phase RePORt 21
FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND D STAIR EXISTING SECONDARY WALK FROM PARKING METROLINER CAR (70') BUS DROP OFF LIMITED ARRAY OF SIGNAL BRIDGES & TOWERS IN AND PARKING MODULATED INCREMENTS ALONG PATHWAY NEW PRIMARY PROCESSION FROM PARKING STAIRS T MUSEUM SHOP OGGIA fo COVE RED L so SUBURBAN STATION / METROLIINER ERA COMMUTER STATION-THEMED COVERED REST AREAS RaIlROad MuseuM Of PennsylvanIa DROP OFF / TEMPORARY PARKING fo Visitor Experience VEHICULAR ARRIVAL so Diagram Enlarged Plan: New Primary Procession from Parking hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 22 N 0 20' 80' 320'
FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND KIDSP ENTRY ACE STAFF PARKING major ELEV & STAIRS so LOBBY CONTROL MULTI- POINT PURPOSE SPACE so fo STAIRS major av T T fo LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL MUSEUM SHOP NEW PRIMARY COVERED LOGGIA PROCESSION ENTRY FROM PARKING OGGIA COVE RED L OUTDOOR ROLLING STOCK YARD RaIlROad MuseuM Of PennsylvanIa fo Visitor so PEDESTRIAN ARRIVAL FENCE Experience FROM STRASBURG RAILROAD Diagram Enlarged Plan: Lobby & Main Subject Orientation Exhibits hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 23 N 0 20' 80' 320'
FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND RESTORATION SHOP (GUIDED TOURS ONLY) CENTRAL SPINE AREA INCLUDES A WIDE PROMENADE--CENTERED ON THE OVERLOOK ABOVE--ALL AROUND WITH OPEN FLOOR AREA FOR VIEWS FROM ENTRY, PROGRAMMING, AND SPECIAL USE (DENOTED BY LIGHTER AREA) 6A 7A 1 2 3 4 5 STAIR TO OVERLOOK intro 3 4 4 intro 1 intro C E N T R A L 3 3 intro 1 intro av 4 5 BELOW THE LOCOMOTIVE intro 3 OVERLOOK ABOVE intro 2 2 k S P I N E intro 1915 STREETSCAPE intro 1 1 RaIlROad MuseuM Of PennsylvanIa 4 intro av Visitor Experience ENTRY STAFF PARKING Diagram Enlarged Plan: ELEV & STAIRS Central Spine & MULTI-PURPOSE SPACE Theme Introductions hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 24 N 0 20' 80' 320'
PRODUCTS: PEOPLE: RMP ROLLING STOCK PEOPLE: PEOPLE: PRODUCTS: RMP ROLLING STOCK Penn Central Locomotive Working on the Railroad People & Railroads in PA Passengers Early Steam Locomotive [transparent graphic [Audio Visual projection inside [Audio Visual projection on [Audio Visual projection [graphic on transparent silhouette] of box car] side of box car] on side of passenger car] scrim material] PRODUCTS: EXHIBIT: EXHIBIT: PRODUCTS: PRODUCTS: EXHIBIT: of Industry Theme exhibit Theme exhibit, with Machine Parts of Industry Theme exhibit [transparent graphic hidden A/V equipment [transparent graphic] [transparent graphic silhouette] at reverse side silhouette] RaIlROad MuseuM Of PennsylvanIa Conceptual Elevation Rolling Stock Hall hilferty museum planning exhibit design InItIal MeetIng Phase RePORt 25
RMP ROLLING STOCK PLACES: BANNERS: RMP ROLLING STOCK OVERLOOK Modern Signal Bridge at Overlook & Central Spine area, with exhibits along railing [steel & graphics] placed so as to not interfere with views [graphics on fabric] EXHIBIT: PRODUCTS: PLACES: PRODUCTS: CENTRAL SPINE / INTRODUCTORY AREA: INTRO TO THEMES: PRODUCTS: Theme exhibit Signal Mast Historic Signal House Locomotive Anatomy of Parts +/- 40' X 160' open area centered on overlook above, Exhibits introducing each of the 5 Livestock [graphic silhouette] [transparent graphic [graphic etched on flanked by THEME INTRODUCTION EXHIBITS themes occur along the [transparent graphic silhouette] transparent material] Central Spine silhouette] RaIlROad MuseuM Of PennsylvanIa Conceptual Elevation Central Spine & Overviews hilferty museum planning exhibit design InItIal MeetIng Phase RePORt 26
FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND FUTURE ROUNDHOUSE ADDITION (FOOTPRINT DASHED) TOILETS LOCOMOTIVE TURNTABLE 3 BISHOP 5 ROAD 4 1 av fo 5 RaIlROad MuseuM Of PennsylvanIa so 4 4 Visitor OUT DOO R RO NEW Experience LLIN G ST OCK ROUNDHOUSE EXHIBIT Diagram YAR D EXTERIOR INTERPRETIVE NODES--FROM EACH HALL Enlarged Plan: THEME--AS APPROPRIATE FOR OUTDOOR Turntable & FENCE ROLLING STOCK YARD New Roundhouse 3 hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 27 N 0 20' 80' 320'
FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND ROUTE 741 STAIR DOWN TO ROLLING STOCK HALLS 5 OVERLOOK 4 1 3 2 EXHIBITS ABOUT EACH THEME (NUMBER AS APPROPRIATE; TWO FROM EACH THEME SHOWN) RELATING TO OBJECTS / PLACES VIEWABLE FROM OVERLOOK 4 1 OVERLOOK 5 3 2 ENTRY RaIlROad MuseuM Of PennsylvanIa CHANGING SPECIAL COLLECTIONS c c EXHIBIT GALLERY Visitor GALLERY Experience Diagram SECOND LEVEL PLAN Enlarged Plan: Second Level hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 28 N 0 20' 80' 320'
Appendix Meeting Notes: June 05, 2011 Thematic Outline Unifying Design Concept Drawings Visitor Experience Diagram Options Meeting Notes: July 11, 2011 InItIal MeetIng Phase RePoRt 29
Railroad  Museum  of  Pennsylvania   Meeting  Notes   Monday  June  6  –  7,  2011     Initial  Meeting  Phase     Participants   Hilferty   SV  –  Sam  Van  Nostrand   sam@hilferty.com   DC  –  Dean  Clouse     dclouse@hilferty.com GH  –  Gerry  Hilferty     geh@hilferty.com   CP  –  Carol  Perloff     cbperloff@verizon.net     BHSM   SM  –  Steven  Miller     stemiller@state.pa.us   MB  –  Michael  Bertheaud   mbertheaud@state.pa.us   BR  –  Brenda  Reigle     breigle@state.pa.us     RMP   CF  –  Charles  Fox     chfox@state.pa.us   BS  –  Brad  Smith     brasmith@state.pa.us   NJ  –  Nick  Jmijewski     c-­‐nizmijew@state.pa.us   AM  –  Allan  Martin     almartin@state.pa.us   DR  –  Deborah  Reddig     dreddy@rrmuseumpa.org   AD  -­‐    Ann  Davis  -­‐       info@rrmusuempa.org   PM  –  Patrick  Morrison   pmorrison@state.pa.us   TG  –  Troy  Grubb     trgrubb@state.pa.us   CB  –  Craig  A.  Benner     cbenner@state.pa.us     *  denotes  partial  attendance     Walk  around  museum                 8:30AM  –  10:00AM                         10:05AM   We  started  the  meeting  with  a  big  picture  overview  of  what  previous  plans  and  studies  had   been  completed,  what  projects  were  being  undertaken  presently  at  the  site  and  what  future   projects  are  being  considered.     • BR  –  the  plans  resulting  from  efforts  two  years  ago  have  some  elements  moving   ahead  and  some  that  are  not.  Funding  is  a  major  factor  in  that  determination.   • CF  –  Master  Plan  has  been  useful  for  overall  planning.  RMP  was  successful  in   purchasing  the  Bishop  Road  property.   • Any  additions  to  the  museum  building  such  as  were  suggested  in  the  architectural   master  plan?   • CF  –  No  plans  to  expand  for  now.  CF  cautioned  against  augmentations  to  the   building  as  it  could  chew  up  the  budget.  All  acknowledge  the  funds  allocated  under   this  scope  of  work  for  the  exhibits  cannot  be  used  for  architecture.  The  current   1
Railroad  Museum  of  Pennsylvania   projects  under  way  are  the  HVAC  (making  the  rolling  stock  hall  (RSH)  a  conditioned   space)  and  the  design  and  ultimate  construction  of  the  roundhouse.   -­‐ the  HVAC  project  is  scheduled  to  be  completed  by  October  2011,  may  be  as   late  as  January  2012.   -­‐ Roundhouse  design  is  to  be  complete  by  December  2011  and  open  by  Spring   2013.   -­‐   • The  roundhouse  architect  is  Erdy  McHenry  Architecture  in  Philadelphia.  They  are  in   the  design  stage,  the  structure  is  modern  and  sustainable  –  brick  and  glass.  Contact   PHMC  Barry  Loveland  to  initiate  getting  plans  and  information  for  the  roundhouse   addition.   • Any  rail  yard  or  site  work  planned?  CF  –  A  suggestion  was  to  utilize  special  grasses,   not  likely  to  implement.  There  will  be  a  nice  paved  pathway  leading  from  the  SW   corner  of  RSH  to  the  roundhouse.   • Any  orientation  for  visitors  from  parking  lot  to  the  entry?  CF  –  was  hoping  to  make   that  part  of  this  meeting/phase  discussion.  No  structures,  only  signage.   • Any  interpretation  of  the  rail  yard  or  roundhouse?  CF  –  Not  a  great  deal  of  effort  has   been  spent  on  interpretive  signage.  Out  of  the  100,000SF  RSH  only  16%  of  it  is   interpretive.  There  won’t  be  a  lot  of  room  in  the  roundhouse  for  interpretation.  The   challenge  is  RMP  has  a  world-­‐class  collection,  but  it’s  difficult  to  create   environmental  context  and  introduce  people  stories.  It’s  presently  a  great  place  to   see  a  lot  of  trains,  but  we  can  teach  a  lot  more  than  that.   • CF  –  Orientation  is  critical  for  visitors,  letting  them  know  what  their  choices  are.   Also,  we  need  to  get  the  five  identified  themes  across  right  away.   • Have  you  matched  artifacts  to  the  stories?  CF  –  We’ve  started.   • BS  –  We  are  working  on  creating  virtual  tours  (360°  panorama  video)  of  the   inaccessible  train  cars  to  be  shown  on  existing  (refurbished)  kiosks.   • What  opportunities  are  there  to  supplement  the  capitol  budget?  CF  –  We  have  good   relationships  with  Norfolk  Southern  and  other  railroads.  Outside  funds  can  be  used   to  pay  for  virtual  tours,  architectural  items,  archive/library,  etc.  Other  sources   include  North  American  RR  Federacy,  plus  local  entities  and  individuals  –  Steinman.   DR  –  It  depends  on  what  the  “ask”  is,  maybe  specific  community  based  groups   would  be  interested  in  helping  fund  a  particular  item/exhibit.   • The  same  rules  apply  for  how  funds  can’t  be  used  for  architecture?  BR  –  right.  CF  –   Not  for  major  architectural  changes.   • SM  –  The  new  administration  believes  history  is  important  –  that’s  good  news.  If  we   can  define  the  needs  the  Keystone  Fund  can  be  utilized,  we  can  make  a  reasonable   request.   • BR  reminds  that  this  is  just  initial  planning,  not  a  lot  of  detail  will  be  included  –  this   will  be  a  general  overview.  We  can  begin  to  scope  out  the  needs.  This  will  be  the   only  “phase”  Hilferty  will  provide  services  for  under  the  current  contract  that  expires   in  October.  However  if  some  specifics  are  included  the  report  can  be  used  for   fundraising.  BR  will  email  CF  confirmation  that  $4.5M  is  the  budget  for  the   interpretive  effort.  GH  –  This  includes  everything  interpretive  from  the  parking  lot,   2
Railroad  Museum  of  Pennsylvania   to  the  front  door,  the  museum,  the  rail  yard,  and  the  roundhouse?  CF  –  Yes,  this  is   our  opportunity  to  change  the  entire  interpretive  experience.  There  are  a  lot  of   “made  in  Pennsylvania”  companies  that  are  still  going  concerns;  General  Electric,   Baldwin,  Union  Switch  &  Signal,  etc.  These  are  opportunities  for  partnerships;  they   can  be  support  to  the  project.  SM  suggested  looking  for  ways  to  utilize  donors  for   specific  opportunities.   • CF  –  We  are  poised  for  significant  growth  in  the  next  5  years,  we  can  truly  reshape   the  museum.  The  HVAC  project,  the  new  exhibits,  the  roundhouse  all  will  increase   interest.  The  roundhouse  is  an  attraction  in  itself  and  could  pay  for  itself.   • What  is  current  visitation?  Presently  about  130,000  visitors  annually.  2001  was  the   best  year  since  opening  with  160,000  visitors.   • What’s  the  status  of  the  Strasburg  Railway?  CF  –  It’s  slowly  slipping  away,  they’re   not  applying  their  attention  to  tourists.  They  are  also  operating  as  a  short  line   railroad  moving  freight;  the  rehab  shop  is  also  a  large  part  of  their  focus.  They  are   separate  and  have  a  different  focus  than  RMP.  We  are  not  going  to  be  tied  to  what   they  are  or  aren’t  doing,  though  we  would  like  to  capture  the  300,000  visitors  per   year.   • The  “Deco”  façade  needs  help.   • CF  –  We  need  to  maintain  the  ability  to  change  the  rail  stock  in  RSH  every  two  years   though  that  is  not  a  focus  of  the  exhibit.  It  helps  to  exercise  the  gearboxes,  etc.  We   still  intend  to  “contextualize”  similar  to  the  1915  street  scene.  That  is  a  good   example/illustration  of  how  railroads  changed  the  way  we  live(d).  “Station  Shops”   should  become  “1915  Street  Scene”    -­‐  adding  interpretation  would  be  good.   Railroads  changed  the  way  we  lived,  i.e.)  citrus  fruit  from  Florida.   • The  most  contemporary  pieces  of  rolling  stock  are  1970’s  –  40  years  old.   • We  must  cover  the  stories  of  all  rail  lines  –  not  just  the  Pennsylvania  Railroad.  Ideally   we  would  have  chosen  to  have  fewer  PA  RR  locomotives.   • Can  visitors  access/board  trains?  Some,  we  could  add  more.  Some  are  too  detailed   and  fragile;  the  virtual  tours  would  be  better.  BS  –  We  can  achieve  a  balance   between  conservation  and  interpretation.     • There  is  an  ongoing  film  digitization  project.  PRM  old  archive  films  are  being   converted  to  digital  format  and  will  be  available  for  use  in  the  new  exhibit.   • We  are  a  railroad  museum  with  a  bunch  of  trains  that  don’t  go  anywhere.   • Some  additional  rolling  stock  could  be  placed  at  disembarking/parking.  There  is  a   long  path  leading  from  parking  to  the  entrance  with  no  shade/protection   Please  refer  to  the  bullet  point  list  of  General  Comments  (GC)  Regarding  Exhibit  Design  Gleaned   from  Staff  Discussions  updated  5/25/11.  The  meeting  (mostly)  follows  this  list  until  mid-­‐ afternoon.  [The  notes  are  in  sequential  order  following  the  meeting  –  some  out  of  sequence   comments  and  discussions  have  a  note  referencing  the  GC#  it  best  relates  to.]   GC- 1: We are focusing our current efforts on developing themes, stories, and relevant artifact lists - - leaving exhibit design work to Hilferty. That being said, we like the idea of dividing our five themes geographically – perhaps focusing on two themes in Rolling Stock Hall(RSH) west, two in RSH east, and one in the roundhouse (tentatively scheduled for completion in March 2013). The 3
Railroad  Museum  of  Pennsylvania   exhibit should incorporate the lobby, the kiosks, the 1915 Street Scene, the yard and the new roundhouse.   • The  five  themes  are;  Railroads  and  their  Impact,  Railroads  and  the  Pennsylvania   Landscape,  How  the  Railroad  Works,  Made  in  Pennsylvania,  and  Working  on  the   Railroad.  GH  asked  to  confirm  it  was  the  intention  to  move  one  of  the  five  themes   out  to  the  roundhouse?  Yes.  GH  cautioned  removing  one  of  the  five  (20%  of  the   story)  has  a  challenge  in  that  weather  becomes  a  factor  in  visitors  accessing  the   theme  based  in  the  roundhouse  as  access  is  by  a  hardscape  pathway  without  a   roof/cover.  CF  offered  that  the  roundhouse  based  theme  become  an  elaboration  of   a  theme  visitors  will  be  introduced  to  inside  the  main  museum  building.  CB  –  Not   seeing  everything  on  a  first  visit  may  encourage  repeat  visitation.   • PM  –  Give  each  of  the  themes  an  icon.  Some  of  the  exhibits  will  cover  multiple   stories  and  icons  could  serve  to  key  visitors  into  identifying  the  themes.   • SM  related  the  success  and  recent  State  discussions/strategies  to  incorporate  the   use  of  cell  phone  access  to  interpretive  programming.  One  challenge  here  is  that  cell   coverage  isn’t  complete.  PM  did  relate  trial  cell  phone  stations  tried  previously  did   not  have  enough  visitors  using  them  to  be  effective.   • QR  codes?  SM  described  PA’s  autumn  based  campaign.  The  State  is  thrilled  with  the   technology,  it  appeals  to  a  new  audience.  It  opens  up  the  opportunity  for  visitors  to   link  and  communicate  with  each  other.   GC-2: Our visitors occasionally need help finding their way through the Museum, so orienting visitors will be an important component of the exhibit. If we want visitors to follow a specific path, we could perhaps establish a “suggested route” which visitors follow – with the idea that repeat or less-interested visitors will likely take their own path. An orientation map of some sort might help. GC-3: The new-staircase-to-the-second-floor concept, discussed in our site master plan, is too ambitious to incorporate into this exhibit project. Without such a staircase, we should continue using the first floor as the primary traffic flow point into RSH. GC-4: The staff consensus regarding an orientation theatre is as follows: the current video is too long, and the current theater location is less than ideal. We do feel that we need some sort of orientation video but we need to keep it short (4-5 minutes) and we need to present it as an option to visitors before they enter rolling stock hall. In addition to an orientation video, we envision that video related to various exhibit themes could be presented in other areas of the hall. GC-5: We want a core message presented forcefully in an introduction, emphasized throughout our themes, and then reiterated in our conclusion. GC-6: Use the lobby to orient visitors and present our introduction; present our conclusion here as well. GC-7: Design the walk-through to RSH as if it were a concourse connecting a head house and train shed.   • Regarding  orientation;  Visitors  need  both  facility  orientation  and  subject  orientation.   - Facility  Orientation  is  critical  in  a  multi-­‐venue  site  and  will  help  visitors  know   what  is  available  at  the  site  (how  to  spend  their  time)  and  how  to  get  around   (way  finding).   4
Railroad  Museum  of  Pennsylvania   - Subject  Orientation  will  be  the  introduction  of  the  5  main  themes,  it  will  give   visitors  an  idea  of  the  magnitude  of  railroads  in  Pennsylvania.   The  two  types  of  orientation  need  to  be  clear  and  not  directly  mixed  (confusing).   • BS  agrees;  where  are  the  bathrooms?,  how  do  we  get  out  to  the  rail  yard?  Likes   having  a  central  area  where  visitors  can  get  their  bearings.  Maybe  have  footprints  to   “take  people  to  the  yard”.   • See  GC  4:  The  current  orientation  video  is  about  15  minutes  long,  does  not   reference/follow  the  five  themes,  and  doesn’t  directly/clearly  address  railroads   changed  the  way  we  live.  It  falls  short,  some  basics  are  covered,  and  it  meanders.   Should  be  scratched  and  start  over,  15  minutes  is  too  long  –  5  minutes  duration  is   the  goal.   • See  GC  4:  BR  –  We  can  change  its  physical  location,  move  it  closer  to  the  door  and   make  it  more  evident.  It’s  presently  located  in  the  baggage  room.  Would  like  to   return  it  to  a  baggage  room.     • GH  –  A  small-­‐scale  presentation  is  not  equal  to  the  magnificence  of  the  subject.  The   intro  AV  should  set  the  tone  for  what’s  to  follow  –  let  visitors  know.   Facility  Orientation   • CF  likes  maps  as  an  effective  orientation  tool.  GH  –  or  simple  models   • What  do  we  need  to  let  potential  visitors  know?  CF  –  should  utilize  the  walk  from   the  parking  lot  to  inform  visitors.   • The  current  visitor  admission  is  $10  adults,  $9  seniors,  $8  kids   • PM  –  Visitors  avoid  the  desk;  esthetics  is  an  issues  as  well  as  location  and   appearance.  GH  mentioned  at  Pennsylvania  Military  Museum  Hilferty  has  plans  to   add  a  kinetic  attract  just  beyond  the  ticketing  desk  as  an  enticement  to  visitors   deciding  whether  to  buy  a  ticket.  Let  visitor  know  in  the  lobby  how  exciting  it  will  be.   CF  points  out  the  current  use  of  large  AV  monitors  to  impart  information  to  visitors.   • DR  suggested  another  place  to  connect  with  visitors  is  in  the  connecting  hallway  into   RSH.  CF  agrees.   • GH  wanted  to  explore  ways  of  moving  visitors  upstairs  first.  Advantages  are  a  wow   moment  entering  into  RSH  onto  the  bridge  with  an  overview  of  the  collection.  CF   disagrees.  The  wow  moment  is  when  you  walk  up  to  the  locomotives  –  stagger  at   the  size  of  them.  CF  stated  after  a  lot  of  thought  RMP  has  come  to  the  conclusion   that  the  first  floor  entry  is  easier  financially,  architecturally,  and  it  fits  with  their  goal.   PM  added  visitors  are  immediately  immersed  into  the  1915  town.  MB  described  it  as   the  Pitt  tunnel  effect  when  you  enter  Pittsburgh  there  is  a  definite  wow  when  you   exit  the  tunnel  and  are  hit  with  the  vision  of  downtown.  Entry  on  the  second  floor   ramp  diminishes  the  scale  of  the  trains.  CF  is  reminded  of  similarity  to  riding  the   Reading  RR  when  he  was  a  child  –  you’re  right  down  amongst  them.   • SM  asked  if  canted  panels  are  used?  Yes,  it  creates  a  pinch  point.   • PM  acknowledges  the  upstairs  view  is  good  for  a  large  group  orientation.   • CB  said  the  front  area  is  wasted  space.   5
Railroad  Museum  of  Pennsylvania   • CF  would  like  to  use  video  to  support  the  educational  mission.   Overall  Circulation/Routing   • Lobby,  ticketing,  orientation  show,  tunnel  (must  deliver).  GH  –  It  customary  to   organize  around  a  central  area  such  as  cathedrals  and  malls.  TG  likes  idea  of  having  a   core  exhibit  area  in  the  middle  of  RSH.  DR  reminds  that  we  must  maintain  a  central   area  for  rentals;  weddings  and  dances  need  a  clear  centralized  space  –  maintain   revenue-­‐generating  area.   • AM  –  clarified  that  the  present  movable  crossovers  are  not  safe,  they  aren’t  flush   with  the  floor  on  either  side.  GH  asked  if  they  are  movable?  Yes,  with  a  pallet  jack.   We  need  to  look  at  new  ways  to  get  people  across  the  tracks   • BS  described  how  and  why  the  old  wooden  car  is  strategically  placed  under  the  RSH   bridge  for  protection  from  potential  roof  collapse.   • Is  there  power  available  to  middle  areas  of  RSH?  Along  the  perimeter,  not  in  the   center.  Can  we  place  a  “bull’s-­‐eye”  at  the  far  wall  (South)  of  RSH  to  pull  visitors   through?  Maybe  a  window  into  the  restoration  shed?  CF  –  not  architecturally   practical,  but  bull’s-­‐eye  is  a  good  idea.  MB  said  adding  such  an  element  will  create  a   desire  that  can’t  be  fulfilled  –  this  is  as  close  as  you  can  get.  AM  –  tours  are  available.   • PM  described  the  bridge  as  underutilized.  GH  suggested  that  the  overhead   directional  signage  is  too  close  to  authentic  –  it  should  be  significantly  different  and   not  themed  in  a  period  fashion.   • AM  –  It  would  be  good  if  the  automatic  doors  leading  into  RSL  could  be  replaced   with  automatic  sliders.  NZ  questioned  if  the  doors  are  even  still  needed  after  RSH  is   conditioned?  Also,  can  we  eliminate  the  upper  level  doors?  Suspicion  is  that  the   environmental  seal  must  be  maintained.  What’s  possible?  Second  architectural  firm   concerned  with  RSH  retrofits.  GH  –  Can  we  get  a  read  from  them?  –  Yes.   • GH  –  Sound  should  be  considered  at  RSH  entry  area.  CF  –  yes,  it  should  be  a  part  of   the  experience.  There’s  a  lot  we  could  do.  The  1915  streetscape  provides   opportunities.  Altoona  is  actually  like  a  railroad  town.   • Any  oral  histories?  Yes.  Still  collecting?  Not  presently.  Oral  histories  are  a  valid  and   valuable  opportunity.  Yes,  they  can  make  the  exhibits  come  alive.   • NZ  –  RMP  is  looking  at  digitizing  tons  of  existing  old  footage  (film).  CF  mentions  the   idea  of  a  railroad  theater  to  show  some  of  this  historic  footage.  BS,  “Come  on  boys   housewives  are  waiting.”   • GH  –  WWII,  any  “Rosie”  stories?  Yes,  also  significant  cultural  stories  –  black  porters,   immigrants,  Irish  building  the  railroads.   • GH  –  What  access  is  there  to  the  new  roundhouse?  Out  the  NE  exit  into  the  rail  yard   on  to  a  150  yard  walkway.  CF  –  We  need  to  keep  visitors  focused,  not  give  them  too   many  options.     Disembarking   • GH  –  Orientation  for  visitors  upon  arrival  as  you  get  out  of  the  car,  any  possibility  of   having  a  rain  shelter?  Built  in  kiosk?  Shared  idea  at  Drake  Well  Museum  of  small   6
Railroad  Museum  of  Pennsylvania   distinctive  sign  leading  from  the  parking  lot  with  factoids.  AM  suggested  having  a   sign  near  the  parking  lot  with  hours  of  operations,  and  lights.   • Any  possibility  of  placing  a  train  in  the  front  between  the  parking  lot  and  the  entry?   Difficulties  include  grade  problems  and  identifying  an  appropriate  piece  of  rolling   stock  that  will  hold  up  the  weather.  CF  explained  that  the  building  windows  are   being  replaced  with  insulated  glass  as  part  of  the  HVAC  upgrade  –  there  are   windows  in  the  NE  corner  of  the  building  between  the  parking  lot  and  the  entry.   • Presently  there  are  lots  of  trains  in  the  yard  as  visitors  arrive  from  the  east  giving   visitors  the  sense  of  what  the  complex  is  all  about.  Arrival  from  the  west  is  quite   different  in  that  no  trains  appear  on  the  west  end  of  the  building.  PM  brought  up  the   idea  of  muralizing  the  west  end  of  the  building.  Other  ideas  include  utilization  of   exterior  photos,  murals,  banners,  sculpture,  and  digital  projection  of  trains  during   operating  hours.   • Visitors  are  visually  drawn  to  the  themed  Strasburg  Railroad  across  the  street.   • GH  restates  the  need  for  a  way  to  draw  visitors  form  the  parking  lot  and  direct  them   to  the  front  door.  There  s  an  existing  iron  bridge  that’s  not  installed.  Could  we  put  a   train  on  the  iron  bridge?  The  type  of  bridge  it  is  has  the  train  on  top  of  the  truss  –  so   it  would  be  up  in  the  air.  Could  we  use  the  bridge  as  part  of  the  pedestrian  way?  Or   create  a  layered  silhouette  sculpture  of  a  train  with  dramatic  lighting.  CF  wrapped   up  with  a  caution  that  we  don’t  spend  too  much  on  the  exterior  and  slight  the   interior  exhibits.   Lunch                     12:30PM  –  1:45PM   After  lunch  it  was  the  focus  to  wrap  up  the  General  Comments  and  move  on  to  exploration  of   the  five  theme  areas.   GC-9: Core message should reflect historical significance, but also emphasize contemporary significance, with something contemporary highlighted in each theme. GC-10: We could develop small icons for each theme (e.g. a silhouette of PA for the Pennsylvania Landscape theme), to get around the fact that it will be difficult to keep the representatives of each them physically united. GC-11: The finished exhibit will ideally contain a nice blend of “stories” and “stuff” using PA examples to tell the overall story. • The  railroad  is  alive  and  well  today.   GC- 12: The introduction will present our core message: “Railroads changed the way we live”. In addition to presenting this message, the introduction will present the basic gist of our five themes. GC-13: A conclusion should reiterate the five themes and our core message. GC-14: The exhibit should be thematic rather than chronological. Each theme should have its own introduction and conclusion. Themes should include contemporary materials where possible. GC-15: The exhibit should be multi-sensory and include sound, smell, etc. GC-16: The exhibit should allow for changeability (within the exhibit) and for movability. Theme areas will need to be somewhat mobile, like the baggage cart idea. • Emphasize  the  main  overarching  message,  “Railroads  changed  the  way  we  live”   7
Railroad  Museum  of  Pennsylvania   • The  five  themes  will  be  reiterated  upon  departure  as  a  reinforcement  of  what  we’re   trying  to  impart.   • The  collection  resides  at  RMP:  it  includes  over  500,000  images  and  150  movies.   GC- 17: Materials from Interpretive Solutions should be used as a basis for scripts, artifact lists and graphic lists, but will ultimately be only one of many elements we use as we work together to craft a new exhibits plan. • Hilferty  inquired  who  will,  in  the  design  phases,  assemble  the  data  (stories,   collections,  images)  into  a  draft  script  matrix?  Will  it  be  more  similar  to  Pennsylvania   Military  Museum  where  the  State  takes  the  lead  or  like  Pennsylvania  Lumber   Museum  where  the  contractor  takes  the  lead?  BR  clarified  the  contractor  will  take   the  lead  and  collaborate  with  the  RMP  and  PHMC  teams.  BS  referred  to  the  list  of   where  they  matched  artifacts  to  story.   •   GC- 18: We would love to see interactive exhibits that will engage visitors who learn best by doing. However, we are much less interested in high-tech due to the fact that tech-based exhibitry could become get outdated quickly and present potential maintenance problems. • What  about  the  big  screens?  CF,  not  really  high  tech.  We  don’t  want  science  center   computer  interactives.   • OK  with  mechanical  interactive  exhibits?  Yes,  we  do  have  a  diesel  simulator.  See   Stewart  Junction,  lots  of  lift  panels  and  simple  interactives.  Also  see  our  coal   shoveling  interactive.  Thresher  –  too  high  tech?  it  has  AV  that  doesn’t  work.   • CP  –  What  about  remote  access  videos  to  see  inside  rail  cars?  RMP  is  working  with   Media  Dimensions,  Timonium,  MD  http://www.mediadimensions.com/  to  make   360°  videos  of  the  interior  of  50  cars.   • CF  –  Kiosks  will  allow  visitors  to  pull  up  key  information  on  rail  cars.  GH  would  like  to   integrate  into  the  overall  exhibit  approach.   • PM  –  Other  simple  technology  similar  to  a  previous  wall  mounted  lobby  exhibit  that   was  showed  steam  and  fire  inside  of  a  locomotive  using  bypassing  cellophane   graphics.  MB  offered  another  effective  simple  interactive  is  stacking  stone  fences  at   Sturbridge  Village.   GC-19: While not exactly exhibit-related, we desperately need a new ticket desk, located in a better position, that includes separate ticketing and information stations. GC-20: We envision changing our rolling stock hall layout to meet interpretive needs. However, when it comes to the equipment stored in rolling stock hall, conservation needs are of paramount importance.   • Need  to  list  objectives:  maybe  an  information  desk,  maybe  concessions.  Food  can   work  if  it’s  placed  correctly.  BR  suggested  having  more  restrooms.     There  is  a  version  of  the  theme  outline  sheet  that  had  the  addition  of  an  alphanumerical  outline   key  so  particular  sections  could  be  referenced  .  Themes  are  numbered  1-­‐5,  bullet  points  are   alpha,  and  the  hollow  bullets  are  numerical  –  all  in  order/hierarchy  of  the  way  the  document   was  originally  assembled.   8
Railroad  Museum  of  Pennsylvania   Theme  One:  Railroads  and  Their  Impact             2:15PM   • CF  –  this  is  the  heart  of  the  entire  operation,  a  massive  topic.   • TG  –  Encompasses  a  lot.    Platform  1  lends  itself  to  this  with  the  photo  studio,  general   store,  hotel  bar,  and  worker’s  house.   • Want  to  turn  the  present  AV  room  back  into  a  baggage  room  –  intended  to  be   storage.   • BR  –  If  street  scene  is  1915  how  do  you  intend  to  show  earlier  or  later  periods?  CF  -­‐     we  use  this  because  1915  is  close  to  the  apex  of  steam  technology.  PM  –  The  exhibit   introduction  is  1915  and  we  can  use  icons  to  tie  other  eras  into  the  intro  areas.   • What  about  the  utilization  of  the  core  of  RSH  as  the  introduction  of  the  5  main   theme  areas?  CF  OK  with  core  area  as  base.   • BS  –  the  story  has  to  expand  beyond  the  street  scene  to  include  the  industrial   revolution  –  see  England  as  well.   • GH  agrees  that  the  street  of  shops  is  immersive,  but  not  conducive  to  entire  story.   BS  referred  to  the  fixed  facades  of  warehouses/industrial  buildings  along  South  wall,   near  the  SW  corner  of  RSH.   • The  service  pit  offers  opportunity  for  interpretation  –  ties  into  theme  5  Working  on   the  Railroad.   • In  section  I.B.1-­‐5  we  have  a  lot  of  stock  mentioned.  There  was  shipping  of  Sears’s   houses,  cars,  etc.   • At  I.C.3  this  nice  passenger  equipment,  but  maybe  not  appropriate.   • We  can  interpret  the  same  car  on  2  sides  with  different  stories.   • Another  impact  was  the  communication  story  and  how  the  telegraph  impacted   doing  business.   • GH  –  In  the  immersive  area  how  much  interpretation  do  you  accept?  It  should  be   subtle  enough  it  doesn’t  ruin  the  illusion,  but  not  so  it’s  missed.  Hidden  in  crates  and   barrels  with  lift  flaps  is  OK.   • Cultural  Impact  –  Do  we  include  literature,  music,  loss  of  jobs,  and  pop  culture?  Yes,   plus  what’s  listed  in  I.F.1-­‐3.   • American  Politics     o 1916  threatened  strike,  Adamson  Act   o 1894  Ry.  Safety  Appliance   o Civil  War  –  1st  mobile  war  (see  new  document  collection),  Cumberland   Valley  Coach  1855   o Campaigning  by  rail   o Wild  Wild  West,  Thomas  Tank  Engine,  Boxcar  Children   o Current  events  –  B&O,  high  speed  rail,  cities  doing  their  own  systems   o Germans  in  1940’s  came  to  US  to  emulate  success  –  now  we’re  a  joke   to  them.   o Collapse  of  railroads  relates  to  the  collapse  of  current  car  industry.   o For  a  long  while  US  Government  wouldn’t  allow  lines  to  stop   passenger  service   o Some  areas  are  seeing  a  reversal  and  are  going  trails-­‐to-­‐rails   9
Railroad  Museum  of  Pennsylvania   • Museum  is  interested  in  maintaining  ability  to  mount  changing  exhibits  for   additional  interpretation.   • BR  reminded  everyone  that  in  all  of  these  considerations  concerning  the  new   exhibits  that  a  “today  component”  needs  to  be  included  in  the  stories.   Theme  Two:  Railroads  and  the  Pennsylvania  Landscape   • II.A  see  Horseshoe  Curve   • The  railroad  was  based  on  extractive  resources.  Look  at  it  from  a  business  aspect  as   well  as  the  natural  resource  aspect.   • The  landscape  was  changed  much  more  than  just  the  additional  of  tracks.   • This  theme  could  be  based  in  the  SE  corner  to  have  a  visual  connection  to  the   exterior  through  the  large  windows.   • Illustrate  how  the  aggression  of  the  railroad  was  at  its  peak  in  1916.  There  are   presently  52  railroads  (common  carriers)  operating  in  Pennsylvania  now.   • The  Pennsylvania  Turnpike  was  built  on  land  that  was  being  prepared  for  installation   of  a  new  railroad  –  it  lay  fallow  for  60  years.   Theme  Three:  How  Railroads  Work   • BR  –  Railroad  morons  need  simple  diagrams.  A  mention  was  made  of  an  electric   driven  model  of  how  steam  works.   • For  railroad  morons  start  with  why  you  need  an  engine.  How  to  build  trains.   Interjection  –  may  have  access  to  decommissioned  “Alto”  tower  from  Altoona.   • PM  –  maybe  this  theme  doesn’t  have  a  home  base  –  could  have  a  scavenger  hunt   throughout  the  site.  CF  –  or  it  could  be  a  mix  of  some  home  base  with  switching,   signaling,  Alto  tower  –  capture  logistic  in  an  area.   • BS  stated  it  was  a  goal  to  have  less  of  just  hardware.  They  want  to  find  a  balance   with  people  stories.   • RMP  has  a  labeled  locomotive  that  is  a  good  place  to  start  and  possibly  to  have  coal   shoveling  interactives.   • GH  confirmed  that  the  new  roundhouse  is  only  housing  steam  locomotives  –  yes,  6   total.   o In  1908  NYC  banned  steam  locomotives  –  electric  only   • BR  asked  if  a  modern  story  can  be  covered  in  the  roundhouse  –  No,  only  steam   locomotives.   • CF  knows  of  a  roundhouse  that  is  being  taken  down  that  still  has  all  of  its  contents  – intact,  working.  Maybe  we  could  get  some  ambient  sound.  Would  like  to  get  some  of   the  items  and  create  as  an  exhibit.   • What  is  the  maximum  size  of  items  that  can  be  on  the  platforms?     Theme  Four:  Made  in  Pennsylvania   • BS  –  there  are  many  things  to  discuss  in  this  section.   • BR  –  Any  current  manufacturing?   o GE  in  Erie   10
Railroad  Museum  of  Pennsylvania   o Union  Switch  &  Signal   o Westinghouse  (Wab  tech)   o Ambridge  Company   • GH  –  Any  new  innovations  such  as  magnetic  levitation  –  not  in  PA   • It  was  legislated  that  there  would  be  interchangeability  of  parts  across  equipment   brands  –  it  was  pretty  widespread.  Today’s  trains  must  be  compatible  and  work  with   other  manufacturer’s  components.   Theme  Five:  Working  on  the  Railroad   • There  is  a  vast  scope  of  jobs  associated  with  the  railroad  both  directly  and  indirectly.   In  1920’s  1  in  5  worked  in  a  railroad  related  job  –  hotels,  restaurants,  coffee  shops   • With  the  present  increase  in  railroad  related  jobs  one  of  the  lines  has  built  a  new  RR   hotel  in  Harrisburg  for  employees.   • PM  &  TG  see  cases  and  tours  telling  railroad  stories  and  utilizing  oral  histories.  This   area  could  be  artifact  and  personal  story  heavy.   • TG  –  This  is  a  good  place  for  interactives:  inspecting  cars,  sorting  mail,  shoveling  coal   • CF  –  tell  people  stories  like  the  “call  boy”  –  runner.   • BR  –  Bring  the  story  up  to  today.   • GH  asked  about  why  RMP  is  located  in  a  cornfield  not  in  a  traditionally  train  dense   urban  local?  They  were  strategic  in  locating  in  an  active  tourist  area,  plus  being   across  from  a  major  destination  of  RMP’s  target  audience.   • For  contemporary  stories  show  what  they  can  do;  capacities,  efficiencies,  etc.  See   Extreme  Trains  on  television.   • Can  access  recruitment  films.  Not  too  many  boilermakers  left.   • The  railroad  industry  has  been  through  cycles  of  centralization  and  de-­‐centralization.   • Add  “awareness  of  railroad  conservation”.   Adjourn                   5:00PM     Tuesday  June  7,  2011                 9:10AM   As  the  meeting  was  running  ahead  of  schedule,  the  client  group  decided  they  would  like  to   cover  several  topics;  delivery  methods,  lots-­‐o-­‐info,  wayfinding,  and  learning  styles.   Delivery  Methods  –  some  have  been  tried  and  worked,  some  have  not  worked   • PM  –  To  match  the  variety  of  visitors  RMP  gets  we  need  to  have  a  variety  of  content   delivery  methods.  This  includes  reading  labels,  tactile  exhibits,  and  utilizing  the   spoken  word  (recordings,  docents).  In  addition  to  learning  styles  there  is  a  great   variety  in  the  audience  ages.  Parents  want  to  act  like  kids,  fathers  are  interested  in   trains,  what  is  there  for  the  mothers/women  to  do?  MB  –  How  did  the  railroad   change  the  lives  of  women?   • BR  inquired  if  there  are  any  audience  surveys?  No,  it’s  been  a  few  years,  will  check   and  lets  us  know  what  they  can  find.  Maybe  the  2008  accreditation  surveys  would   be  helpful  –  will  research  and  forward  to  Hilferty.   11
Railroad  Museum  of  Pennsylvania   • To  assure  visitor  get  the  message  illustrate  the  story  in  a  couple  of  ways.   • Is  there  a  railroad  music  library?  Some  music  is  available  –  see  Smithsonian.  Any  Irish   work  songs?  –  see  Library  of  Congress.  Also  see  the  labor  movement  libraries.   • Tried  and  true.  PM  –  older  exhibits  have  relied  on  model,  the  problem  is  with   accuracy.  Slides  don’t  work.  Panels  at  entry  to  RSH  do  work  –  people  take  time  to   read  them.  BS  –  guard  against  overexposure  of  similar  objects,  i.e.)  lanterns.  Some   collections  are  stored  in  the  warehouse  fronts  on  the  SW  wall?  Yes,  we  have  to  look   at  rotating  the  ones  on  display.   • CB  –  we  need  to  show  journal  boxes  and  explain  what  they  are.  Same  with  sand  and   ashes.   • CF  –  Do  the  exhibits  have  to  carry  the  full  responsibility  or  can  they  be  augmented   with  docents?  –  people  like  to  talk  to  people.   • PM  –  Working  on  the  Railroad  tour  is  popular  because  it’s  hands-­‐on.  Some   volunteers  have  come  up  with  their  own  tours.     There  are  accounts  where  women  traveling  with  a  family  group  elect  to  sit  in  the   lobby  and  forgo  the  RMP  ticketed  offerings  altogether.   • Any  ideas  for  a  woman’s  tour?  TG  –  having  the  1915  street  completed  will  help  with   addition  of  the  store  and  home.  Also  stories  of  women  helping  during  wartime,  and   working  as  telegraphers.  MB  –  What  about  women  in  advertising.  CF  –  Don’t  fall   victim  to  the  idea  women  won’t  be  interested.     • PM  –  We  have  introduced  some  gender  and  race  based  tour  components.   • SM  –  Marketing  shows  women  make  the  majority  of  vacation  decisions,  followed  by   children,  then  the  males.   • DR  –  Don’t  make  the  mistake  women  aren’t  interested  in  technology.  What  about   women  who  don’t  come  in?  DR  –  the  lack  of  HVAC  has  played  into  why  some  don’t   come  in.   • CF  –  We  must  be  an  advocate  for  visitors.  CP  –  Can  you  do  a  focus  group  with  your   current  members?   • Any  other  under  served  population  segments?  Some  discussion  regarding   accessibility.  RMP  does  have  one  free  electric  scooter  and  three  wheelchairs.   • SM  –  Call  out  “green”  features  of  facility  for  those  who  are  interested.  Dr  –  this  has   been  included  in  announcements  on  facebook,  etc.  GH  –  is  there  any  monitor/read   out  showing  savings?  No   • SM  –  At  Drake  Well  Museum  a  popular  tour  is  a  behind  the  scenes  showing  the  new   geo-­‐thermal  system.   • GH  –  Railroads  have  always  been  know  as  energy  savers.   • CP  –  Any  special  needs  programming?  PM  –  we  always  adapt  the  programs  to  their   particular  condition   • BS  wrote  a  proposal  for  a  grant,  but  it  was  denied.  The  grant  was  for  a  tour  for  the   visually  impaired.   12
Railroad  Museum  of  Pennsylvania   Lots-­‐o-­‐Info  –  How  does  it  fit?   • MB  –  We  have  a  fascinating,  but  overwhelming,  amount  of  information.  CF  –  The   best  is  person  to  person  communication  i.e.)  volunteers   • PM  reminds  that  there  are  supplemental  ways  to  cover  the  breadth  of  stories  that   can’t  be  in  the  exhibit;  special  events,  speakers,  changing  exhibits   • CF  –  Though  we  have  a  national  context  we  must  still  stay  focused  on  Pennsylvania.   • GH  assured  all  that  Hilferty  will  for  this  phase  and  future  ones  if  we’re  selected   accommodate  a  variety  of  learning  methods  so  visitors  can  find  their  own  level.   • SM  suggested  utilizing  QR  codes  to  allow  interested  visitors  to  drill  deeper  into   content.  GH  –  One  to  one  (ideal)  isn’t  always  going  to  work.   • SM  –  Younger  folks  want  to  self-­‐direct.   • CF  –  Related  at  Penn’s  Manor  they  put  out  a  calendar  of  events  scheduling  activities.   i.e.)  every  3rd  week  a  turntable  event.  GH  said  at  Kansas  City  they  have  docent   engineers.   Visitor  Wayfinding  –  How  do  we  Direct  Visitors?   • TG  –  Although  we  have  a  central  hall,  how  do  visitors  make  their  way  through  the   exhibit?  CP  –  A  good  orientation  could  help   • Ideas  abounded   o Tools   o Street  Signs   o Go  over  map   o Reinforcement   o Big  Board   o Foot  prints   • PM  Communication  and  how  to  navigate  is  difficult.   • CF  –  RSH  is  similar  to  a  grocery  store  –  add  “isle”  signs.  MB  –  It’s  just  a  building.   • SM  –  Visitors  can’t  underestimate  their  lack  of  understanding   • CF  –  the  central  core  idea  will  help.   • GH  –  People  learn  and  enjoy  more  when  they  understand  how  to  navigate  and   where  they  are  within  the  facility  and  visitor  experience  –  see  Judy  Rand’s  Visitor’s   Bill  of  Rights.   • TG  –  Visitors  don’t  read  signs.  Maybe  arriving  in  a  new  environment  is  disorienting.   • GH  –  That’s  why  the  path  from  the  parking  lot  is  important  –  it’s  a  decompression   period.   • PM  –  Sometimes  we’re  asked  if  there  is  a  recommended  path  or  an  express  route  if   they  can  only  stay  for  short  time.  CF  –  see  Yorktown  method,  and  Intrepid   • SM  –  Cautioned,  don’t  under  spend  on  pathway  from  parking  lot  to  point  of  sale  –  if   you  don’t  get  them  in  ,  it’s  a  wasted  effort.   • SV  –  2007  art  deco  lobby,  what  was  the  conceptualization?  To  get  people  across  the   street.  It  has  some  good  points,  but  it  doesn’t  speak  railroad  –  more  movie  theater.   Not  popular  with  the  locals,  signage  doesn’t  read  well.  Would  like  more  of  a  train   station  if  we  could  get  it.   • GH  observed  Strasburg  Railroad  has  a  split  rail  fence  impeding  visitor’s  direct  access   to  RMP  site.  Yes,  and  also  port-­‐a-­‐johns  sometimes  line  the  road.   13
Railroad  Museum  of  Pennsylvania   • Inside  the  RMP  lobby  there  are  some  things  that  are  not  working.  The  “cage”  hides   the  staff  member  who  is  oriented  toward  right  side  and  has  back  to  visitors  who  ran   to  the  restroom  first.   • At  times  many  visitors  arrive  at  once  from  across  street  (300)  some  of  whom  have   purchased  a  combo  ticket  from  Strasburg  and  think  they  can  just  circumvent  the   whole  desk/check  point  and  go  right  in.  This  creates  difficulties  with  reimbursements   from  Strasburg.  It’s  difficult  with  the  present  configuration  to  handle  a  large  group   arriving  all  at  once.   • Previously  had  an  “airline  counter”  with  a  one-­‐way  exit  gate.   • It  was  suggested  having  a  separate  point  of  sale  and  information  desk.  Info  first   (requires  volunteers),  then  ticket  model   • TG  Mobilization  of  large  groups  in  the  lobby  interferes  with  single  visitors.  PM  –  Had   looked  at  the  gift  shop  –  maybe  the  meeting/multipurpose  room  as  a  staging  area   for  large  groups.   • The  storage  room  is  available,  but  it  also  serves  as  the  HVAC  return  plenum  and   computer  server  room.   • CF  –  Complete  trains  chew  up  a  lot  of  space.  Can  we  rethink?  i.e.)1915  train  has   three  baggage  cars,  we  could  loose  some  of  them.  Only  useful  if  you’re  doing  a   compare  and  contrast.   • Basic  ideas  to  get  across:  describe  how  a  railroad  works  [people  versus  freight],  basic   “anatomy  and  evolution”  of  a  train,  why  do  trains  need  water?   • The  example  of  Stewart  Junction  is  that  it  tries  to  educate  on  a  basic  level,  but  we   should  try  to  do  that  throughout  the  exhibit.   • Approximately  93%  of  the  collection  is  catalogued.   • There  is  some  ongoing  de-­‐accessioning.   •   Next  Steps   • BR  explains  the  contract  Hilferty  is  working  under  expires  this  Fall  so  this  phase  is  as   far  as  the  project  will  go  until  a  new  contract  is  written  –  likely  in  early  2012  with  the   selected  firm(s).  Maybe  Hilferty,  maybe  not.   • Hilferty  will  submit  meeting  notes  for  review,  comment  and  approval.   • Hilferty  will  send  some  bubble  plan  options  showing  proximity  of  topics  and  visitor   flow  for  review  and  comment  (tentatively  the  week  of  June  27th).  Hilferty  will   schedule  a  phone  call  for  a  walk-­‐through  of  the  plan  options  (tentatively  the  week  of   July  11th).  A  week  after  that,  comments  are  due  to  BR  for  forwarding  to  Hilferty.   • Hilferty  will  incorporate  those  comments  received  and  submit  a  draft  phase  report   followed  by  a  final  with  noted  changes.   14
Railroad Museum of Pennsylvania (PRM) Thematic Outline from PRM 5.25.11 Hilferty edits noted 6.6.11 Railroad Museum of Pennsylvania Thematic Outline Main Message/Introduction: Railroads changed the way we live. 1. Railroads & Their Impact Message: The railroads and related industries of Pennsylvania profoundly transformed American life, and they remain vitally important to our nation today. a. Railroads facilitated the Industrial Revolution b. Railroads changed the products available to us Suggestion: Railroads offered an unprecedented level of connectivity for people and products i. Adams Express, Railway Express Agency ii. Fruit Growers Express iii. Livestock Cars iv. Railway Post Office Service v. Sears & Roebuck, Ford, etc vi. Question: what kinds of products? c. Railroad changed the way we travel Suggestion: this becomes subtheme of previous suggested bullet point i. Railroads made an immediate impact ii. Connecting the nation’s towns 1. Stations and depots iii. Pullman, Blue-Ribbon Trains iv. Commuter rails and the growth of suburbs 1. Suggestion: PA city example? d. Railroads changed the face of American Business i. The PRR was the world’s largest corporation ii. Negative aspects of the railroad iii. Railroad advertising iv. Mergers that failed and succeeded v. PA Shortlines vi. Modern Class One Railroads in PA vii. Railroad interests in coal, lumber, etc. (this sort of repeats a bit of theme two. Is that ok, or should we keep this to a single section?) e. Railroads influenced communication and timekeeping f. Cultural Impact of Railroading i. Orphan Trains ii. Immigrant Trains iii. Hobo culture iv. Suggestion: art, music, movies, books? g. Railroads of Pennsylvania changed the face of American politics Suggestion: Railroads have long been a subject of political attention i. The mainline of public works ii. Progressive Era Legislation targeted railroads (Ry. Safety Appliance and Adamson Acts) iii. World War One and the USRA iv. Interstate Highway Act, Conrail, Amtrak, Staggers Act (moved to here from eliminated section) Hilferty Museum Planning & Exhibit Design 1 of 3
Railroad Museum of Pennsylvania (PRM) Thematic Outline from PRM 5.25.11 Hilferty edits noted 6.6.11 v. Modern freight giants: NS and CSX; to a lesser extent, perhaps CN and CP vi. Government underwriting of passenger service vii. Suggestion: current events in rail transportation, federal funding for high speed rail under Obama, cities building their own like Atlanta, perhaps get visitor feedback and opinions 2. Railroads & the Pennsylvania Landscape Message: Pennsylvania’s unique geography influenced the development of its railroads. Suggestion: Pennsylvania’s unique geography both shaped and was shaped by the development of railroads. a. Railroads were essential for extracting Pennsylvania’s abundant natural resources of lumber, coal, iron, and oil i. Anthracite Roads ii. The Reading and Anthracite (this sort of repeats a bit of theme one. Is that ok, or should we keep this to a single section?) Geared locomotives and logging railroads b. Railroads used creativity and ingenuity to conquer the formidable Allegheny Mountains i. Allegheny-Portage Railroad ii. Horseshoe Curve and Galitzin Tunnels c. Topography influenced the route of right-of-ways and the design of railroad structures i. Rockville Bridge, Tunkhannock Viaduct, Starruca Viaduct, Kinzua Bridge, Salisbury Viaduct ii. Gravity Railroads, switchbacks iii. Low-grade lines, track re-alignments iv. Railbanking, rails-to-trails d. Railroads and the urban landscape 3. How the Railroad Works Message: Railroad networks and equipment were and are complicated works of technology, engineering and coordination. a. Mechanics i. Steam 1. How did it work? 2. Why was it the best technology 3. Why was it replaced? ii. Electrification 1. Northeast Corridor and the GG1 2. DD1, B1, Metroliner iii. Diesel-Electric Locomotives and other steam alternatives 1. PRR E7 No. 5901 2. GP7/GP9 iv. Rail-busses and Doodlebugs v. Secondary technology 1. Air Brakes, Couplers vi. Ideas that Failed Hilferty Museum Planning & Exhibit Design 2 of 3
Railroad Museum of Pennsylvania (PRM) Thematic Outline from PRM 5.25.11 Hilferty edits noted 6.6.11 1. Duplexes, turbines, etc. vii. Emerging technologies (make this section modular, since it could be outdated in 5 years) 1. Green technology 2. High-speed rail 3. Remote control units b. Logistics Suggestion: Logistics becomes subcategory under each type of technology i. Block Signaling and Centralized Traffic Control ii. Classification Yards iii. Maintenance of Way iv. Stations and Terminals v. The Inter-modal Boom (relocated from old section 6; might also fit under section 1 4. Made in Pennsylvania Message: Pennsylvania was and continues to be a leader in railroad-related manufacturing. a. Baldwin Locomotive Works: the world’s steam locomotive leader made history for its sheer volume of output and longevity b. Altoona Shops c. Budd Company: pioneers in stainless steel d. General Electric e. Innovators: Richard Imlay (sleeping car inventor), Charles Schoen (steel car patent holder), George Westinghouse f. Raw material contributors g. Other possibilities that emphasize the diversity: Altoona, Reading Shops, Camelbacks, Westinghouse, Vulcan, Union Switch & Signal, Billmeyer & Smalls, Porter, Pressed Steel Car Company, Richard Imlay (sleeping car inventor), Cambria Iron, Budd, Heisler, Climax, American Car & Foundry (Milton and Berwick), Pullman (Butler), Norris, etc. h. The process and innovation of railroad manufacturing i. From drafting desk to the erecting shop floor ii. Interchangeability of parts i. Suggestion: today’s story? 5. Working on the Railroad Message: Railroads required an army of workers, and every railroader played a vital role. At the peak of railroading, one in five Pennsylvanians worked for a railroad or railroad related industry. a. Train Crews, shop workers, track gangs, surveying parties, etc. b. Railroad opportunities for immigrants, minorities and women i. Duffy’s Cut workers c. Railroad Unions d. Railroad Towns e. Impact on employees working long hours for low pay at dangerous jobs f. Duffy’s Cut g. The Great Railroad Strike of 1877 h. Contemporary railroad jobs Hilferty Museum Planning & Exhibit Design 3 of 3
ACCOMPANYING THE CLOUDS OF CONNECTIVITY ARE GRAPHICS, ARTIFACT CASES, INTERACTIVES, ACTIVITIES FOR CHILDREN; SOME FIXED, OTHERS MOBILE, SOME FOLLOWING BAGGAGE ABSTRACTIONS OF STEAM, SMOKE & CART AESTHETIC. WHEELS FORMS A CONNECTIVE VISUAL TISSUE THAT VISITORS CAN FOLLOW. ABSTRACTIONS OF STEAM, SMOKE & WHEELS MAY FOLLOW A SUBTLE COLORWAY SHIFT THAT SIGNIFIES A DIFFERENT THEME. DESIGN CONCEPT A: CLOUDS OF CONNECTIVITY Abstract and artistic visual references of steam, smoke, and wheels begin at the parking lots and lead visitors into the museum. The visual cues may take a variety of forms such as paint or pavement stain, a sculptural or standing graphic element, scrims or applied images on the windows, hanging banners, or a combination of any of these. These elements are repeated throughout the museum, both inside and out, and demarcate a path for visitors to take from the parking lot, into the museum, and out to the roundhouse and rolling stock yard. Placing a portion of the railroad bridge and the metroliner in front of the museum along the pathway will greatly enhance the look and feel of the site. The juxtaposition of the two items will convey the range of time periods and artifacts in the CEILING ART INSTALLATION museum as well as provide an unmistakable visual cue that SCULPTURALLY INTERPRETS THE IDEA OF BILLOWING SMOKE. this museum is about railroads. Visitors can walk alongside the bridge and metroliner on their way into the museum, following the clouds of connectivity design cues that might be attached to the bridge. DESIGN CONCEPT A: CLOUDS OF CONNECTIVITY
A/V ART INSTALLATION INSIDE VEHICLE. CAMERA OBSCURA PROJECTIONS ON EXAMPLE ROOM INTERIORS. INTERIORS & EXTERIORS OF CARS COME TO LIFE WITH A/V ACTION & STORIES WHILE CONTRIBUTING TO THE BUSTLE AND CLAMOR OF THE RECREATED TRAIN STATION ENVIRONMENT. ACCOMPANYING A/V ARE GRAPHICS, ARTIFACT CASES, INTERACTIVES, ACTIVITIES FOR CHILDREN; SOME FIXED, OTHERS MOBILE, SOME FOLLOWING BAGGAGE CART AESTHETIC. DESIGN CONCEPT B: WITNESS HISTORY This design approach will echo an unmistakable railroad icon: the train station. Playing-off the different time periods and styles represented by the current collection and museum buildings, the design will draw from multiple time periods and styles so that it can timelessly represent any train station in the state or an amalgam of several. Audio-visual elements are strategically placed throughout the hall and in the roundhouse. VIDEO PROJECTIONS ON EXAMPLE The sounds of a train station play subtly in the background and the exterior of several BUILDING INTERIORS/EXTERIORS. railcars are used as projection surfaces where moving images bring the cars to life. The inside of several passenger railcars come to life with projected video of passengers talking together and telling their stories, allowing visitors to witness history. This “witness history” approach could extend to first person interpretation in the form of docent-led tours or discussions based upon different railroad personalities from different eras. The train station motif begins with the site treatment proposed in Visitor Experience Diagram Option C. The east exterior wall of the museum shop and admin building becomes a trompe l'oeil or bas-relief graphic scene of a station with a passenger car pulling in. The portion of the car not seen from the outside might be represented inside the lobby area. The audio-visual treatments inside the hall and roundhouse would also enhance the train station design by providing sound and dynamic movement to the otherwise still rail hall. DESIGN CONCEPT B: WITNESS HISTORY
PLACES: PLACES: Railyards Signal Towers PRODUCTS: of Industry PRODUCTS: PRODUCTS: Livestock Machine Parts PLACES: Signal Bridge PEOPLE: Passengers ACCOMPANYING LARGE ILLUSTRATIONS ARE GRAPHICS, ARTIFACT CASES, INTERACTIVES, LINE DRAWING ILLUSTRATIONS--MORE OR LESS TO FULL SCALE--OF THE PEOPLE, ACTIVITIES FOR CHILDREN; SOME FIXED, OTHERS MOBILE, SOME FOLLOWING BAGGAGE PLACES & PRODUCTS OF PENNSYLVANIA'S RAILROADS FORM A CONNECTIVE VISUAL CART AESTHETIC. TISSUE THAT SURROUNDS EXHIBITS, MAKING A TRAIL FOR VISITORS TO FOLLOW. DESIGN CONCEPT C: PEOPLE PLACES PRODUCTS The People Places Products unifying design approach is based on pen and ink style sketches representing the many people, places, and products connected by rail over time. These representations might take form as standing graphic elements, bas-reliefs, hanging scrims or banners, applied graphics, or a combination and will be shown in varying degrees of intensity. These elements are repeated throughout the museum, both inside and out, and demarcate a path for visitors to take from the parking lot, into the museum, and out to the roundhouse and rolling stock yard. The site treatment at Visitor Experience Diagram Option C works hand-in-hand with this design approach and includes placement of a boxcar (representing products) in front of the museum. Signal bridges and towers frame the entry to the museum from the parking lot, and may reappear at times within the rolling stock halls and elsewhere. DESIGN CONCEPT C: PEOPLE PLACES PRODUCTS
Overview The following three visitor experience diagram options map the main components of the visitor experience to the site plan. These components include facility orientation, subject orientation, audio-visual elements, exhibit themes, and visitor flow. Mapping these components to the site plan provides a visual synopsis of their adjacencies and relationships. General Observations Approach/Impression The current museum signage does not convey to potential visitors that the building houses a museum about railroads The grand scale of the rolling with a spectacular collection. There is a need for signing that combine three-dimensional elements and graphics, stock halls easily creates the which strongly identifies the museum and encourages people to stop. These elements should include a variety of feel of a train station -- a sizes from those that are visible from the road and from across the street to others that are visible from the parking feeling that can be amplified with new interpretive exhibits. lot and along the pathway into the museum. The elements should hint at experiences to be had at the museum and build anticipation and excitement. This excitement should extend into the lobby area where visitors are asked to purchase a ticket. In the current arrangement, once visitors enter the lobby, there is no enticement to purchase a ticket because they cannot see anything beyond the lobby. Visitors should be able to see something of interest beyond the ticketing point that encourages them to spend their money and hints at a worthwhile experience. Facility Orientation Because the museum is large, complex, and includes both interior and exterior exhibit elements, clear and comprehensive facility orientation is vital from the moment of arrival. Facility orientation should occur at the parking lots, along the pathway into the museum, and in the museum entry lobby. Wayfinding signage at decision points that include the parking lot, along the path, in the lobby, in the rolling stock hall, and in the rolling stock yard will work with facility orientation to make a visitor's choices clear. The current lobby ticketing and orientation sequences do not work well. The desk attendant is hard to see behind the counter. Visitors who utilize the restrooms before purchasing a ticket can easily slip past the attendant and into the The 1915 streetscape in the west rolling stock hall. The passenger cars here, as well as the immersive structures in the streetscape, present excellent museum without paying. Large groups often create a bottleneck in the lobby, making it hard for individual or opportunities for engaging visitors by taking them back in time to a train station setting with dramatic interpretation of subject matter. smaller groups of visitors to get past. Relocating and redesigning the ticketing counter to act as more of a control point for visitors will help ameliorate these issues. Groups can be led into the multipurpose room for orientation to One of the many activites for kids avoid a bottleneck at the ticket desk. inside Stewart Junction, also known as Kidspace. One idea is to spread some Because museum staff did not favor utilizing the overhead walkway on the second floor as a beginning point for of these activities--as the coal loading facility and subject orientation, the following visitor experience diagrams focus on a ground-level organization. The activity does now--out to other points size of the rolling stock hall is potentially intimidating and the random layout of rolling stock and crossover points is within the interpretive exhibits. confusing for visitors. To avoid this, the central spine through the rolling stock hall can serve as a central point for facility and subject orientation from which visitors can proceed into the isles to explore. EXISTING MUSEUM & ENVIRONS OVERVIEW and GENERAL OBSERVATIONS
General Observations (continued) Subject Orientation Subject orientation should also being at the parking lots, continue along the pathways, and into the lobby. Proper location and use of subject orientation will build visitors' anticipation and excitement as they go into the museum and ultimately encourage them to purchase tickets. The museum staff has combined themes from previous interpretive planning exercises from six or eight to five. The visitor diagrams here focus on the distribution of those five themes identified by the museum. However, the synthesis of previous thematic organizations into five themes does create some uneven storyline distributions that Entry to the rolling stock halls from the lobby. Use of the crossing should be addressed at a later date, perhaps with further synthesis or slight reorganization. tracks in this central area prevents a sweeping view of the scene. The large iron bridge artifacts at the edge of the east parking area Design Approach could be easily integrated into a visitor pathway between Due to the size and orientation of the museum site, the design approach needs to provide strong visual cues that tie parking and lobby, adding the museum's identity and visitor experience together and help lead the visitor from beginning to end. The design excitement to the approach should connect the entire storyline together and enhance the museum's visual presence and recognition. sequence and exterior subject matter & facility orientation. Exhibits The ability to interchange, move, and update exhibits is key to the success of interpreting a collection that requires periodic “exercising” to keep the moving parts in working order. Any exhibits directly related to particular cars or engines in the rolling stock hall will be mobile to accommodate the need to relocate the collection on a regular basis. Museum staff has also requested space large enough to accommodate after-hours programming and events, which Vehicular approach to the main parking area lacks subject matter mobile exhibits can easily provide, particularly when combined with the space under the central spine area, which and facility and amenities orientation for visitors. can also be used for after-hours programming. Facility & amenity orientation, and a reminder of the overall plan of the site, are suggested as visitors exit the rolling stock halls on the way to the yards and the (future) roundhouse. The locomotive turntable and the (future) roundhouse are excellent opportunities for visitors to see how railroads work. EXISTING MUSEUM & ENVIRONS OVERVIEW and GENERAL OBSERVATIONS
EXTERIOR VISITOR EXPERIENCE AREAS: GRASSED / LANDSCAPED PORTIONS OF SITE FENCE RESTORATION SHOP VEHICULAR AREAS, SERVICE DRIVE (GUIDED TOURS ONLY) ROADWAYS, PARKING FENC E FUTURE PEDESTRIAN AREAS, FENCE STAIR TO OU ROUNDHOUSE SIDEWALKS, HARDSCAPES SERVICE ENTRY OVERLOOK TD OO ADDITION (FOOTPRINT DASHED) PARKING R ROL LIN INTERIOR VISITOR EXPERIENCE AREAS: LOBBY, OVERLOOK ABOVE EAST ROLLING STOCK G STO T T AMENITIES, AND EXHIBIT & PROGRAM SPACES BELOW THE WEST RO CK LOCOMOTIVE LLING S LOCOMOTIVE EXHIBIT HALL TOCK YAR TURNTABLE EXHIBIT D INTERIOR OFF LIMITS AREAS: AREAS FOR STAFF; HALL SOME AVAILABLE TO VISITORS ON GUIDED TOURS 1915 STREET SCAPE TRACK AREAS FOR ROLLING STOCK, INTERIOR & EXTERIOR FENCE STAIR PRIMARY WALK FROM PARKING KIDSP ACE ENTRY OUT DOO ELEV & STAIRS R RO NEW ADJACENT STRASBURG SCENIC RAILROAD SITE BUS DROP OFF LOBBY STAFF PARKING LLIN ROUNDHOUSE AND PARKING EXISTING G ST CONTROL MULTIUSE OCK EXHIBIT FENCE STAIRS YAR FUTURE BISPHOP PROPERTY SPUR PARKING T T POINT D HALL (FOOTPRINT DASHED) MUSEUM SHOP LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL SECONDARY WALK FROM PARKING OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK OVERLOOK HALLS OVERLOOK ENTRY EXHIBITS SECOND LEVEL PLAN EXISTING MUSEUM PLAN & SITE ENVIRONS including NEW ROUNDHOUSE EXHIBIT HALL 25' 100' 400' N 0 50' 200' 800'
SUBJECT CHANGING GALLERY ORIENTATION Railroads and How Railroads Working on EXHIBITS AUDIO-VISUAL their Impact Work the Railroad FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) ARRIVAL SEQUENCES ORIENTATION EXHIBITS Railroads and the Made in KIDZONE: Pennsylvania Landscape Pennsylvania Activities for GRAPHIC LEGEND VISITOR FLOW Young Audiences RESTORATION SHOP (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT SERVICE DRIVE WEST RO HALL LLING S FENC TOCK EX E HALL HIBIT FUTURE FENCE FENCE STAIR TO ROUNDHOUSE ADDITION (FOOTPRINT DASHED) OU SERVICE OVERLOOK TD ENTRY PARKING OO R ROL LIN OVERLOOK ABOVE G CENTRAL SPINE STO T T BELOW THE CK LOCOMOTIVE LOCOMOTIVE YAR TURNTABLE D 1915 STREET SCAPE FENCE STAIR KIDSP ACE EXISTING SECONDARY WALK FROM PARKING ELEV & STAIRS OUT NEW DOO METROLINER CAR (70') R RO ROUNDHOUSE BUS DROP OFF LOBBY STAFF PARKING LLIN AND PARKING IRON RAILROAD BRIDGE ELEMENTS CONTROL G ST EXHIBIT OCK POINT MULTI-USE SET IN LANDSCAPE ALONG /STAGING YAR FENCE NEW ARRIVAL PATHWAY NEW PRIMARY PROCESSION FROM STAIRS D HALL PARKING PARKING T T LOBBY MUSEUM SHOP LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL ENTRY COVERED LOGGIA GGIA COVE R ED LO OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK The five main themes of the exhibits are focused at “islands” Activities specifically designed for children are located in the Subject orientation is comprised primarily of an exhibit of interpretive displays located throughout the rolling stock hall current kids' area as well as sprinkled in with the rest of the introducing the five themes that takes place in the lobby area and roundhouse and associated with the appropriate railcars, exhibits. before visitors enter the hall. This is also where the icon/color OVERLOOK engines, and displays. The use of a different color palette palette is introduced. and/or icon for each theme allows visitors to easily identify The second floor gallery is for changing exhibits exclusively. and follow the themes throughout the museum. Audio-visual elements are infrequent, perhaps with the exception of a few kiosks that provide video views of the interior of some of the cars. ENTRY VISITOR EXPERIENCE DIAGRAM ONE CHANGING EXHIBIT GALLERY ISLANDS OF INTERPRETATION SECOND LEVEL PLAN 20' 80' 320' N 0 40' 160' 640'
SUBJECT Railroads and How Railroads Working on ORIENTATION their Impact Work the Railroad CHANGING GALLERY EXHIBITS AUDIO-VISUAL FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) Railroads and the Made in KIDZONE: ARRIVAL SEQUENCES ORIENTATION Pennsylvania Landscape Pennsylvania Activities for EXHIBITS Young Audiences GRAPHIC LEGEND STAIR TO OVERLOOK VISITOR FLOW OVERLOOK ABOVE STAIR CENTRAL SPINE EXISTING SECONDARY WALK FROM PARKING METROLINER CAR (70') BELOW THE LOCOMOTIVE LOBBY IRON RAILROAD BRIDGE ELEMENTS BUS DROP OFF SET IN LANDSCAPE ALONG AND PARKING NEW ARRIVAL PATHWAY STAIRS 1915 STREETSCAPE NEW PRIMARY PROCESSION FROM PARKING T T MUSEUM SHOP GGIA D LO COVERE DROP OFF / TEMPORARY PARKING ELEV & STAIRS LOBBY VEHICULAR ARRIVAL CONTROL POINT MULTI-USE /STAGING STAIRS T T LOBBY MUSEUM SHOP Subject orientation is comprised primarily of an exhibit Placing a portion of the railroad bridge and the metroliner in A COVERED LOGGIA introducing the five themes that takes place in the lobby area front of the museum along a new primary pathway will greatly GGI ED LO COVE R before visitors enter the hall. This is also where the icon/color enhance the look and feel of the site. The juxtaposition of ENTRY palette is introduced so that visitors can follow the main themes these two items will convey the range of time periods and at the rolling stock hall exhibit "islands." artifacts in the museum as well as provide an unmistakable visual cue that this museum is about railroads. PEDESTRIAN ARRIVAL VISITOR EXPERIENCE DIAGRAM ONE ENLARGED DIAGRAMS ISLANDS OF INTERPRETATION 10' 40' 160' N 0 20' 80' 320'
SUBJECT CHANGING GALLERY ORIENTATION Railroads and How Railroads Working on EXHIBITS AUDIO-VISUAL their Impact Work the Railroad FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) ARRIVAL SEQUENCES ORIENTATION EXHIBITS Railroads and the Made in KIDZONE: Pennsylvania Landscape Pennsylvania Activities for GRAPHIC LEGEND VISITOR FLOW Young Audiences RESTORATION SHOP SERVICE (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT DRIVE WEST RO HALL LLING S FENC TOCK EX E HALL HIBIT FUTURE FENCE FENCE STAIR TO ROUNDHOUSE ADDITION (FOOTPRINT DASHED) OU SERVICE OVERLOOK TD ENTRY OO R CENTRAL ROL LIN OVERLOOK ABOVE GS T T TOC BELOW THE KY LOCOMOTIVE ARD LOCOMOTIVE TURNTABLE SPINE 1915 STREET SCAPE FENCE STAIR ENTRY KIDSP EXISTING SECONDARY WALK FROM PARKING ACE ELEV & STAIRS OUT NEW DOO BUS DROP OFF PASSENGER CAR SCULPTURE/SCENIC LOBBY STAFF PARKING R ROL ROUNDHOUSE AND PARKING TREATMENT OUTSIDE /INSIDE LOBBY LING MULTI STOC EXHIBIT HEAVY DASHED LINE INDICATES K YA CONTROL POINT FENCE USE TROMPE L'OEIL STATION/DEPOT GRAPHICS ALONG 3 STEPS OF FACADE, STAIRS RD HALL FULL HEIGHT OR EYE-LEVEL T T LOBBY MUSEUM SHOP LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL EXISTING PRIMARY WALK FROM PARKING A ENTRY COVERED LOGGIA OGGI COVE RED L OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK The five themes of the exhibit are anchored along the walls of the Audio-visual elements are strategically placed throughout the hall and in the Activities specifically designed for children are located in the rolling stock halls making use of the wall space and niches. roundhouse. The sounds of a train station play subtly in the background and the current kids' area as well as sprinkled in with the rest of the Building upon the approach of the current recreated streetscape exterior of several railcars are used as projection surfaces where moving images exhibits. area, the exhibits located along the walls would tell a distinct, bring the cars to life. The inside of several passenger railcars come to life with OVERLOOK self-contained story. An orientation film in the lobby (or the projected video of passengers talking together and telling their stories, allowing The second floor gallery is for changing exhibits exclusively. multi-use room) provides a brief subject orientation, while visitors to witness history. introductions to each of the main themes occurs along the central spine of the hall. ENTRY VISITOR EXPERIENCE DIAGRAM TWO CHANGING EXHIBIT GALLERY ANCHORED INTERPRETATION SECOND LEVEL PLAN 20' 80' 320' N 0 40' 160' 640'
SUBJECT Railroads and How Railroads Working on ORIENTATION their Impact Work the Railroad CHANGING GALLERY STAIR TO OVERLOOK EXHIBITS AUDIO-VISUAL FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) Railroads and the Made in KIDZONE: ARRIVAL SEQUENCES ORIENTATION Pennsylvania Landscape Pennsylvania Activities for EXHIBITS Young Audiences GRAPHIC LEGEND VISITOR FLOW OVERLOOK ABOVE CENTRAL SPINE BELOW THE LOCOMOTIVE STAIR EXISTING SECONDARY WALK FROM PARKING PASSENGER CAR SCULPTURE/SCENIC BUS DROP OFF TREATMENT OUTSIDE /INSIDE LOBBY AND PARKING 1915 STREETSCAPE CONTROL HEAVY DASHED LINE INDICATES POINT TROMPE L'OEIL STATION/DEPOT GRAPHICS ALONG 3 STEPS OF FACADE, STAIRS FULL HEIGHT OR EYE-LEVEL T ENTRY MUSEUM SHOP EXISTING PRIMARY WALK FROM PARKING LOBBY STAFF PARKING GGIA ELEV & STAIRS O RED L COVE MULTI CONTROL USE DROP OFF / TEMPORARY PARKING POINT VEHICULAR ARRIVAL STAIRS T T LOBBY LOADING DOCK & STORAGE MUSEUM SHOP COVERED LOGGIA OGG IA RED L COVE ENTRY The five themes of the exhibit are anchored to make use of An orientation film in the lobby or the multi-use room provides a brief subject The train station motif begins with the site treatment. The east exterior the wall space and niches of the rolling stock halls and of the orientation, while introductions to each of the main themes occurs along the wall of the museum shop and admin building becomes a trompe l'oeil or roundhouse. central spine of the hall. bas-relief graphic scene of a station with a passenger car pulling in. The portion of the car not seen from the outside might be represented inside the lobby area. VISITOR EXPERIENCE DIAGRAM TWO ENLARGED DIAGRAMS ANCHORED INTERPRETATION 10' 40' 160' N 0 20' 80' 320'
SUBJECT CHANGING GALLERY ORIENTATION Railroads and How Railroads Working on EXHIBITS AUDIO-VISUAL their Impact Work the Railroad FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) ARRIVAL SEQUENCES ORIENTATION EXHIBITS Railroads and the Made in KIDZONE: Pennsylvania Landscape Pennsylvania Activities for GRAPHIC LEGEND VISITOR FLOW Young Audiences RESTORATION SHOP (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT WEST RO HALL LLING S FENC TOCK EX E HALL HIBIT FUTURE FENCE FENCE STAIR TO ROUNDHOUSE ADDITION (FOOTPRINT DASHED) OU SERVICE OVERLOOK TD ENTRY OO R ROL LIN G STO T T BELOW THE CK LOCOMOTIVE CENTRAL SPINE LOCOMOTIVE YAR TURNTABLE D OVERLOOK ABOVE 1915 STREET SCAPE FENCE STAIR ENTRY KIDSP EXISTING SECONDARY WALK FROM PARKING ACE ELEV & STAIRS OUT NEW DEACCESSIONED BOX CAR (50') DOO R RO ROUNDHOUSE BUS DROP OFF SIGNAL BRIDGES & TOWERS IN MODULATED STAFF PARKING LLIN AND PARKING INCREMENTS LOBBY G ST EXHIBIT ALONG PATHWAY NEW PRIMARY OCK CONTROL YAR FENCE PROCESSION STAIRS POINT D HALL FROM PARKING T T LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL MUSEUM SHOP IA ENTRY COVERED LOGGIA OGG COVE RED L OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK The main presentations of the five main themes are located Activities specifically designed for children are located in the An introductory film in the multipurpose room provides a quick around the walls of the rolling stock halls. Supporting portions current kids' area as well as sprinkled in with the rest of the overview of the main messages, followed by introductory of the story are located on exhibit “islands” throughout the exhibits. displays in the lobby on each of the five themes before OVERLOOK hall and roundhouse associated with the cars, engines, and entering the hall. displays that are most appropriate. The use of a different color The second floor gallery is for changing exhibits exclusively. palette and/or icon for each theme allows visitors to easily identify and follow the themes throughout the museum. CHANGING EXHIBIT GALLERY ENTRY VISITOR EXPERIENCE DIAGRAM THREE COMBINATION ANCHORED and ISLANDS OF INTERPRETATION SECOND LEVEL PLAN 20' 80' 320' N 0 40' 160' 640'
SUBJECT Railroads and How Railroads Working on ORIENTATION their Impact Work the Railroad CHANGING GALLERY STAIR TO OVERLOOK EXHIBITS AUDIO-VISUAL FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) Railroads and the Made in KIDZONE: ARRIVAL SEQUENCES ORIENTATION Pennsylvania Landscape Pennsylvania Activities for EXHIBITS Young Audiences GRAPHIC LEGEND VISITOR FLOW OVERLOOK ABOVE BELOW THE LOCOMOTIVE STAIR CENTRAL SPINE EXISTING SECONDARY WALK FROM PARKING DEACCESSIONED BOX CAR (50') BUS DROP OFF AND PARKING SIGNAL BRIDGES & TOWERS IN MODULATED INCREMENTS ALONG PATHWAY LOBBY 1915 STREETSCAPE NEW PRIMARY STAIRS PROCESSION FROM PARKING T T ENTRY MUSEUM SHOP O GGIA RED L ELEV & STAIRS COVE LOBBY DROP OFF / TEMPORARY PARKING CONTROL POINT STAIRS T T VEHICULAR ARRIVAL LOBBY MUSEUM SHOP A OGGI COVERED LOGGIA OVE RED L C ENTRY An introductory film in the multipurpose room provides a quick The site treatment includes placement of a boxcar in front of overview of the main messages, followed by introductory the museum next to the pathway from the parking lot. Signal displays in the lobby on each of the five themes before bridges and towers frame the entry to the museum from the entering the hall. parking lot, and become part of the subject and facility orientation exhibits. VISITOR EXPERIENCE DIAGRAM THREE ENLARGED DIAGRAMS COMBINATION ANCHORED and ISLANDS OF INTERPRETATION 10' 40' 160' N 0 20' 80' 320'
Railroad  Museum  of  Pennsylvania   Meeting  Notes   Monday  July  11,  2011     Initial  Meeting  Phase   Interim  Deliverable  Conference  Call     Participants   Hilferty   SV  –  Sam  Van  Nostrand   sam@hilferty.com   DC  –  Dean  Clouse     dclouse@hilferty.com GH  –  Gerry  Hilferty     geh@hilferty.com SD  –  Sara  Devine     sara@hilferty.com   CP  –  Carol  Perloff     cbperloff@verizon.net   BHSM   SM  –  Steven  Miller     stemiller@state.pa.us   MB  –  Michael  Bertheaud   mbertheaud@state.pa.us   BR  –  Brenda  Reigle     breigle@state.pa.us     RMP   CF  –  Charles  Fox     chfox@state.pa.us   BS  –  Brad  Smith     brasmith@state.pa.us   NJ  –  Nick  Jmijewski     c-­‐nizmijew@state.pa.us   AM  –  Allan  Martin     almartin@state.pa.us   DR  –  Deborah  Reddig     dreddy@rrmuseumpa.org   AD  -­‐    Ann  Davis  -­‐       info@rrmusuempa.org   PM  –  Patrick  Morrison   pmorrison@state.pa.us   TG  –  Troy  Grubb     trgrubb@state.pa.us   CB  –  Craig  A.  Benner     cbenner@state.pa.us     This  conference  call  was  a  follow  up  to  an  interim  deliverable  distributed  by  Hilferty  via  email   on  July  6,  2011  Visitor  Experience  Diagrams  and  on  July  8,  2011  RMP  Design  Concepts.   Visitor  Experience  Diagrams  (VED)   1.  Islands  of  Interpretation  –  The  five  main  themes  of  the  exhibits  are  focused  at  “islands”  of   interpretative  displays  located  throughout  the  rolling  stack  hall  and  roundhouse  and   associated  with  the  appropriate  railcars,  engines,  and  displays.  Content  for  each  of  the  five   themes  would  be  broken  up  among  these  islands,  with  strong  color  and  design  cues  to   create  a  recognizable  identity  for  each  of  the  themes.   2.  Anchored  Interpretation  –  The  five  themes  of  the  exhibit  are  anchored  along  the  walls  of   the  rolling  stock  hall  making  use  of  the  wall  space  and  niches.  Forming  concentrated   content  areas  more  like  galleries.  Each  of  the  major  themes  would  have  a  portal  /  entry  in   the  central  spine  area,  with  a  gallery  beyond  following  one  or  two  sides  of  a  platform  for   example.   1
Railroad  Museum  of  Pennsylvania   3.  Combination  Anchored  and  Islands  Of  Interpretation-­‐  The  main  presentations  of  the  five   main  themes  are  located  around  the  walls  of  the  rolling  stock  halls.  Supporting  portions  of   the  story  are  located  on  exhibit  “islands”  throughout  the  hall  and  roundhouse  associated   with  the  cars,  engines,  and  displays  that  are  most  appropriate.  The  content  of  the  five   themes  would  occur  as  smaller  galleries  along  the  Rolling  Stock  Hall  walls,  with  some  islands   associated  that  would  be  remote  from  the  galleries,  occurring  along  platforms  alongside   cars  &  locomotives.  Again,  strong  color  &  design  cues  will  associate  these  islands  with  each   of  the  galleries/themes.     Design  Concepts   A.  Clouds  Of  Connectivity  –  Abstract  and  artistic  visual  references  of  steam,  smoke,  and   wheels  begin  at  the  parking  lots  and  lead  visitors  into  the  museum.  Works  hand  in  hand   with  Visitor  Experience  Diagram  Option  1.   B.  Witness  History  -­‐  This  design  approach  will  echo  an  unmistakable  railroad  icon:  the  train   station.  Playing-­‐off  the  different  time  periods  and  styles  represented  by  the  current   collection  and  museum  buildings,  the  design  will  draw  from  multiple  time  periods  and  styles   so  that  it  can  timelessly  represent  any  train  station  in  the  state  or  an  amalgam  of  several.   Works  hand  in  hand  with  Visitor  Experience  Diagram  Option  2.   C.  People  Places  Products  -­‐  The  People  Places  Products  unifying  design  approach  is  based  on   pen  and  ink  style  sketches  representing  the  many  people,  places,  and  products  connected   by  rail  over  time.  The  site  treatment  at  Visitor  Experience  Diagram  Option  3  works  hand-­‐in-­‐ hand  with  this  design  approach  and  includes  placement  of  a  boxcar  (representing  products)   in  front  of  the  museum.   SV  gave  an  overview  of  the  VED  and  the  Design  Concepts,  how  they  relate  to  each  other,  and   how  they  would  be  applied  to  the  overall  site  and  facility.   BR  confirmed  that  Hilferty  expects  separate  comments  on  the  two  sets  of  documents.  SV,  yes   even  though  they  relate  please  evaluate  both  separately.   BS  offered  on  the  whole,  number  3  is  liked  –  but  parts  of  all  three  would  make  an  interesting   option.  Particularly,  the  approach  of  #1  (Metroliner)  with  approach  elements  of  #3  (signal   masts);  option  2  &  3  being  geographically  centered  in  rolling  stock  hall  (RSH).   SV  stated  the  main  core  in  all  options  is  focused  on  the  1st  level,  level  2  is  only  for  changing   exhibits.  BS  corrected,  2nd  level  is  for  changing  and  presently  (2)  permanent  exhibits.  Keep  the   board  room  and  the  artwork  as  permanent  displays  on  the  2nd  level.  SV  –  Can  the  board  room   move?  BS,  not  really,  nor  the  paintings.  Ideally  would  like  to  recreate  the  entire  board  room,   but  all  understand  that  it  would  utilize  too  much  real  estate.  SV  –  Do  you  have  all  of  the   millwork?  BS  –  Yes,  what’s  left  of  it.  The  original  board  room  was  reconfigured  in  1930s  and   some  of  the  original  no  longer  exists.   CF  reiterates  the  2nd  level  is  the  only  space  available  for  changing  exhibits.  SV  stated,  we   supposed  with  using  microclimate  cases  some  artifacts  could  be  displayed  in  RSH  after  the   2
Railroad  Museum  of  Pennsylvania   HVAC  upgrade.  BS  wants  to  look  into  the  possibility  of  getting  some  delicate  items  out  on   display  –  unsure  if  that  would  be  possible.   Other  comments   BS  –  Regarding  option  2,  some  feel  it’s  too  compartmentalized.  How  would  you  make  a   passenger  car  come  to  life?  SV  refers  to  the  further  descriptions  in  Design  Concept  “B”  Witness   History.  We  would  project  images  and  moving  pictures  on  cutaways  of  reproduction  cars,  or   project  on  the  exterior  of  cars  and  locomotives  in  the  collection.  Refers  to  how  “B”  shows   projection  being  used  on  the  interior  of  rooms  and  on  car  glass.  CF  likes  the  idea  of  utilizing   technology,  but  concerned  about  maintenance  issues.     Moving  on  to  the  Design  Concepts  A-­‐C  SV  describes  that  they  are  a  way  to  apply  a  visual  whole   to  the  organization  of  ideas.  Allow  the  conceptual  context  compete,  just  a  bit,  with  the  scale  of   locomotives  and  railcars.  Concepts  will  carry  through  from  the  approach/entry  to  the  yards.  The   goal  was  to  come  up  with  concepts  that  will  unify,  creating  an  esthetic  or  ribbon  that  will  guide   visitors.   CF  regarding  the  use  of  technology  –  We  don’t  want  to  preclude  docents  and  volunteers  who   add  interpretation  for  visitors.  SV  agreed  that  future  design  phases  should  consider  current   programs,  and  how  interpretation  is  being  augmented  by  the  docents  and  volunteers.   CF  would  like  to  utilize  archival  footage  telling  how  produce  and  other  products  were  moved   using  railroads.  SV  agreed  it  should  be  used  in  a  big  way,  especially  because  of  its  availability.  BS   confirmed  they  have  a  large  archive  of  such  films.     BR  suggested  that  the  RMP  team  take  a  shot  at  drafting  a  version  4  when  they  returned   comments  to  her.  CF  reiterated  they  like  parts  of  all  three.  Any  further  presentation  SV?  No,   any  questions?   BR  –  I  did  not  see  the  ticketing  kiosk,  it  is  to  be  included.  SV  described  the  plans  indicated  a   control  point  that  relates  to  ticketing.  The  particular  redesign  of  the  ticket  booth  will  relate  to   the  design  direction  chosen.   It  was  stated  that  the  existing  multipurpose  room  is  needed  for  staging  and  orientation  of  large   groups.  Maybe  the  theater  could  move  to  the  “rear”  lobby.  SV  pointed  out  that  the  VEDs  have  a   second  page  that  shows  enlarged  floor  plans  of  the  area  immediate  to  the  lobby  and  control   points.   BR  restated  the  goal  of  this  phase  is  to  establish  a  general  design  vocabulary  and  layout  or   circulation  so  a  lot  of  time  isn’t  spent  when  design  begins.  The  end  product  will  not  get  to  a   level  of  ticket  desk  redesign.   MB  likes  AV  ideas,  but  they  do  appear  high  maintenance.  It’s  very  frustrating  when  exhibits  are   broken  and  don’t  work.  Also  point  of  sales  must  be  a  counter  where  people  can  be  seen  –   friendly  and  inviting.   CF  –  What  is  the  nature  of  the  orientation  experience?  BS  points  out  that  VED  3  shows  the   major  AV  experience  in  the  multi-­‐use  room.  Can’t  give  up  space,  it’s  used  too  much.  If  it  does   become  AV  then  it  has  to  double  as  special  events  space.   3
Railroad  Museum  of  Pennsylvania   MB  –  Is  second  floor  big  enough  to  accommodate  changing  exhibits  and  multipurpose?   Response  was  when  a  wedding  was  in  the  second  floor  space  it  didn’t  accommodate  enough   chairs.  Not  as  many  as  the  present  multipurpose  room.   CP  –  Regarding  the  opportunity  to  tell  people  stories,  they  could  be  adapted  to  all  of  the  plans  –   we  can  add  people  stories  throughout.  CF  asked  that  we  maintain  both  technology  and  human   stories.     BS  –  So  out  of  the  three  design  concepts  are  we  to  pick  only  one?  SV  –  No,  anything  goes,  parts   of  each  may  apply.  You  can  combine  them.   CF  confirmed  RMP  team  comments  would  go  to  BR  after  they  met  again  to  discuss.   Adjourn.       4
Pennsylvania Historical & Museum Commission hilferty museum planning exhibit design 14240 state route 550 athens, ohio 45701 phone 740.448.3821 fax 740.440.2331

More Related Content

PPTX
Long Range Transportation Planning Partnership
bypreservationcombination
 
PDF
Resume Presentation
byjacroa
 
PPT
L information
bynmattucci
 
PDF
Knightsbridge Recruitment Outsourcing
bycaziz
 
PDF
Conquer PowerPoint Template
byUltimate Pres
 
PPT
DigitalSherpa's Marketing AMA (Ask me anything!) hosted by Justin Fishaw & Sa...
byJustin Fishaw
 
PPTX
Insuficiencia Cardíaca
byShe X
 
PPS
Tinamen Mountains (1)
byنور الله
 
Long Range Transportation Planning Partnership
bypreservationcombination
 
Resume Presentation
byjacroa
 
L information
bynmattucci
 
Knightsbridge Recruitment Outsourcing
bycaziz
 
Conquer PowerPoint Template
byUltimate Pres
 
DigitalSherpa's Marketing AMA (Ask me anything!) hosted by Justin Fishaw & Sa...
byJustin Fishaw
 
Insuficiencia Cardíaca
byShe X
 
Tinamen Mountains (1)
byنور الله
 

Viewers also liked

PDF
CESA Membership brochure 2010
byDebbieReeves
 
PPTX
Unemployed Report
byChandan Kumar
 
PPS
Tinamen Mountains
byنور الله
 
ODP
Presentation 2
byGokul_Ramaswamy
 
PPT
Slide show presentation doc.
by19taz92
 
PPT
Presentation (ascorbic acid level)
byvool
 
PDF
CESA Gulfood 2012 Brochure
byDebbieReeves
 
PPTX
Double Loop Learning--Purpose and Power--PNSQC 2014 - slides
byJean Richardson
 
PPTX
Web-application I’ve always dreamt of (Kharkiv)
byVictor_Cr
 
PDF
CESA Induction Cooking Equipment Forum 2011 Presentations
byDebbieReeves
 
PPTX
Primer anuncio y catequesis
byPablo_Garegnani
 
PPTX
Año de la misericordia
byPablo_Garegnani
 
PPTX
Innovation labs
byFederico Puebla
 
PDF
Biomimicry: when mother nature inspires true innovation
byFederico Puebla
 
PDF
Tribos manual
bybikerbash
 
PPTX
Europa
byVane Castillo
 
PPT
Via crucis
byPablo_Garegnani
 
CESA Membership brochure 2010
byDebbieReeves
 
Unemployed Report
byChandan Kumar
 
Tinamen Mountains
byنور الله
 
Presentation 2
byGokul_Ramaswamy
 
Slide show presentation doc.
by19taz92
 
Presentation (ascorbic acid level)
byvool
 
CESA Gulfood 2012 Brochure
byDebbieReeves
 
Double Loop Learning--Purpose and Power--PNSQC 2014 - slides
byJean Richardson
 
Web-application I’ve always dreamt of (Kharkiv)
byVictor_Cr
 
CESA Induction Cooking Equipment Forum 2011 Presentations
byDebbieReeves
 
Primer anuncio y catequesis
byPablo_Garegnani
 
Año de la misericordia
byPablo_Garegnani
 
Innovation labs
byFederico Puebla
 
Biomimicry: when mother nature inspires true innovation
byFederico Puebla
 
Tribos manual
bybikerbash
 
Europa
byVane Castillo
 
Via crucis
byPablo_Garegnani
 

Similar to RMP initial meeting phase report

PPT
Marketing Methods for Museums
bygeorge wachtel
 
PPTX
AHM PLANSBOOK_MASTER_FINAL(1)
byAmelia Cheikhali
 
PDF
Website Content Analysis and Feasability Study for the ARWLHC
byMartin Mongiello
 
PDF
Mobile Technology and the Museum
byDorota Kawęcka
 
PPT
Sarah Pecha Kucha
bysbesegai
 
PPTX
The Recurated Museum: II. Museums, Identity, & Community
byChristopher Morse
 
PPTX
Introducing The History List (www.TheHistoryList.com)
byThe History List
 
PPTX
Community Outreach for the Public History Center
byKelli Ordonia
 
PPT
The Online Museum
byDana Allen-Greil
 
PDF
JDRT Cultural Heritage Tourism
byTravel Oregon
 
DOCX
WK4 Paper_RAMIREZ ARAMIS X
byAramis Ramirez
 
DOCX
COM 615 Marketing Research_RAMIREZ ARAMIS
byAramis Ramirez
 
PPT
Clho
byJames Jensen
 
PPTX
The Museum of Tomorrow
byfcmdsc
 
PDF
01 app for heritage tours proposal
byOpikom Web Apps
 
PPT
Co-Curation, Participation & Audience Engagement Techniques
byDiana Marsh
 
PDF
Pennsylvania In Public Memory Reclaiming The Industrial Past Carolyn Kitch
byjakirsoeun94
 
PDF
Got Tech? How Small-town museums and historical sites can go digital
byBluecadet
 
PPT
That Camp2010
byOhio Historical Society
 
PPT
That Camp2010
byOhio Historical Society
 
Marketing Methods for Museums
bygeorge wachtel
 
AHM PLANSBOOK_MASTER_FINAL(1)
byAmelia Cheikhali
 
Website Content Analysis and Feasability Study for the ARWLHC
byMartin Mongiello
 
Mobile Technology and the Museum
byDorota Kawęcka
 
Sarah Pecha Kucha
bysbesegai
 
The Recurated Museum: II. Museums, Identity, & Community
byChristopher Morse
 
Introducing The History List (www.TheHistoryList.com)
byThe History List
 
Community Outreach for the Public History Center
byKelli Ordonia
 
The Online Museum
byDana Allen-Greil
 
JDRT Cultural Heritage Tourism
byTravel Oregon
 
WK4 Paper_RAMIREZ ARAMIS X
byAramis Ramirez
 
COM 615 Marketing Research_RAMIREZ ARAMIS
byAramis Ramirez
 
Clho
byJames Jensen
 
The Museum of Tomorrow
byfcmdsc
 
01 app for heritage tours proposal
byOpikom Web Apps
 
Co-Curation, Participation & Audience Engagement Techniques
byDiana Marsh
 
Pennsylvania In Public Memory Reclaiming The Industrial Past Carolyn Kitch
byjakirsoeun94
 
Got Tech? How Small-town museums and historical sites can go digital
byBluecadet
 
That Camp2010
byOhio Historical Society
 
That Camp2010
byOhio Historical Society
 

RMP initial meeting phase report

  • 1.
    Railroad Museum ofPennsylvania Initial Meeting Phase Report hilferty museum planning exhibit design 08.12.2011
  • 2.
    RaIlRoad MuseuM ofPennsylvanIa
  • 3.
    Table of Contents Introduction 1 Project Overview 5 Observations & Insights 9 Visitor Experience—Preferred Option 15 Appendix 29 InItIal MeetIng Phase RePoRt
  • 5.
    Introduction The main goalof the Railroad Museum of Pennsylvania Initial Meeting Phase is to take stock of previous exhibit plans and studies, as well as the approved building plans from the architectural master plan, and from there, reach consensus on a general overview for an exhibit plan to move forward with into the Preliminary Design Phase. The Initial Meeting Phase commenced on June 6, 2011 with a two-day workshop at the site attended by representatives of the Pennsylvania Historical and Museum Commission (PHMC), Railroad Museum of Pennsylvania (RMP), and Hilferty & Associates. The workshop included a site tour (buildings and grounds); a review of previous plans, studies, and present and future projects being considered; a review of the thematic outline and “General Comments Regarding Exhibit Design” provided by PHMC and RMP; a diagrammatic exercise to explore possible placement and flow of main exhibit themes; and a discussion of delivery methods, wayfinding, and learning styles. Through this process, goals of the new exhibits were identified and confirmed. The goals of the new interpretive exhibit are to • communicate on many levels the important story of how railroads have changed the way we live; • enhance the visitor experience; • increase the number of visitors, including those opting to sit in the lobby or go elsewhere while family members explore the museum; • entice visitors to make repeat visits; and • increase patronage of and volunteerism at the museum. InItIal MeetIng Phase RePoRt 1
  • 6.
    Desirable components tomeet these goals are to • attract westbound visitors to the site; • improve access to the entry and the entrance experience; • orient visitors to the site; • orient visitors to the subject matter; • create a “WOW” moment upon entering the rolling stock hall (RSH) while preserving open floor space for rental functions; • blend stories and “stuff” to create a dynamic environment that will foster visitor curiosity, comprehension, and enjoyment; • develop a sensible and safe connection between the RSH and the roundhouse; and • balance conservation and interpretive needs in the RSH and outside at the rolling stock yard. The meeting moved forward with the reaffirmation that exhibit planning will emphasize the main overarching message: “Railroads changed the way we live,” and work with the five themes (see “Big Ideas”) that the site staff identified. Upon conclusion of the meeting, PHMC reviewed with Hilferty their tasks of submitting meeting minutes (see appendix), developing bubble plan options showing proximity of topics and visitor flow, and providing narrative walk-throughs. Hilferty submitted three design concepts and three visitor experience options. On July 11, PHMC, RMP, and Hilferty held a conference call to discuss the options. On July 25, PHMC communicated to Hilferty its preferred scheme for the design concept and visitor experience. The preferred visitor experience option presented in this report incorporates team concerns and comments as appropriate. Options not selected appear in the appendix. This report will provide the basis for all future design work. Workshop attendees Steven Miller (PHMC) Ann Davis (RMP) Brenda Reigle (PHMC) Patrick Morrison (RMP) Michael Bertheaud (PHMC) Troy Grubb (RMP) Charles Fox (RMP) Craig A. Benner (RMP) Brad Smith (RMP) Sam Van Nostrand (Hilferty) Nick Jmijewski (RMP) Dean Clouse (Hilferty) Allan Martin (RMP) Gerry Hilferty (Hilferty) Deborah Reddig (RMP) Carol Perloff (Hilferty) 2 RaIlRoad MuseuM of PennsylvanIa
  • 7.
    Mission statement The RailroadMuseum of Pennsylvania collects, preserves, and interprets Pennsylvania’s railroad history for citizens and visitors by preserving and documenting the contributions that Pennsylvania railroading has made to the development of our Commonwealth and the nation. goals The Railroad Museum of Pennsylvania, devoted to preserving and interpreting the broad impact of railroad development on society, seeks to • display over 100 locomotives and cars from the mid-19th and 20th centuries, including the priceless Pennsylvania Railroad Historical Collection; • pursue a major restoration program, which already has restored many of these unique survivors to their original appearance; • conduct educational programs for all ages, provide tours, and hold special events, many in cooperation with outside organizations; • house extensive exhibits of railroad artifacts, plus priceless artwork, books, photographs, and corporate railroad material; • recognize that railroad history is alive and continues to be made in this new millennium; and • enhance the museum’s world-class status through a process of steady improvements involving public-private partnerships. InItIal MeetIng Phase RePoRt 3
  • 8.
    4 RaIlRoad MuseuM of PennsylvanIa
  • 9.
    PROJECT OVERVIEW Property andBuilding history The Railroad Museum of Pennsylvania is located on PA Route 741, about a mile east of the center of downtown Strasburg. It sits across the street from the Strasburg Rail Road, making it an ideal location to attract rail enthusiasts. Several other cultural and shopping attractions make this area a tourist destination. The initial museum building opened in 1975. It featured a large train display building and an operating turntable from the Reading Company. In June 1995 a train shed-like addition doubled the indoor display space. In the summer of 2007, a new Art Deco entrance façade and gift shop were completed. Current building projects entail installation of a new geothermal HVAC system in the museum, including the rolling stock hall, and construction of a 16,000-square-foot roundhouse in the rolling stock yard. The HVAC project, scheduled for completion by October 2011, may be completed as late as January 2012. The roundhouse, to be located on the site of the museum’s existing turntable, will provide permanent, climate-controlled storage for the museum’s historic collection of PRR steam locomotives, among other items. Approximately fifteen to twenty percent of the space will be interpretive. Design of the roundhouse, by Erdy McHenry Architecture in Philadelphia, is scheduled for completion by December 2011, opening for visitors in Spring 2013. Site work to accompany the new building includes a paved pathway leading from the southwest corner of the rolling stock hall to the roundhouse. InItIal MeetIng Phase RePoRt 5
  • 10.
    exhibit Project history RailroadMuseum of Pennsylvania (RMP) and Pennsylvania Historical and Museum (PHMC) staff and various consultants have taken several steps towards developing a new permanent exhibit for the museum in order to enhance the visitor experience. In October 2006, Interpretive Solutions, Inc. (IS) submitted an extensive exhibit script that posed eight major themes of interpretation. In September 2007 Hilferty and Associates, Inc. launched an exhibit planning phase. The Hilferty report, submitted February 2009, identified levels of interpretation, overarching interpretive themes, a visitor flow diagram, an interpretive experience walkthrough, an exhibit budget and schedule. In 2007– 08, RMP conducted visitor and member surveys. Some of the more salient results are as follows: • The top three areas of greatest interest and value are the rolling stock hall, locomotives/cars open for self-guided tours, and the outdoor restoration yard. • The three things visitors enjoy most are nostalgia, the significance of the collection (seeing and touching real things), and sharing time/interest with children and grandchildren. • 75% of visitors to the museum do not bring children with them. • Stewart Junction, the children’s area, is a visitor-favorite. The Initial Meeting Phase, the next step of the planning process for the permanent exhibit commenced in June 2011. This consisted of a review and brainstorming workshop attended by PHMC, RMP, Hilferty staff, and scriptwriter Carol Perloff. From this point, the project is structured to move forward into subsequent phases of design, fabrication and installation, and post-installation. 6 RaIlRoad MuseuM of PennsylvanIa
  • 11.
    script status Materials fromthe interpretive report completed in 2006 provide a basis for scripts, artifact lists, and graphic lists. This will be one of many elements to be used as the project team moves forward to craft a new exhibit plan. Before moving forward, it would be helpful to review the previous script content with PHMC and site staff to confirm what worked and was relevant to the story they want to tell, and what may have been deemed outside of the scope or beyond the space or collections of the museum. It would be very useful to for the design team to acquire any source documents or other background research that supports the script. artifact status RMP has extensive collections on site—both inside and outside—and has started to match artifacts with the stories. The museum has an inventory of 43 locomotives, an Excel spreadsheet inventory for three-dimensional artifacts (catalog number, object name, object location), a Cuadra Star database for three-dimensional artifacts (detailed and searchable information regarding history of use, material, manufacturer,etc.), digital photographs of all artifacts in the Cuadra Star database, and digital scans for about 30,000 historic images linked to the databases. Research status/Plan Looking ahead to the research component of the Preliminary Design Phase, the first step is to determine what research materials already exist from IS. The next step will be to identify holes/gaps in those materials (relevant to the approved content outline) and to develop a strategy for how the site staff and scriptwriter can collaborate to identify photographs, first person accounts, documents, and other archival resources. It is understood that the museum has archival databases for large portions, though less than half of its archival materials. InItIal MeetIng Phase RePoRt 7
  • 12.
    8 RaIlRoad MuseuM of PennsylvanIa
  • 13.
    Observations & Insights approach/Impression Thecurrent museum signage, particularly from the east, does not convey to potential visitors that the building houses a museum about railroads with a spectacular collection. There is a need for signing elements that combine three-dimensional elements and graphics that strongly identifies the museum and encourages people to stop. These elements should include a variety of sizes from those that are visible from the road and from across the street to others that are visible from the parking lot and along the pathway into the museum. The elements should hint at experiences to be had at the museum and build anticipation and excitement. This should extend into the lobby area where visitors are asked to purchase a ticket. In the current arrangement, once visitors enter the lobby, there is no enticement to purchase a ticket because they cannot see anything beyond the lobby and large ticket booth structure. Ideally visitors should be able to see something of interest beyond the ticketing point that encourages them to spend their money and hints at a worthwhile experience. Additionally, it is a future goal of the museum to make the pedestrian crossing from the Strasburg Railroad safer and more inviting to encourage more crossover visitors. facility orientation Because the museum is large, complex, and includes both interior and exterior exhibit elements, clear and comprehensive facility orientation is vital from the moment of arrival. Facility orientation should occur at the parking lots, along the pathway into the museum, and in the museum entry lobby. Wayfinding signage at decision points that include the parking lot, along the path, in the lobby, in the rolling stock hall, and in the rolling stock yard will work with facility orientation to make a visitor’s choices clear. The current lobby ticketing and orientation sequences do not work well. The desk attendant is hard to see behind the counter and themed bars in the ticket windows. Visitors who utilize the restrooms before purchasing a ticket can easily slip past the attendant and into the museum without paying. Large groups often create a bottleneck in the lobby, making it hard for individual or smaller groups of visitors InItIal MeetIng Phase RePoRt 9
  • 14.
    to get past.Relocating and redesigning the ticketing counter to act as more of a control point for visitors will help ameliorate these issues. Groups can be led into the multipurpose room for orientation to avoid a bottleneck at the ticket desk. The visitor experience diagrams focus on a ground-level organization with core interpretation happening at this level; changing exhibits and special collections are located in the second level gallery space. The size of the rolling stock hall is potentially intimidating and the random layout of rolling stock and crossover points is confusing for visitors. To avoid this, the creation of a central crossover and program space (a “central spine”) through the rolling stock hall can serve as a central point for facility and subject orientation from which visitors can proceed into the aisles to explore. subject orientation Subject orientation should also begin at the parking lots, continue along the pathways, and into the lobby. Proper location and use of subject orientation will build visitors’ anticipation and excitement as they proceed into the museum and ultimately encourage them to purchase tickets. The museum staff has combined themes from previous interpretive planning exercises from six or eight to five. The visitor diagrams here focus on the distribution of those five themes identified by the museum. However, the synthesis of previous thematic organizations into five themes does create some uneven storyline distributions that can be adjusted as we further develop the script. exhibit design Challenges & opportunities The current exhibits at the Railroad Museum of Pennsylvania are a mix of displays that have been updated over the years, the end result being an array of styles and design approaches that compete with each other. The current effort to redesign the entire visitor experience at the museum is the perfect time to start afresh, creating a coherent and unified approach that is accessible for visitors. Due to the size and orientation of the museum site, the design approach needs to provide strong visual cues that tie the museum’s identity and visitor experience together and help lead the visitor from beginning to end. The design should 10 RaIlRoad MuseuM of PennsylvanIa
  • 15.
    connect the entirestoryline together and enhance the museum’s visual presence and recognition. The design challenge is to create an environmental context and people stories for a world-class rolling stock collection. The thematic sections provide a structure with which to do that. While the core message is historical significance, contemporary relevance should be imbued into the exhibit wherever possible. Presentation of exhibits will be thematic rather than strictly chronological. While acknowledging the national context of railroad history, the exhibit will stay focused on Pennsylvania. Interpretation will cover stories of all Pennsylvania rail lines. Humanizing the giant rolling stock by telling people stories wherever possible will enrich the visitor experience and optimally expand the museum’s appeal to a broader audience. The museum has a plethora of artifacts, rolling stock, photographs, video, oral histories, and archival resources of Pennsylvania provenance with which to tell the overall story. Although the new HVAC system will improve conditions in the hall significantly, conservation issues will remain a consideration. Many items requiring stringent environmental control will need to be displayed in the upstairs gallery where the environment can be more tightly controlled. Some sensitive items might be displayed in climate control cases in the rolling stock hall. As an alternative to displaying sensitive items, reproductions might be utilized instead. Railroads are a place for bells, whistles, smoke, and smells. The exhibit will take advantage of audio opportunities to make the exhibit multi-sensory. Kiosks for virtual tours of railcars, low-tech interactive exhibits, and a new, more concise yet powerful orientation video—germane to the five major exhibit themes—will enhance the visitor experience. The scale of the RSH poses an opportunity to “WOW” visitors. Design of the central spine will seek to create that marvel of having arrived at a destination while providing a core area for orientation to major exhibit themes. The ability to interchange, move, and update exhibits is key to the success of interpreting a collection that requires periodic “exercising” to keep the moving parts in working order. Any exhibits directly related to particular cars or engines in the rolling stock hall will be mobile to accommodate the need to relocate the collection on a regular basis. Museum staff has also requested space large InItIal MeetIng Phase RePoRt 11
  • 16.
    enough to accommodateafter-hours programming and events, which mobile exhibits can easily provide, particularly when combined with the central spine area. The new roundhouse will provide a venue to supplement interpretation of How Railroads Work, Made in Pennsylvania, and Working on the Railroad as well as a place to view and preserve additional rolling stock. Main Message & themes The main message for the new interpretive efforts at the Railroad Museum of Pennsylvania as identified by museum staff is: “Railroads change(d) the way we live.” While poignant, this message is a little too broad and therefore does not provide adequate definition and direction for the interpretive efforts. Hilferty offers the following amended main message options for consideration: 1. “Pennsylvania’s railroads connected people, places, and products like never before, fundamentally changing the way we live.” 2. “Pennsylvania’s railroads connect people, places, and products, forever changing the way we live.” The first message fits nicely into the thematic outline as provided by the museum staff on May 25, 2011, which focuses primarily on the history of Pennsylvania’s railroads and how it changed the way we live by connecting people, places, and products. The second option focuses more on the present day connection of people, places, and products and would require the addition of much more present-day information in the thematic outline than exists currently. In 2010–11, the RMP exhibit staff honed the thematic outline, consolidating it from the eight major themes identified in the previous script and the six major themes identified in the Hilferty Planning Phase report to five major themes: 1. Railroads and Their Impact 2. Railroads and the Pennsylvania Landscape 3. How the Railroad Works 4. Made in Pennsylvania 5. Working on the Railroad 12 RaIlRoad MuseuM of PennsylvanIa
  • 17.
    Two themes identifiedin the 2006 interpretive report have been deleted, with partial contents consolidated into the revised outline: • Legacy, Heritage and Future of the Railroads • America on Board: the Railroad and American Ideals Two themes identified in the Hilferty report also have been incorporated into the new organization: • The Cultural Impact of Railroading • Railroads Today The cultural legacy (literature, arts and popular culture) is accounted for in the current Cultural Impact of Railroading within Railroads and Their Impact. Opportunities, one of the American ideals, also find their way elsewhere as does the Industrial Revolution (part of the ideal of progress) in the sections Railroads and Their Impact and Working on the Railroad. One chapter of the 2006 report seems to be completely absent from the revised outline: • The States Become One Nation This material included topics such as nationwide networks, Civil War links the nation, transcontinental railroad, standardized time (covered elsewhere), communication networks (covered elsewhere), market opportunities (covered elsewhere), states linked by a common culture (some of this can be covered in the role of the local depot), politics on tour, war and patriotism (can be covered in the role of the local depot), entertainment (perhaps could be referenced in shaping communities/lifestyles). The one chapter that is reconfigured from the 2006 report with a new title and expanded content is: • Railroads Changed the Way We Live The current working title for this section is Railroads and Their Impact. This section of the exhibit now embraces a disproportionate amount of content and sub-themes compared to the other four thematic sections. During the design phase, it will be important to find ways to disperse this content throughout the exhibit space and explore pulling out a discrete story, like the legacy of the railroads, into a transition to a coda for the exhibit. InItIal MeetIng Phase RePoRt 13
  • 18.
    14 RaIlRoad MuseuM of PennsylvanIa
  • 19.
    Visitor Experience Narrative— PreferredOption site treatment Placing the Metroliner in front of the museum on the northeast side of the building will greatly enhance the look and feel of the site. This eye-catching artifact will provide an unmistakable visual cue that this museum is about railroads. The main path from the parking lot to the museum is re-routed so that it leads directly from the parking lot to the front entrance. The existing path along the building remains as a secondary option. Signage nodes at the beginning and end of the primary pathway provide preliminary facility and subject orientation. The new path is lined with a few, select signal masts that underscore the museum’s identity. Two small, recreated suburban platforms (of the same era as the Metroliner) are placed along the path so that visitors may rest and seek shelter from inclement weather. The east covered loggia entryway might be framed by a signal bridge, which serves as a visual reference of the entrance location for visitors coming from the parking lot. design approach The unifying design approach utilizes pen and ink style sketches representing the many people, places, and products connected by rail over time. Sprinkled in and among the sketches are black and white photograph reproductions from the museum’s collection. These representations might take form as standing graphic elements, silhouettes, hanging scrims or banners, applied graphics, or a combination and will be shown in varying degrees of intensity. These elements are repeated throughout the museum, both inside and out, and demarcate a path for visitors to take from the parking lot, into the museum, and out to the roundhouse and rolling stock yard. The people, place, and products design approach will function as a unifying aesthetic layer that goes on top of all manner of exhibits such as graphic panels, interactives and activities, media presentations, artifact displays, etc. The purpose of this design “icing” is to provide a constant tie into the main message of railroads connecting people, places, and products. This idea will occur time and again in the design as well as in the text, connecting the major themes to people, places, and/or products. InItIal MeetIng Phase RePoRt 15
  • 20.
    Within this unifyingaesthetic layer, subtly different, yet distinctive color palettes for graphics could help visitors understand and discern locations of content relating to the big themes. Additionally, use of design ideas and conceits may help in this identification. Graphics of people engaged in work (perhaps drawn from period color-tinted postcards?) could help identify exhibits relating to Working on the Railroad, while the use of a baggage cart motif as a base structure could provide an identity for all exhibits on Railroads and their Impact. Identity of and within the five themes will be balanced with the overall people places and products unifying aesthetic layer. For example, How the Railroad Works can be told through the lens of the connection of people, places, and products. The railroad is the epitome of the intersection of technology (people and their ideas) spurring an industry, which is driven by the need to physically connect products (goods and materials) to places (markets). thematic organization An introductory film in the lobby provides a quick overview of the main messages, followed by displays that lead visitors into the rolling stock hall. Audio-visual elements are placed strategically throughout the hall and in the roundhouse. The sounds of a train station play subtly in the background in certain areas and with punctuating effect. The select use of Doppler-effect audio, which can be used across a range of speakers, will create the feel of an arriving train, motion, and other dynamic effects. The exterior of several railcars are used as projection surfaces where moving images bring the cars to life. These might include a moving wheel effect, a steam effect, or historic film footage. The main presentations of the five main themes are located around the rolling stock hall. Supporting portions of the story are located on exhibit “islands” throughout the hall and roundhouse associated with the cars, engines, and displays that are most appropriate. The use of a different color palette and/or icon for each theme allows visitors to easily identify and follow the themes throughout the museum. 16 RaIlRoad MuseuM of PennsylvanIa
  • 21.
    Activities specifically designedfor children are located in the current kids’ area as well as sprinkled in with the rest of the exhibits. Hands-on exhibits will be logically distributed throughout the rolling stock hall to encourage involvement by visitors of all ages. The second floor bridge over the rolling stock hall offers several rail height displays that provide fun facts and information relating to what visitors can see from the overlook. The second floor gallery is for changing exhibits as well as semi-permanent displays of special collection items that require HVAC. Options for displays might include a more dynamic recreation of the Pennsylvania Railroad boardroom and an open storage area specifically for sensitive items perhaps with touch screen smart labels that allow visitors to learn about the objects. Visitors can take a path from the rolling stock hall to access the roundhouse, where there are additional interpretive displays pertaining to the five themes. The rolling stock yard includes waysides that convey basic information about a selection of the rolling stock located outside and relates them back to the main themes. InItIal MeetIng Phase RePoRt 17
  • 22.
    18 RaIlRoad MuseuM of PennsylvanIa
  • 23.
    GRAPHIC LEGEND FENCE RESTORATION SHOP SERVICE DRIVE (GUIDED TOURS ONLY) FENC E 1A 2A 3A 4A 5A 6A 7A 1 2 3 4 5 A 6 FUTURE FENCE 7 OU ROUNDHOUSE 8 STAIR TO TDO 9 OVERLOOK SERVICE 10 ADDITION (FOOTPRINT DASHED) ENTRY PARKING 11 OR ROL 12 LIN B 13 OVERLOOK ABOVE EAST ROLLING STOCK GS T T BELOW THE WEST RO TOC LOCOMOTIVE EXHIBIT HALL LOCOMOTIVE LLING KY EXHIBIT STOCK ARD TURNTABLE BISHOP ROAD C HALL 1915 STREET SCAPE D FENCE STAIR PRIMARY WALK FROM PARKING KIDSP ACE ENTRY OUT DOO ELEV & STAIRS R RO NEW BUS DROP OFF LOBBY STAFF PARKING LLIN ROUNDHOUSE AND PARKING EXISTING G ST CONTROL MULTIUSE OCK EXHIBIT FENCE STAIRS YAR PARKING T T POINT LOBBY D HALL MUSEUM SHOP LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL FUTURE BISPHOP PROPERTY SPUR SECONDARY WALK FROM PARKING (FOOTPRINT DASHED) OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL ROUTE 741 STAIR DOWN TO ROLLING STOCK OVERLOOK HALLS STRASBURG HISTORIC RAILWAY RaIlROad MuseuM Of PennsylvanIa OVERLOOK Existing Museum Plan & ENTRY EXHIBITS Site Environs Including New SECOND LEVEL PLAN Roundhouse Exhibit Hall hilferty museum planning exhibit design 25' 100' 400' InItIal MeetIng Phase RePORt 19 N 0 50' 200' 800'
  • 24.
    FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND RESTORATION SHOP (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT WEST RO HALL LLING S FENC TOCK EX E A 1A 2A 3A 4A 5A 6A 7A 1 STAIR TO 2 3 4 5 6 HALL HIBIT FUTURE FENCE 7 FENCE ROUNDHOUSE k 2 av 4 3 4 OVERLOOK 4 3 8 9 OU ADDITION (FOOTPRINT DASHED) CENTRAL SERVICE ENTRY 1 k 5 10 11 TDO 5 4 k OR B 3 1 1 3 3 12 13 so ROL LIN 1 2 1 av 2 4 4 GS T T 4 3 TOC 1 2 5 BELOW THE 3 KY LOCOMOTIVE 5 5 4 5 LOCOMOTIVE 3 5 ARD TURNTABLE 5 BISHOP 3 4 ROAD 4 1 k OVERLOOK ABOVE C 4 k 3 2 1 2 2 k 3 SPINE 1 2 1 5 4 2 4 1 1 5 1915 STREETSCAPE 5 1 3 1 av 3 4 av D 4 STAIR major KIDSP k 5 ENTRY EXISTING SECONDARY WALK FROM PARKING ACE 2 OUT DOO 4 NEW 4 METROLINER CAR (70') so LOBBY STAFF PARKING R RO BUS DROP OFF LIMITED ARRAY OF SIGNAL major ELEV & STAIRS so LLIN ROUNDHOUSE AND PARKING BRIDGES & TOWERS IN G ST EXHIBIT MULTI- OCK CONTROL MODULATED INCREMENTS ALONG PATHWAY NEW PRIMARY av POINT PURPOSE fo YAR FENCE PROCESSION STAIRS SPACE D HALL FROM PARKING fo T T LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL 3 MUSEUM SHOP COVERED LOGGIA OGGIA ENTRY COVE RED L OUTDOOR ROLLING STOCK YARD so fo DROP OFF / TEMPORARY PARKING fo PEDESTRIAN ARRIVAL FENCE FENCE VEHICULAR ARRIVAL so ROUTE 741 STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK RaIlROad MuseuM Of PennsylvanIa Visitor STRASBURG HISTORIC RAILWAY Experience OVERLOOK Diagram SPECIAL COLLECTIONS & Preferred Option Plan ENTRY CHANGING EXHIBIT GALLERY c hilferty museum planning exhibit design SECOND LEVEL PLAN 20' 80' 320' InItIal MeetIng Phase RePORt 20 N 0 40' 160' 640'
  • 25.
    VEHICULAR SHADE STRUCTURE: METROLINER CAR: SHADE STRUCTURE: ARRIVAL & PARKING "Suburban Station" themed Relocated Car to serve as exciting prelude to Museum "Suburban Station" themed rest spot, with seating [from Rolling Stock Yard] rest spot, with seating ORIENTATION: PEOPLE PLACES PRODUCTS: SIGNAL MASTS, BRIDGE: Facility & Subject Orientation Kiosk line drawings & interpretation selectively limited array of signal bridges and masts [exterior-grade graphics & structure] used along entry procession along new promenade [exterior-grade graphic silhouette] [exterior-grade graphics & structure] RaIlROad MuseuM Of PennsylvanIa Conceptual Elevation At New Primary Procession from Parking hilferty museum planning exhibit design InItIal MeetIng Phase RePORt 21
  • 26.
    FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND D STAIR EXISTING SECONDARY WALK FROM PARKING METROLINER CAR (70') BUS DROP OFF LIMITED ARRAY OF SIGNAL BRIDGES & TOWERS IN AND PARKING MODULATED INCREMENTS ALONG PATHWAY NEW PRIMARY PROCESSION FROM PARKING STAIRS T MUSEUM SHOP OGGIA fo COVE RED L so SUBURBAN STATION / METROLIINER ERA COMMUTER STATION-THEMED COVERED REST AREAS RaIlROad MuseuM Of PennsylvanIa DROP OFF / TEMPORARY PARKING fo Visitor Experience VEHICULAR ARRIVAL so Diagram Enlarged Plan: New Primary Procession from Parking hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 22 N 0 20' 80' 320'
  • 27.
    FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND KIDSP ENTRY ACE STAFF PARKING major ELEV & STAIRS so LOBBY CONTROL MULTI- POINT PURPOSE SPACE so fo STAIRS major av T T fo LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL MUSEUM SHOP NEW PRIMARY COVERED LOGGIA PROCESSION ENTRY FROM PARKING OGGIA COVE RED L OUTDOOR ROLLING STOCK YARD RaIlROad MuseuM Of PennsylvanIa fo Visitor so PEDESTRIAN ARRIVAL FENCE Experience FROM STRASBURG RAILROAD Diagram Enlarged Plan: Lobby & Main Subject Orientation Exhibits hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 23 N 0 20' 80' 320'
  • 28.
    FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND RESTORATION SHOP (GUIDED TOURS ONLY) CENTRAL SPINE AREA INCLUDES A WIDE PROMENADE--CENTERED ON THE OVERLOOK ABOVE--ALL AROUND WITH OPEN FLOOR AREA FOR VIEWS FROM ENTRY, PROGRAMMING, AND SPECIAL USE (DENOTED BY LIGHTER AREA) 6A 7A 1 2 3 4 5 STAIR TO OVERLOOK intro 3 4 4 intro 1 intro C E N T R A L 3 3 intro 1 intro av 4 5 BELOW THE LOCOMOTIVE intro 3 OVERLOOK ABOVE intro 2 2 k S P I N E intro 1915 STREETSCAPE intro 1 1 RaIlROad MuseuM Of PennsylvanIa 4 intro av Visitor Experience ENTRY STAFF PARKING Diagram Enlarged Plan: ELEV & STAIRS Central Spine & MULTI-PURPOSE SPACE Theme Introductions hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 24 N 0 20' 80' 320'
  • 29.
    PRODUCTS: PEOPLE: RMP ROLLING STOCK PEOPLE: PEOPLE: PRODUCTS: RMP ROLLING STOCK Penn Central Locomotive Working on the Railroad People & Railroads in PA Passengers Early Steam Locomotive [transparent graphic [Audio Visual projection inside [Audio Visual projection on [Audio Visual projection [graphic on transparent silhouette] of box car] side of box car] on side of passenger car] scrim material] PRODUCTS: EXHIBIT: EXHIBIT: PRODUCTS: PRODUCTS: EXHIBIT: of Industry Theme exhibit Theme exhibit, with Machine Parts of Industry Theme exhibit [transparent graphic hidden A/V equipment [transparent graphic] [transparent graphic silhouette] at reverse side silhouette] RaIlROad MuseuM Of PennsylvanIa Conceptual Elevation Rolling Stock Hall hilferty museum planning exhibit design InItIal MeetIng Phase RePORt 25
  • 30.
    RMP ROLLING STOCK PLACES: BANNERS: RMP ROLLING STOCK OVERLOOK Modern Signal Bridge at Overlook & Central Spine area, with exhibits along railing [steel & graphics] placed so as to not interfere with views [graphics on fabric] EXHIBIT: PRODUCTS: PLACES: PRODUCTS: CENTRAL SPINE / INTRODUCTORY AREA: INTRO TO THEMES: PRODUCTS: Theme exhibit Signal Mast Historic Signal House Locomotive Anatomy of Parts +/- 40' X 160' open area centered on overlook above, Exhibits introducing each of the 5 Livestock [graphic silhouette] [transparent graphic [graphic etched on flanked by THEME INTRODUCTION EXHIBITS themes occur along the [transparent graphic silhouette] transparent material] Central Spine silhouette] RaIlROad MuseuM Of PennsylvanIa Conceptual Elevation Central Spine & Overviews hilferty museum planning exhibit design InItIal MeetIng Phase RePORt 26
  • 31.
    FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND FUTURE ROUNDHOUSE ADDITION (FOOTPRINT DASHED) TOILETS LOCOMOTIVE TURNTABLE 3 BISHOP 5 ROAD 4 1 av fo 5 RaIlROad MuseuM Of PennsylvanIa so 4 4 Visitor OUT DOO R RO NEW Experience LLIN G ST OCK ROUNDHOUSE EXHIBIT Diagram YAR D EXTERIOR INTERPRETIVE NODES--FROM EACH HALL Enlarged Plan: THEME--AS APPROPRIATE FOR OUTDOOR Turntable & FENCE ROLLING STOCK YARD New Roundhouse 3 hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 27 N 0 20' 80' 320'
  • 32.
    FACILITY SUBJECT /AMENITIES AUDIO-VISUAL VISITOR SPECIAL COLLECTIONS/ ORIENTATION ORIENTATION STORY IMMERSION Railroads and How Railroads Working on FLOW CHANGING GALLERY EXHIBITS EXHIBITS (NONE @ OPTION ONE) their Impact Work the Railroad c 1 2 3 4 5 k ARRIVAL so fo av Railroads and the Made in KIDZONE: SEQUENCES Pennsylvania Pennsylvania Activities for Landscape Young Audiences GRAPHIC LEGEND ROUTE 741 STAIR DOWN TO ROLLING STOCK HALLS 5 OVERLOOK 4 1 3 2 EXHIBITS ABOUT EACH THEME (NUMBER AS APPROPRIATE; TWO FROM EACH THEME SHOWN) RELATING TO OBJECTS / PLACES VIEWABLE FROM OVERLOOK 4 1 OVERLOOK 5 3 2 ENTRY RaIlROad MuseuM Of PennsylvanIa CHANGING SPECIAL COLLECTIONS c c EXHIBIT GALLERY Visitor GALLERY Experience Diagram SECOND LEVEL PLAN Enlarged Plan: Second Level hilferty museum planning exhibit design 10' 40' 160' InItIal MeetIng Phase RePORt 28 N 0 20' 80' 320'
  • 33.
    Appendix Meeting Notes: June05, 2011 Thematic Outline Unifying Design Concept Drawings Visitor Experience Diagram Options Meeting Notes: July 11, 2011 InItIal MeetIng Phase RePoRt 29
  • 35.
    Railroad  Museum  of  Pennsylvania   Meeting  Notes   Monday  June  6  –  7,  2011     Initial  Meeting  Phase     Participants   Hilferty   SV  –  Sam  Van  Nostrand   sam@hilferty.com   DC  –  Dean  Clouse     dclouse@hilferty.com GH  –  Gerry  Hilferty     geh@hilferty.com   CP  –  Carol  Perloff     cbperloff@verizon.net     BHSM   SM  –  Steven  Miller     stemiller@state.pa.us   MB  –  Michael  Bertheaud   mbertheaud@state.pa.us   BR  –  Brenda  Reigle     breigle@state.pa.us     RMP   CF  –  Charles  Fox     chfox@state.pa.us   BS  –  Brad  Smith     brasmith@state.pa.us   NJ  –  Nick  Jmijewski     c-­‐nizmijew@state.pa.us   AM  –  Allan  Martin     almartin@state.pa.us   DR  –  Deborah  Reddig     dreddy@rrmuseumpa.org   AD  -­‐    Ann  Davis  -­‐       info@rrmusuempa.org   PM  –  Patrick  Morrison   pmorrison@state.pa.us   TG  –  Troy  Grubb     trgrubb@state.pa.us   CB  –  Craig  A.  Benner     cbenner@state.pa.us     *  denotes  partial  attendance     Walk  around  museum                 8:30AM  –  10:00AM                         10:05AM   We  started  the  meeting  with  a  big  picture  overview  of  what  previous  plans  and  studies  had   been  completed,  what  projects  were  being  undertaken  presently  at  the  site  and  what  future   projects  are  being  considered.     • BR  –  the  plans  resulting  from  efforts  two  years  ago  have  some  elements  moving   ahead  and  some  that  are  not.  Funding  is  a  major  factor  in  that  determination.   • CF  –  Master  Plan  has  been  useful  for  overall  planning.  RMP  was  successful  in   purchasing  the  Bishop  Road  property.   • Any  additions  to  the  museum  building  such  as  were  suggested  in  the  architectural   master  plan?   • CF  –  No  plans  to  expand  for  now.  CF  cautioned  against  augmentations  to  the   building  as  it  could  chew  up  the  budget.  All  acknowledge  the  funds  allocated  under   this  scope  of  work  for  the  exhibits  cannot  be  used  for  architecture.  The  current   1
  • 36.
    Railroad  Museum  of  Pennsylvania   projects  under  way  are  the  HVAC  (making  the  rolling  stock  hall  (RSH)  a  conditioned   space)  and  the  design  and  ultimate  construction  of  the  roundhouse.   -­‐ the  HVAC  project  is  scheduled  to  be  completed  by  October  2011,  may  be  as   late  as  January  2012.   -­‐ Roundhouse  design  is  to  be  complete  by  December  2011  and  open  by  Spring   2013.   -­‐   • The  roundhouse  architect  is  Erdy  McHenry  Architecture  in  Philadelphia.  They  are  in   the  design  stage,  the  structure  is  modern  and  sustainable  –  brick  and  glass.  Contact   PHMC  Barry  Loveland  to  initiate  getting  plans  and  information  for  the  roundhouse   addition.   • Any  rail  yard  or  site  work  planned?  CF  –  A  suggestion  was  to  utilize  special  grasses,   not  likely  to  implement.  There  will  be  a  nice  paved  pathway  leading  from  the  SW   corner  of  RSH  to  the  roundhouse.   • Any  orientation  for  visitors  from  parking  lot  to  the  entry?  CF  –  was  hoping  to  make   that  part  of  this  meeting/phase  discussion.  No  structures,  only  signage.   • Any  interpretation  of  the  rail  yard  or  roundhouse?  CF  –  Not  a  great  deal  of  effort  has   been  spent  on  interpretive  signage.  Out  of  the  100,000SF  RSH  only  16%  of  it  is   interpretive.  There  won’t  be  a  lot  of  room  in  the  roundhouse  for  interpretation.  The   challenge  is  RMP  has  a  world-­‐class  collection,  but  it’s  difficult  to  create   environmental  context  and  introduce  people  stories.  It’s  presently  a  great  place  to   see  a  lot  of  trains,  but  we  can  teach  a  lot  more  than  that.   • CF  –  Orientation  is  critical  for  visitors,  letting  them  know  what  their  choices  are.   Also,  we  need  to  get  the  five  identified  themes  across  right  away.   • Have  you  matched  artifacts  to  the  stories?  CF  –  We’ve  started.   • BS  –  We  are  working  on  creating  virtual  tours  (360°  panorama  video)  of  the   inaccessible  train  cars  to  be  shown  on  existing  (refurbished)  kiosks.   • What  opportunities  are  there  to  supplement  the  capitol  budget?  CF  –  We  have  good   relationships  with  Norfolk  Southern  and  other  railroads.  Outside  funds  can  be  used   to  pay  for  virtual  tours,  architectural  items,  archive/library,  etc.  Other  sources   include  North  American  RR  Federacy,  plus  local  entities  and  individuals  –  Steinman.   DR  –  It  depends  on  what  the  “ask”  is,  maybe  specific  community  based  groups   would  be  interested  in  helping  fund  a  particular  item/exhibit.   • The  same  rules  apply  for  how  funds  can’t  be  used  for  architecture?  BR  –  right.  CF  –   Not  for  major  architectural  changes.   • SM  –  The  new  administration  believes  history  is  important  –  that’s  good  news.  If  we   can  define  the  needs  the  Keystone  Fund  can  be  utilized,  we  can  make  a  reasonable   request.   • BR  reminds  that  this  is  just  initial  planning,  not  a  lot  of  detail  will  be  included  –  this   will  be  a  general  overview.  We  can  begin  to  scope  out  the  needs.  This  will  be  the   only  “phase”  Hilferty  will  provide  services  for  under  the  current  contract  that  expires   in  October.  However  if  some  specifics  are  included  the  report  can  be  used  for   fundraising.  BR  will  email  CF  confirmation  that  $4.5M  is  the  budget  for  the   interpretive  effort.  GH  –  This  includes  everything  interpretive  from  the  parking  lot,   2
  • 37.
    Railroad  Museum  of  Pennsylvania   to  the  front  door,  the  museum,  the  rail  yard,  and  the  roundhouse?  CF  –  Yes,  this  is   our  opportunity  to  change  the  entire  interpretive  experience.  There  are  a  lot  of   “made  in  Pennsylvania”  companies  that  are  still  going  concerns;  General  Electric,   Baldwin,  Union  Switch  &  Signal,  etc.  These  are  opportunities  for  partnerships;  they   can  be  support  to  the  project.  SM  suggested  looking  for  ways  to  utilize  donors  for   specific  opportunities.   • CF  –  We  are  poised  for  significant  growth  in  the  next  5  years,  we  can  truly  reshape   the  museum.  The  HVAC  project,  the  new  exhibits,  the  roundhouse  all  will  increase   interest.  The  roundhouse  is  an  attraction  in  itself  and  could  pay  for  itself.   • What  is  current  visitation?  Presently  about  130,000  visitors  annually.  2001  was  the   best  year  since  opening  with  160,000  visitors.   • What’s  the  status  of  the  Strasburg  Railway?  CF  –  It’s  slowly  slipping  away,  they’re   not  applying  their  attention  to  tourists.  They  are  also  operating  as  a  short  line   railroad  moving  freight;  the  rehab  shop  is  also  a  large  part  of  their  focus.  They  are   separate  and  have  a  different  focus  than  RMP.  We  are  not  going  to  be  tied  to  what   they  are  or  aren’t  doing,  though  we  would  like  to  capture  the  300,000  visitors  per   year.   • The  “Deco”  façade  needs  help.   • CF  –  We  need  to  maintain  the  ability  to  change  the  rail  stock  in  RSH  every  two  years   though  that  is  not  a  focus  of  the  exhibit.  It  helps  to  exercise  the  gearboxes,  etc.  We   still  intend  to  “contextualize”  similar  to  the  1915  street  scene.  That  is  a  good   example/illustration  of  how  railroads  changed  the  way  we  live(d).  “Station  Shops”   should  become  “1915  Street  Scene”    -­‐  adding  interpretation  would  be  good.   Railroads  changed  the  way  we  lived,  i.e.)  citrus  fruit  from  Florida.   • The  most  contemporary  pieces  of  rolling  stock  are  1970’s  –  40  years  old.   • We  must  cover  the  stories  of  all  rail  lines  –  not  just  the  Pennsylvania  Railroad.  Ideally   we  would  have  chosen  to  have  fewer  PA  RR  locomotives.   • Can  visitors  access/board  trains?  Some,  we  could  add  more.  Some  are  too  detailed   and  fragile;  the  virtual  tours  would  be  better.  BS  –  We  can  achieve  a  balance   between  conservation  and  interpretation.     • There  is  an  ongoing  film  digitization  project.  PRM  old  archive  films  are  being   converted  to  digital  format  and  will  be  available  for  use  in  the  new  exhibit.   • We  are  a  railroad  museum  with  a  bunch  of  trains  that  don’t  go  anywhere.   • Some  additional  rolling  stock  could  be  placed  at  disembarking/parking.  There  is  a   long  path  leading  from  parking  to  the  entrance  with  no  shade/protection   Please  refer  to  the  bullet  point  list  of  General  Comments  (GC)  Regarding  Exhibit  Design  Gleaned   from  Staff  Discussions  updated  5/25/11.  The  meeting  (mostly)  follows  this  list  until  mid-­‐ afternoon.  [The  notes  are  in  sequential  order  following  the  meeting  –  some  out  of  sequence   comments  and  discussions  have  a  note  referencing  the  GC#  it  best  relates  to.]   GC- 1: We are focusing our current efforts on developing themes, stories, and relevant artifact lists - - leaving exhibit design work to Hilferty. That being said, we like the idea of dividing our five themes geographically – perhaps focusing on two themes in Rolling Stock Hall(RSH) west, two in RSH east, and one in the roundhouse (tentatively scheduled for completion in March 2013). The 3
  • 38.
    Railroad  Museum  of  Pennsylvania   exhibit should incorporate the lobby, the kiosks, the 1915 Street Scene, the yard and the new roundhouse.   • The  five  themes  are;  Railroads  and  their  Impact,  Railroads  and  the  Pennsylvania   Landscape,  How  the  Railroad  Works,  Made  in  Pennsylvania,  and  Working  on  the   Railroad.  GH  asked  to  confirm  it  was  the  intention  to  move  one  of  the  five  themes   out  to  the  roundhouse?  Yes.  GH  cautioned  removing  one  of  the  five  (20%  of  the   story)  has  a  challenge  in  that  weather  becomes  a  factor  in  visitors  accessing  the   theme  based  in  the  roundhouse  as  access  is  by  a  hardscape  pathway  without  a   roof/cover.  CF  offered  that  the  roundhouse  based  theme  become  an  elaboration  of   a  theme  visitors  will  be  introduced  to  inside  the  main  museum  building.  CB  –  Not   seeing  everything  on  a  first  visit  may  encourage  repeat  visitation.   • PM  –  Give  each  of  the  themes  an  icon.  Some  of  the  exhibits  will  cover  multiple   stories  and  icons  could  serve  to  key  visitors  into  identifying  the  themes.   • SM  related  the  success  and  recent  State  discussions/strategies  to  incorporate  the   use  of  cell  phone  access  to  interpretive  programming.  One  challenge  here  is  that  cell   coverage  isn’t  complete.  PM  did  relate  trial  cell  phone  stations  tried  previously  did   not  have  enough  visitors  using  them  to  be  effective.   • QR  codes?  SM  described  PA’s  autumn  based  campaign.  The  State  is  thrilled  with  the   technology,  it  appeals  to  a  new  audience.  It  opens  up  the  opportunity  for  visitors  to   link  and  communicate  with  each  other.   GC-2: Our visitors occasionally need help finding their way through the Museum, so orienting visitors will be an important component of the exhibit. If we want visitors to follow a specific path, we could perhaps establish a “suggested route” which visitors follow – with the idea that repeat or less-interested visitors will likely take their own path. An orientation map of some sort might help. GC-3: The new-staircase-to-the-second-floor concept, discussed in our site master plan, is too ambitious to incorporate into this exhibit project. Without such a staircase, we should continue using the first floor as the primary traffic flow point into RSH. GC-4: The staff consensus regarding an orientation theatre is as follows: the current video is too long, and the current theater location is less than ideal. We do feel that we need some sort of orientation video but we need to keep it short (4-5 minutes) and we need to present it as an option to visitors before they enter rolling stock hall. In addition to an orientation video, we envision that video related to various exhibit themes could be presented in other areas of the hall. GC-5: We want a core message presented forcefully in an introduction, emphasized throughout our themes, and then reiterated in our conclusion. GC-6: Use the lobby to orient visitors and present our introduction; present our conclusion here as well. GC-7: Design the walk-through to RSH as if it were a concourse connecting a head house and train shed.   • Regarding  orientation;  Visitors  need  both  facility  orientation  and  subject  orientation.   - Facility  Orientation  is  critical  in  a  multi-­‐venue  site  and  will  help  visitors  know   what  is  available  at  the  site  (how  to  spend  their  time)  and  how  to  get  around   (way  finding).   4
  • 39.
    Railroad  Museum  of  Pennsylvania   - Subject  Orientation  will  be  the  introduction  of  the  5  main  themes,  it  will  give   visitors  an  idea  of  the  magnitude  of  railroads  in  Pennsylvania.   The  two  types  of  orientation  need  to  be  clear  and  not  directly  mixed  (confusing).   • BS  agrees;  where  are  the  bathrooms?,  how  do  we  get  out  to  the  rail  yard?  Likes   having  a  central  area  where  visitors  can  get  their  bearings.  Maybe  have  footprints  to   “take  people  to  the  yard”.   • See  GC  4:  The  current  orientation  video  is  about  15  minutes  long,  does  not   reference/follow  the  five  themes,  and  doesn’t  directly/clearly  address  railroads   changed  the  way  we  live.  It  falls  short,  some  basics  are  covered,  and  it  meanders.   Should  be  scratched  and  start  over,  15  minutes  is  too  long  –  5  minutes  duration  is   the  goal.   • See  GC  4:  BR  –  We  can  change  its  physical  location,  move  it  closer  to  the  door  and   make  it  more  evident.  It’s  presently  located  in  the  baggage  room.  Would  like  to   return  it  to  a  baggage  room.     • GH  –  A  small-­‐scale  presentation  is  not  equal  to  the  magnificence  of  the  subject.  The   intro  AV  should  set  the  tone  for  what’s  to  follow  –  let  visitors  know.   Facility  Orientation   • CF  likes  maps  as  an  effective  orientation  tool.  GH  –  or  simple  models   • What  do  we  need  to  let  potential  visitors  know?  CF  –  should  utilize  the  walk  from   the  parking  lot  to  inform  visitors.   • The  current  visitor  admission  is  $10  adults,  $9  seniors,  $8  kids   • PM  –  Visitors  avoid  the  desk;  esthetics  is  an  issues  as  well  as  location  and   appearance.  GH  mentioned  at  Pennsylvania  Military  Museum  Hilferty  has  plans  to   add  a  kinetic  attract  just  beyond  the  ticketing  desk  as  an  enticement  to  visitors   deciding  whether  to  buy  a  ticket.  Let  visitor  know  in  the  lobby  how  exciting  it  will  be.   CF  points  out  the  current  use  of  large  AV  monitors  to  impart  information  to  visitors.   • DR  suggested  another  place  to  connect  with  visitors  is  in  the  connecting  hallway  into   RSH.  CF  agrees.   • GH  wanted  to  explore  ways  of  moving  visitors  upstairs  first.  Advantages  are  a  wow   moment  entering  into  RSH  onto  the  bridge  with  an  overview  of  the  collection.  CF   disagrees.  The  wow  moment  is  when  you  walk  up  to  the  locomotives  –  stagger  at   the  size  of  them.  CF  stated  after  a  lot  of  thought  RMP  has  come  to  the  conclusion   that  the  first  floor  entry  is  easier  financially,  architecturally,  and  it  fits  with  their  goal.   PM  added  visitors  are  immediately  immersed  into  the  1915  town.  MB  described  it  as   the  Pitt  tunnel  effect  when  you  enter  Pittsburgh  there  is  a  definite  wow  when  you   exit  the  tunnel  and  are  hit  with  the  vision  of  downtown.  Entry  on  the  second  floor   ramp  diminishes  the  scale  of  the  trains.  CF  is  reminded  of  similarity  to  riding  the   Reading  RR  when  he  was  a  child  –  you’re  right  down  amongst  them.   • SM  asked  if  canted  panels  are  used?  Yes,  it  creates  a  pinch  point.   • PM  acknowledges  the  upstairs  view  is  good  for  a  large  group  orientation.   • CB  said  the  front  area  is  wasted  space.   5
  • 40.
    Railroad  Museum  of  Pennsylvania   • CF  would  like  to  use  video  to  support  the  educational  mission.   Overall  Circulation/Routing   • Lobby,  ticketing,  orientation  show,  tunnel  (must  deliver).  GH  –  It  customary  to   organize  around  a  central  area  such  as  cathedrals  and  malls.  TG  likes  idea  of  having  a   core  exhibit  area  in  the  middle  of  RSH.  DR  reminds  that  we  must  maintain  a  central   area  for  rentals;  weddings  and  dances  need  a  clear  centralized  space  –  maintain   revenue-­‐generating  area.   • AM  –  clarified  that  the  present  movable  crossovers  are  not  safe,  they  aren’t  flush   with  the  floor  on  either  side.  GH  asked  if  they  are  movable?  Yes,  with  a  pallet  jack.   We  need  to  look  at  new  ways  to  get  people  across  the  tracks   • BS  described  how  and  why  the  old  wooden  car  is  strategically  placed  under  the  RSH   bridge  for  protection  from  potential  roof  collapse.   • Is  there  power  available  to  middle  areas  of  RSH?  Along  the  perimeter,  not  in  the   center.  Can  we  place  a  “bull’s-­‐eye”  at  the  far  wall  (South)  of  RSH  to  pull  visitors   through?  Maybe  a  window  into  the  restoration  shed?  CF  –  not  architecturally   practical,  but  bull’s-­‐eye  is  a  good  idea.  MB  said  adding  such  an  element  will  create  a   desire  that  can’t  be  fulfilled  –  this  is  as  close  as  you  can  get.  AM  –  tours  are  available.   • PM  described  the  bridge  as  underutilized.  GH  suggested  that  the  overhead   directional  signage  is  too  close  to  authentic  –  it  should  be  significantly  different  and   not  themed  in  a  period  fashion.   • AM  –  It  would  be  good  if  the  automatic  doors  leading  into  RSL  could  be  replaced   with  automatic  sliders.  NZ  questioned  if  the  doors  are  even  still  needed  after  RSH  is   conditioned?  Also,  can  we  eliminate  the  upper  level  doors?  Suspicion  is  that  the   environmental  seal  must  be  maintained.  What’s  possible?  Second  architectural  firm   concerned  with  RSH  retrofits.  GH  –  Can  we  get  a  read  from  them?  –  Yes.   • GH  –  Sound  should  be  considered  at  RSH  entry  area.  CF  –  yes,  it  should  be  a  part  of   the  experience.  There’s  a  lot  we  could  do.  The  1915  streetscape  provides   opportunities.  Altoona  is  actually  like  a  railroad  town.   • Any  oral  histories?  Yes.  Still  collecting?  Not  presently.  Oral  histories  are  a  valid  and   valuable  opportunity.  Yes,  they  can  make  the  exhibits  come  alive.   • NZ  –  RMP  is  looking  at  digitizing  tons  of  existing  old  footage  (film).  CF  mentions  the   idea  of  a  railroad  theater  to  show  some  of  this  historic  footage.  BS,  “Come  on  boys   housewives  are  waiting.”   • GH  –  WWII,  any  “Rosie”  stories?  Yes,  also  significant  cultural  stories  –  black  porters,   immigrants,  Irish  building  the  railroads.   • GH  –  What  access  is  there  to  the  new  roundhouse?  Out  the  NE  exit  into  the  rail  yard   on  to  a  150  yard  walkway.  CF  –  We  need  to  keep  visitors  focused,  not  give  them  too   many  options.     Disembarking   • GH  –  Orientation  for  visitors  upon  arrival  as  you  get  out  of  the  car,  any  possibility  of   having  a  rain  shelter?  Built  in  kiosk?  Shared  idea  at  Drake  Well  Museum  of  small   6
  • 41.
    Railroad  Museum  of  Pennsylvania   distinctive  sign  leading  from  the  parking  lot  with  factoids.  AM  suggested  having  a   sign  near  the  parking  lot  with  hours  of  operations,  and  lights.   • Any  possibility  of  placing  a  train  in  the  front  between  the  parking  lot  and  the  entry?   Difficulties  include  grade  problems  and  identifying  an  appropriate  piece  of  rolling   stock  that  will  hold  up  the  weather.  CF  explained  that  the  building  windows  are   being  replaced  with  insulated  glass  as  part  of  the  HVAC  upgrade  –  there  are   windows  in  the  NE  corner  of  the  building  between  the  parking  lot  and  the  entry.   • Presently  there  are  lots  of  trains  in  the  yard  as  visitors  arrive  from  the  east  giving   visitors  the  sense  of  what  the  complex  is  all  about.  Arrival  from  the  west  is  quite   different  in  that  no  trains  appear  on  the  west  end  of  the  building.  PM  brought  up  the   idea  of  muralizing  the  west  end  of  the  building.  Other  ideas  include  utilization  of   exterior  photos,  murals,  banners,  sculpture,  and  digital  projection  of  trains  during   operating  hours.   • Visitors  are  visually  drawn  to  the  themed  Strasburg  Railroad  across  the  street.   • GH  restates  the  need  for  a  way  to  draw  visitors  form  the  parking  lot  and  direct  them   to  the  front  door.  There  s  an  existing  iron  bridge  that’s  not  installed.  Could  we  put  a   train  on  the  iron  bridge?  The  type  of  bridge  it  is  has  the  train  on  top  of  the  truss  –  so   it  would  be  up  in  the  air.  Could  we  use  the  bridge  as  part  of  the  pedestrian  way?  Or   create  a  layered  silhouette  sculpture  of  a  train  with  dramatic  lighting.  CF  wrapped   up  with  a  caution  that  we  don’t  spend  too  much  on  the  exterior  and  slight  the   interior  exhibits.   Lunch                     12:30PM  –  1:45PM   After  lunch  it  was  the  focus  to  wrap  up  the  General  Comments  and  move  on  to  exploration  of   the  five  theme  areas.   GC-9: Core message should reflect historical significance, but also emphasize contemporary significance, with something contemporary highlighted in each theme. GC-10: We could develop small icons for each theme (e.g. a silhouette of PA for the Pennsylvania Landscape theme), to get around the fact that it will be difficult to keep the representatives of each them physically united. GC-11: The finished exhibit will ideally contain a nice blend of “stories” and “stuff” using PA examples to tell the overall story. • The  railroad  is  alive  and  well  today.   GC- 12: The introduction will present our core message: “Railroads changed the way we live”. In addition to presenting this message, the introduction will present the basic gist of our five themes. GC-13: A conclusion should reiterate the five themes and our core message. GC-14: The exhibit should be thematic rather than chronological. Each theme should have its own introduction and conclusion. Themes should include contemporary materials where possible. GC-15: The exhibit should be multi-sensory and include sound, smell, etc. GC-16: The exhibit should allow for changeability (within the exhibit) and for movability. Theme areas will need to be somewhat mobile, like the baggage cart idea. • Emphasize  the  main  overarching  message,  “Railroads  changed  the  way  we  live”   7
  • 42.
    Railroad  Museum  of  Pennsylvania   • The  five  themes  will  be  reiterated  upon  departure  as  a  reinforcement  of  what  we’re   trying  to  impart.   • The  collection  resides  at  RMP:  it  includes  over  500,000  images  and  150  movies.   GC- 17: Materials from Interpretive Solutions should be used as a basis for scripts, artifact lists and graphic lists, but will ultimately be only one of many elements we use as we work together to craft a new exhibits plan. • Hilferty  inquired  who  will,  in  the  design  phases,  assemble  the  data  (stories,   collections,  images)  into  a  draft  script  matrix?  Will  it  be  more  similar  to  Pennsylvania   Military  Museum  where  the  State  takes  the  lead  or  like  Pennsylvania  Lumber   Museum  where  the  contractor  takes  the  lead?  BR  clarified  the  contractor  will  take   the  lead  and  collaborate  with  the  RMP  and  PHMC  teams.  BS  referred  to  the  list  of   where  they  matched  artifacts  to  story.   •   GC- 18: We would love to see interactive exhibits that will engage visitors who learn best by doing. However, we are much less interested in high-tech due to the fact that tech-based exhibitry could become get outdated quickly and present potential maintenance problems. • What  about  the  big  screens?  CF,  not  really  high  tech.  We  don’t  want  science  center   computer  interactives.   • OK  with  mechanical  interactive  exhibits?  Yes,  we  do  have  a  diesel  simulator.  See   Stewart  Junction,  lots  of  lift  panels  and  simple  interactives.  Also  see  our  coal   shoveling  interactive.  Thresher  –  too  high  tech?  it  has  AV  that  doesn’t  work.   • CP  –  What  about  remote  access  videos  to  see  inside  rail  cars?  RMP  is  working  with   Media  Dimensions,  Timonium,  MD  http://www.mediadimensions.com/  to  make   360°  videos  of  the  interior  of  50  cars.   • CF  –  Kiosks  will  allow  visitors  to  pull  up  key  information  on  rail  cars.  GH  would  like  to   integrate  into  the  overall  exhibit  approach.   • PM  –  Other  simple  technology  similar  to  a  previous  wall  mounted  lobby  exhibit  that   was  showed  steam  and  fire  inside  of  a  locomotive  using  bypassing  cellophane   graphics.  MB  offered  another  effective  simple  interactive  is  stacking  stone  fences  at   Sturbridge  Village.   GC-19: While not exactly exhibit-related, we desperately need a new ticket desk, located in a better position, that includes separate ticketing and information stations. GC-20: We envision changing our rolling stock hall layout to meet interpretive needs. However, when it comes to the equipment stored in rolling stock hall, conservation needs are of paramount importance.   • Need  to  list  objectives:  maybe  an  information  desk,  maybe  concessions.  Food  can   work  if  it’s  placed  correctly.  BR  suggested  having  more  restrooms.     There  is  a  version  of  the  theme  outline  sheet  that  had  the  addition  of  an  alphanumerical  outline   key  so  particular  sections  could  be  referenced  .  Themes  are  numbered  1-­‐5,  bullet  points  are   alpha,  and  the  hollow  bullets  are  numerical  –  all  in  order/hierarchy  of  the  way  the  document   was  originally  assembled.   8
  • 43.
    Railroad  Museum  of  Pennsylvania   Theme  One:  Railroads  and  Their  Impact             2:15PM   • CF  –  this  is  the  heart  of  the  entire  operation,  a  massive  topic.   • TG  –  Encompasses  a  lot.    Platform  1  lends  itself  to  this  with  the  photo  studio,  general   store,  hotel  bar,  and  worker’s  house.   • Want  to  turn  the  present  AV  room  back  into  a  baggage  room  –  intended  to  be   storage.   • BR  –  If  street  scene  is  1915  how  do  you  intend  to  show  earlier  or  later  periods?  CF  -­‐     we  use  this  because  1915  is  close  to  the  apex  of  steam  technology.  PM  –  The  exhibit   introduction  is  1915  and  we  can  use  icons  to  tie  other  eras  into  the  intro  areas.   • What  about  the  utilization  of  the  core  of  RSH  as  the  introduction  of  the  5  main   theme  areas?  CF  OK  with  core  area  as  base.   • BS  –  the  story  has  to  expand  beyond  the  street  scene  to  include  the  industrial   revolution  –  see  England  as  well.   • GH  agrees  that  the  street  of  shops  is  immersive,  but  not  conducive  to  entire  story.   BS  referred  to  the  fixed  facades  of  warehouses/industrial  buildings  along  South  wall,   near  the  SW  corner  of  RSH.   • The  service  pit  offers  opportunity  for  interpretation  –  ties  into  theme  5  Working  on   the  Railroad.   • In  section  I.B.1-­‐5  we  have  a  lot  of  stock  mentioned.  There  was  shipping  of  Sears’s   houses,  cars,  etc.   • At  I.C.3  this  nice  passenger  equipment,  but  maybe  not  appropriate.   • We  can  interpret  the  same  car  on  2  sides  with  different  stories.   • Another  impact  was  the  communication  story  and  how  the  telegraph  impacted   doing  business.   • GH  –  In  the  immersive  area  how  much  interpretation  do  you  accept?  It  should  be   subtle  enough  it  doesn’t  ruin  the  illusion,  but  not  so  it’s  missed.  Hidden  in  crates  and   barrels  with  lift  flaps  is  OK.   • Cultural  Impact  –  Do  we  include  literature,  music,  loss  of  jobs,  and  pop  culture?  Yes,   plus  what’s  listed  in  I.F.1-­‐3.   • American  Politics     o 1916  threatened  strike,  Adamson  Act   o 1894  Ry.  Safety  Appliance   o Civil  War  –  1st  mobile  war  (see  new  document  collection),  Cumberland   Valley  Coach  1855   o Campaigning  by  rail   o Wild  Wild  West,  Thomas  Tank  Engine,  Boxcar  Children   o Current  events  –  B&O,  high  speed  rail,  cities  doing  their  own  systems   o Germans  in  1940’s  came  to  US  to  emulate  success  –  now  we’re  a  joke   to  them.   o Collapse  of  railroads  relates  to  the  collapse  of  current  car  industry.   o For  a  long  while  US  Government  wouldn’t  allow  lines  to  stop   passenger  service   o Some  areas  are  seeing  a  reversal  and  are  going  trails-­‐to-­‐rails   9
  • 44.
    Railroad  Museum  of  Pennsylvania   • Museum  is  interested  in  maintaining  ability  to  mount  changing  exhibits  for   additional  interpretation.   • BR  reminded  everyone  that  in  all  of  these  considerations  concerning  the  new   exhibits  that  a  “today  component”  needs  to  be  included  in  the  stories.   Theme  Two:  Railroads  and  the  Pennsylvania  Landscape   • II.A  see  Horseshoe  Curve   • The  railroad  was  based  on  extractive  resources.  Look  at  it  from  a  business  aspect  as   well  as  the  natural  resource  aspect.   • The  landscape  was  changed  much  more  than  just  the  additional  of  tracks.   • This  theme  could  be  based  in  the  SE  corner  to  have  a  visual  connection  to  the   exterior  through  the  large  windows.   • Illustrate  how  the  aggression  of  the  railroad  was  at  its  peak  in  1916.  There  are   presently  52  railroads  (common  carriers)  operating  in  Pennsylvania  now.   • The  Pennsylvania  Turnpike  was  built  on  land  that  was  being  prepared  for  installation   of  a  new  railroad  –  it  lay  fallow  for  60  years.   Theme  Three:  How  Railroads  Work   • BR  –  Railroad  morons  need  simple  diagrams.  A  mention  was  made  of  an  electric   driven  model  of  how  steam  works.   • For  railroad  morons  start  with  why  you  need  an  engine.  How  to  build  trains.   Interjection  –  may  have  access  to  decommissioned  “Alto”  tower  from  Altoona.   • PM  –  maybe  this  theme  doesn’t  have  a  home  base  –  could  have  a  scavenger  hunt   throughout  the  site.  CF  –  or  it  could  be  a  mix  of  some  home  base  with  switching,   signaling,  Alto  tower  –  capture  logistic  in  an  area.   • BS  stated  it  was  a  goal  to  have  less  of  just  hardware.  They  want  to  find  a  balance   with  people  stories.   • RMP  has  a  labeled  locomotive  that  is  a  good  place  to  start  and  possibly  to  have  coal   shoveling  interactives.   • GH  confirmed  that  the  new  roundhouse  is  only  housing  steam  locomotives  –  yes,  6   total.   o In  1908  NYC  banned  steam  locomotives  –  electric  only   • BR  asked  if  a  modern  story  can  be  covered  in  the  roundhouse  –  No,  only  steam   locomotives.   • CF  knows  of  a  roundhouse  that  is  being  taken  down  that  still  has  all  of  its  contents  – intact,  working.  Maybe  we  could  get  some  ambient  sound.  Would  like  to  get  some  of   the  items  and  create  as  an  exhibit.   • What  is  the  maximum  size  of  items  that  can  be  on  the  platforms?     Theme  Four:  Made  in  Pennsylvania   • BS  –  there  are  many  things  to  discuss  in  this  section.   • BR  –  Any  current  manufacturing?   o GE  in  Erie   10
  • 45.
    Railroad  Museum  of  Pennsylvania   o Union  Switch  &  Signal   o Westinghouse  (Wab  tech)   o Ambridge  Company   • GH  –  Any  new  innovations  such  as  magnetic  levitation  –  not  in  PA   • It  was  legislated  that  there  would  be  interchangeability  of  parts  across  equipment   brands  –  it  was  pretty  widespread.  Today’s  trains  must  be  compatible  and  work  with   other  manufacturer’s  components.   Theme  Five:  Working  on  the  Railroad   • There  is  a  vast  scope  of  jobs  associated  with  the  railroad  both  directly  and  indirectly.   In  1920’s  1  in  5  worked  in  a  railroad  related  job  –  hotels,  restaurants,  coffee  shops   • With  the  present  increase  in  railroad  related  jobs  one  of  the  lines  has  built  a  new  RR   hotel  in  Harrisburg  for  employees.   • PM  &  TG  see  cases  and  tours  telling  railroad  stories  and  utilizing  oral  histories.  This   area  could  be  artifact  and  personal  story  heavy.   • TG  –  This  is  a  good  place  for  interactives:  inspecting  cars,  sorting  mail,  shoveling  coal   • CF  –  tell  people  stories  like  the  “call  boy”  –  runner.   • BR  –  Bring  the  story  up  to  today.   • GH  asked  about  why  RMP  is  located  in  a  cornfield  not  in  a  traditionally  train  dense   urban  local?  They  were  strategic  in  locating  in  an  active  tourist  area,  plus  being   across  from  a  major  destination  of  RMP’s  target  audience.   • For  contemporary  stories  show  what  they  can  do;  capacities,  efficiencies,  etc.  See   Extreme  Trains  on  television.   • Can  access  recruitment  films.  Not  too  many  boilermakers  left.   • The  railroad  industry  has  been  through  cycles  of  centralization  and  de-­‐centralization.   • Add  “awareness  of  railroad  conservation”.   Adjourn                   5:00PM     Tuesday  June  7,  2011                 9:10AM   As  the  meeting  was  running  ahead  of  schedule,  the  client  group  decided  they  would  like  to   cover  several  topics;  delivery  methods,  lots-­‐o-­‐info,  wayfinding,  and  learning  styles.   Delivery  Methods  –  some  have  been  tried  and  worked,  some  have  not  worked   • PM  –  To  match  the  variety  of  visitors  RMP  gets  we  need  to  have  a  variety  of  content   delivery  methods.  This  includes  reading  labels,  tactile  exhibits,  and  utilizing  the   spoken  word  (recordings,  docents).  In  addition  to  learning  styles  there  is  a  great   variety  in  the  audience  ages.  Parents  want  to  act  like  kids,  fathers  are  interested  in   trains,  what  is  there  for  the  mothers/women  to  do?  MB  –  How  did  the  railroad   change  the  lives  of  women?   • BR  inquired  if  there  are  any  audience  surveys?  No,  it’s  been  a  few  years,  will  check   and  lets  us  know  what  they  can  find.  Maybe  the  2008  accreditation  surveys  would   be  helpful  –  will  research  and  forward  to  Hilferty.   11
  • 46.
    Railroad  Museum  of  Pennsylvania   • To  assure  visitor  get  the  message  illustrate  the  story  in  a  couple  of  ways.   • Is  there  a  railroad  music  library?  Some  music  is  available  –  see  Smithsonian.  Any  Irish   work  songs?  –  see  Library  of  Congress.  Also  see  the  labor  movement  libraries.   • Tried  and  true.  PM  –  older  exhibits  have  relied  on  model,  the  problem  is  with   accuracy.  Slides  don’t  work.  Panels  at  entry  to  RSH  do  work  –  people  take  time  to   read  them.  BS  –  guard  against  overexposure  of  similar  objects,  i.e.)  lanterns.  Some   collections  are  stored  in  the  warehouse  fronts  on  the  SW  wall?  Yes,  we  have  to  look   at  rotating  the  ones  on  display.   • CB  –  we  need  to  show  journal  boxes  and  explain  what  they  are.  Same  with  sand  and   ashes.   • CF  –  Do  the  exhibits  have  to  carry  the  full  responsibility  or  can  they  be  augmented   with  docents?  –  people  like  to  talk  to  people.   • PM  –  Working  on  the  Railroad  tour  is  popular  because  it’s  hands-­‐on.  Some   volunteers  have  come  up  with  their  own  tours.     There  are  accounts  where  women  traveling  with  a  family  group  elect  to  sit  in  the   lobby  and  forgo  the  RMP  ticketed  offerings  altogether.   • Any  ideas  for  a  woman’s  tour?  TG  –  having  the  1915  street  completed  will  help  with   addition  of  the  store  and  home.  Also  stories  of  women  helping  during  wartime,  and   working  as  telegraphers.  MB  –  What  about  women  in  advertising.  CF  –  Don’t  fall   victim  to  the  idea  women  won’t  be  interested.     • PM  –  We  have  introduced  some  gender  and  race  based  tour  components.   • SM  –  Marketing  shows  women  make  the  majority  of  vacation  decisions,  followed  by   children,  then  the  males.   • DR  –  Don’t  make  the  mistake  women  aren’t  interested  in  technology.  What  about   women  who  don’t  come  in?  DR  –  the  lack  of  HVAC  has  played  into  why  some  don’t   come  in.   • CF  –  We  must  be  an  advocate  for  visitors.  CP  –  Can  you  do  a  focus  group  with  your   current  members?   • Any  other  under  served  population  segments?  Some  discussion  regarding   accessibility.  RMP  does  have  one  free  electric  scooter  and  three  wheelchairs.   • SM  –  Call  out  “green”  features  of  facility  for  those  who  are  interested.  Dr  –  this  has   been  included  in  announcements  on  facebook,  etc.  GH  –  is  there  any  monitor/read   out  showing  savings?  No   • SM  –  At  Drake  Well  Museum  a  popular  tour  is  a  behind  the  scenes  showing  the  new   geo-­‐thermal  system.   • GH  –  Railroads  have  always  been  know  as  energy  savers.   • CP  –  Any  special  needs  programming?  PM  –  we  always  adapt  the  programs  to  their   particular  condition   • BS  wrote  a  proposal  for  a  grant,  but  it  was  denied.  The  grant  was  for  a  tour  for  the   visually  impaired.   12
  • 47.
    Railroad  Museum  of  Pennsylvania   Lots-­‐o-­‐Info  –  How  does  it  fit?   • MB  –  We  have  a  fascinating,  but  overwhelming,  amount  of  information.  CF  –  The   best  is  person  to  person  communication  i.e.)  volunteers   • PM  reminds  that  there  are  supplemental  ways  to  cover  the  breadth  of  stories  that   can’t  be  in  the  exhibit;  special  events,  speakers,  changing  exhibits   • CF  –  Though  we  have  a  national  context  we  must  still  stay  focused  on  Pennsylvania.   • GH  assured  all  that  Hilferty  will  for  this  phase  and  future  ones  if  we’re  selected   accommodate  a  variety  of  learning  methods  so  visitors  can  find  their  own  level.   • SM  suggested  utilizing  QR  codes  to  allow  interested  visitors  to  drill  deeper  into   content.  GH  –  One  to  one  (ideal)  isn’t  always  going  to  work.   • SM  –  Younger  folks  want  to  self-­‐direct.   • CF  –  Related  at  Penn’s  Manor  they  put  out  a  calendar  of  events  scheduling  activities.   i.e.)  every  3rd  week  a  turntable  event.  GH  said  at  Kansas  City  they  have  docent   engineers.   Visitor  Wayfinding  –  How  do  we  Direct  Visitors?   • TG  –  Although  we  have  a  central  hall,  how  do  visitors  make  their  way  through  the   exhibit?  CP  –  A  good  orientation  could  help   • Ideas  abounded   o Tools   o Street  Signs   o Go  over  map   o Reinforcement   o Big  Board   o Foot  prints   • PM  Communication  and  how  to  navigate  is  difficult.   • CF  –  RSH  is  similar  to  a  grocery  store  –  add  “isle”  signs.  MB  –  It’s  just  a  building.   • SM  –  Visitors  can’t  underestimate  their  lack  of  understanding   • CF  –  the  central  core  idea  will  help.   • GH  –  People  learn  and  enjoy  more  when  they  understand  how  to  navigate  and   where  they  are  within  the  facility  and  visitor  experience  –  see  Judy  Rand’s  Visitor’s   Bill  of  Rights.   • TG  –  Visitors  don’t  read  signs.  Maybe  arriving  in  a  new  environment  is  disorienting.   • GH  –  That’s  why  the  path  from  the  parking  lot  is  important  –  it’s  a  decompression   period.   • PM  –  Sometimes  we’re  asked  if  there  is  a  recommended  path  or  an  express  route  if   they  can  only  stay  for  short  time.  CF  –  see  Yorktown  method,  and  Intrepid   • SM  –  Cautioned,  don’t  under  spend  on  pathway  from  parking  lot  to  point  of  sale  –  if   you  don’t  get  them  in  ,  it’s  a  wasted  effort.   • SV  –  2007  art  deco  lobby,  what  was  the  conceptualization?  To  get  people  across  the   street.  It  has  some  good  points,  but  it  doesn’t  speak  railroad  –  more  movie  theater.   Not  popular  with  the  locals,  signage  doesn’t  read  well.  Would  like  more  of  a  train   station  if  we  could  get  it.   • GH  observed  Strasburg  Railroad  has  a  split  rail  fence  impeding  visitor’s  direct  access   to  RMP  site.  Yes,  and  also  port-­‐a-­‐johns  sometimes  line  the  road.   13
  • 48.
    Railroad  Museum  of  Pennsylvania   • Inside  the  RMP  lobby  there  are  some  things  that  are  not  working.  The  “cage”  hides   the  staff  member  who  is  oriented  toward  right  side  and  has  back  to  visitors  who  ran   to  the  restroom  first.   • At  times  many  visitors  arrive  at  once  from  across  street  (300)  some  of  whom  have   purchased  a  combo  ticket  from  Strasburg  and  think  they  can  just  circumvent  the   whole  desk/check  point  and  go  right  in.  This  creates  difficulties  with  reimbursements   from  Strasburg.  It’s  difficult  with  the  present  configuration  to  handle  a  large  group   arriving  all  at  once.   • Previously  had  an  “airline  counter”  with  a  one-­‐way  exit  gate.   • It  was  suggested  having  a  separate  point  of  sale  and  information  desk.  Info  first   (requires  volunteers),  then  ticket  model   • TG  Mobilization  of  large  groups  in  the  lobby  interferes  with  single  visitors.  PM  –  Had   looked  at  the  gift  shop  –  maybe  the  meeting/multipurpose  room  as  a  staging  area   for  large  groups.   • The  storage  room  is  available,  but  it  also  serves  as  the  HVAC  return  plenum  and   computer  server  room.   • CF  –  Complete  trains  chew  up  a  lot  of  space.  Can  we  rethink?  i.e.)1915  train  has   three  baggage  cars,  we  could  loose  some  of  them.  Only  useful  if  you’re  doing  a   compare  and  contrast.   • Basic  ideas  to  get  across:  describe  how  a  railroad  works  [people  versus  freight],  basic   “anatomy  and  evolution”  of  a  train,  why  do  trains  need  water?   • The  example  of  Stewart  Junction  is  that  it  tries  to  educate  on  a  basic  level,  but  we   should  try  to  do  that  throughout  the  exhibit.   • Approximately  93%  of  the  collection  is  catalogued.   • There  is  some  ongoing  de-­‐accessioning.   •   Next  Steps   • BR  explains  the  contract  Hilferty  is  working  under  expires  this  Fall  so  this  phase  is  as   far  as  the  project  will  go  until  a  new  contract  is  written  –  likely  in  early  2012  with  the   selected  firm(s).  Maybe  Hilferty,  maybe  not.   • Hilferty  will  submit  meeting  notes  for  review,  comment  and  approval.   • Hilferty  will  send  some  bubble  plan  options  showing  proximity  of  topics  and  visitor   flow  for  review  and  comment  (tentatively  the  week  of  June  27th).  Hilferty  will   schedule  a  phone  call  for  a  walk-­‐through  of  the  plan  options  (tentatively  the  week  of   July  11th).  A  week  after  that,  comments  are  due  to  BR  for  forwarding  to  Hilferty.   • Hilferty  will  incorporate  those  comments  received  and  submit  a  draft  phase  report   followed  by  a  final  with  noted  changes.   14
  • 49.
    Railroad Museum ofPennsylvania (PRM) Thematic Outline from PRM 5.25.11 Hilferty edits noted 6.6.11 Railroad Museum of Pennsylvania Thematic Outline Main Message/Introduction: Railroads changed the way we live. 1. Railroads & Their Impact Message: The railroads and related industries of Pennsylvania profoundly transformed American life, and they remain vitally important to our nation today. a. Railroads facilitated the Industrial Revolution b. Railroads changed the products available to us Suggestion: Railroads offered an unprecedented level of connectivity for people and products i. Adams Express, Railway Express Agency ii. Fruit Growers Express iii. Livestock Cars iv. Railway Post Office Service v. Sears & Roebuck, Ford, etc vi. Question: what kinds of products? c. Railroad changed the way we travel Suggestion: this becomes subtheme of previous suggested bullet point i. Railroads made an immediate impact ii. Connecting the nation’s towns 1. Stations and depots iii. Pullman, Blue-Ribbon Trains iv. Commuter rails and the growth of suburbs 1. Suggestion: PA city example? d. Railroads changed the face of American Business i. The PRR was the world’s largest corporation ii. Negative aspects of the railroad iii. Railroad advertising iv. Mergers that failed and succeeded v. PA Shortlines vi. Modern Class One Railroads in PA vii. Railroad interests in coal, lumber, etc. (this sort of repeats a bit of theme two. Is that ok, or should we keep this to a single section?) e. Railroads influenced communication and timekeeping f. Cultural Impact of Railroading i. Orphan Trains ii. Immigrant Trains iii. Hobo culture iv. Suggestion: art, music, movies, books? g. Railroads of Pennsylvania changed the face of American politics Suggestion: Railroads have long been a subject of political attention i. The mainline of public works ii. Progressive Era Legislation targeted railroads (Ry. Safety Appliance and Adamson Acts) iii. World War One and the USRA iv. Interstate Highway Act, Conrail, Amtrak, Staggers Act (moved to here from eliminated section) Hilferty Museum Planning & Exhibit Design 1 of 3
  • 50.
    Railroad Museum ofPennsylvania (PRM) Thematic Outline from PRM 5.25.11 Hilferty edits noted 6.6.11 v. Modern freight giants: NS and CSX; to a lesser extent, perhaps CN and CP vi. Government underwriting of passenger service vii. Suggestion: current events in rail transportation, federal funding for high speed rail under Obama, cities building their own like Atlanta, perhaps get visitor feedback and opinions 2. Railroads & the Pennsylvania Landscape Message: Pennsylvania’s unique geography influenced the development of its railroads. Suggestion: Pennsylvania’s unique geography both shaped and was shaped by the development of railroads. a. Railroads were essential for extracting Pennsylvania’s abundant natural resources of lumber, coal, iron, and oil i. Anthracite Roads ii. The Reading and Anthracite (this sort of repeats a bit of theme one. Is that ok, or should we keep this to a single section?) Geared locomotives and logging railroads b. Railroads used creativity and ingenuity to conquer the formidable Allegheny Mountains i. Allegheny-Portage Railroad ii. Horseshoe Curve and Galitzin Tunnels c. Topography influenced the route of right-of-ways and the design of railroad structures i. Rockville Bridge, Tunkhannock Viaduct, Starruca Viaduct, Kinzua Bridge, Salisbury Viaduct ii. Gravity Railroads, switchbacks iii. Low-grade lines, track re-alignments iv. Railbanking, rails-to-trails d. Railroads and the urban landscape 3. How the Railroad Works Message: Railroad networks and equipment were and are complicated works of technology, engineering and coordination. a. Mechanics i. Steam 1. How did it work? 2. Why was it the best technology 3. Why was it replaced? ii. Electrification 1. Northeast Corridor and the GG1 2. DD1, B1, Metroliner iii. Diesel-Electric Locomotives and other steam alternatives 1. PRR E7 No. 5901 2. GP7/GP9 iv. Rail-busses and Doodlebugs v. Secondary technology 1. Air Brakes, Couplers vi. Ideas that Failed Hilferty Museum Planning & Exhibit Design 2 of 3
  • 51.
    Railroad Museum ofPennsylvania (PRM) Thematic Outline from PRM 5.25.11 Hilferty edits noted 6.6.11 1. Duplexes, turbines, etc. vii. Emerging technologies (make this section modular, since it could be outdated in 5 years) 1. Green technology 2. High-speed rail 3. Remote control units b. Logistics Suggestion: Logistics becomes subcategory under each type of technology i. Block Signaling and Centralized Traffic Control ii. Classification Yards iii. Maintenance of Way iv. Stations and Terminals v. The Inter-modal Boom (relocated from old section 6; might also fit under section 1 4. Made in Pennsylvania Message: Pennsylvania was and continues to be a leader in railroad-related manufacturing. a. Baldwin Locomotive Works: the world’s steam locomotive leader made history for its sheer volume of output and longevity b. Altoona Shops c. Budd Company: pioneers in stainless steel d. General Electric e. Innovators: Richard Imlay (sleeping car inventor), Charles Schoen (steel car patent holder), George Westinghouse f. Raw material contributors g. Other possibilities that emphasize the diversity: Altoona, Reading Shops, Camelbacks, Westinghouse, Vulcan, Union Switch & Signal, Billmeyer & Smalls, Porter, Pressed Steel Car Company, Richard Imlay (sleeping car inventor), Cambria Iron, Budd, Heisler, Climax, American Car & Foundry (Milton and Berwick), Pullman (Butler), Norris, etc. h. The process and innovation of railroad manufacturing i. From drafting desk to the erecting shop floor ii. Interchangeability of parts i. Suggestion: today’s story? 5. Working on the Railroad Message: Railroads required an army of workers, and every railroader played a vital role. At the peak of railroading, one in five Pennsylvanians worked for a railroad or railroad related industry. a. Train Crews, shop workers, track gangs, surveying parties, etc. b. Railroad opportunities for immigrants, minorities and women i. Duffy’s Cut workers c. Railroad Unions d. Railroad Towns e. Impact on employees working long hours for low pay at dangerous jobs f. Duffy’s Cut g. The Great Railroad Strike of 1877 h. Contemporary railroad jobs Hilferty Museum Planning & Exhibit Design 3 of 3
  • 53.
    ACCOMPANYING THE CLOUDSOF CONNECTIVITY ARE GRAPHICS, ARTIFACT CASES, INTERACTIVES, ACTIVITIES FOR CHILDREN; SOME FIXED, OTHERS MOBILE, SOME FOLLOWING BAGGAGE ABSTRACTIONS OF STEAM, SMOKE & CART AESTHETIC. WHEELS FORMS A CONNECTIVE VISUAL TISSUE THAT VISITORS CAN FOLLOW. ABSTRACTIONS OF STEAM, SMOKE & WHEELS MAY FOLLOW A SUBTLE COLORWAY SHIFT THAT SIGNIFIES A DIFFERENT THEME. DESIGN CONCEPT A: CLOUDS OF CONNECTIVITY Abstract and artistic visual references of steam, smoke, and wheels begin at the parking lots and lead visitors into the museum. The visual cues may take a variety of forms such as paint or pavement stain, a sculptural or standing graphic element, scrims or applied images on the windows, hanging banners, or a combination of any of these. These elements are repeated throughout the museum, both inside and out, and demarcate a path for visitors to take from the parking lot, into the museum, and out to the roundhouse and rolling stock yard. Placing a portion of the railroad bridge and the metroliner in front of the museum along the pathway will greatly enhance the look and feel of the site. The juxtaposition of the two items will convey the range of time periods and artifacts in the CEILING ART INSTALLATION museum as well as provide an unmistakable visual cue that SCULPTURALLY INTERPRETS THE IDEA OF BILLOWING SMOKE. this museum is about railroads. Visitors can walk alongside the bridge and metroliner on their way into the museum, following the clouds of connectivity design cues that might be attached to the bridge. DESIGN CONCEPT A: CLOUDS OF CONNECTIVITY
  • 54.
    A/V ART INSTALLATIONINSIDE VEHICLE. CAMERA OBSCURA PROJECTIONS ON EXAMPLE ROOM INTERIORS. INTERIORS & EXTERIORS OF CARS COME TO LIFE WITH A/V ACTION & STORIES WHILE CONTRIBUTING TO THE BUSTLE AND CLAMOR OF THE RECREATED TRAIN STATION ENVIRONMENT. ACCOMPANYING A/V ARE GRAPHICS, ARTIFACT CASES, INTERACTIVES, ACTIVITIES FOR CHILDREN; SOME FIXED, OTHERS MOBILE, SOME FOLLOWING BAGGAGE CART AESTHETIC. DESIGN CONCEPT B: WITNESS HISTORY This design approach will echo an unmistakable railroad icon: the train station. Playing-off the different time periods and styles represented by the current collection and museum buildings, the design will draw from multiple time periods and styles so that it can timelessly represent any train station in the state or an amalgam of several. Audio-visual elements are strategically placed throughout the hall and in the roundhouse. VIDEO PROJECTIONS ON EXAMPLE The sounds of a train station play subtly in the background and the exterior of several BUILDING INTERIORS/EXTERIORS. railcars are used as projection surfaces where moving images bring the cars to life. The inside of several passenger railcars come to life with projected video of passengers talking together and telling their stories, allowing visitors to witness history. This “witness history” approach could extend to first person interpretation in the form of docent-led tours or discussions based upon different railroad personalities from different eras. The train station motif begins with the site treatment proposed in Visitor Experience Diagram Option C. The east exterior wall of the museum shop and admin building becomes a trompe l'oeil or bas-relief graphic scene of a station with a passenger car pulling in. The portion of the car not seen from the outside might be represented inside the lobby area. The audio-visual treatments inside the hall and roundhouse would also enhance the train station design by providing sound and dynamic movement to the otherwise still rail hall. DESIGN CONCEPT B: WITNESS HISTORY
  • 55.
    PLACES: PLACES: Railyards Signal Towers PRODUCTS: of Industry PRODUCTS: PRODUCTS: Livestock Machine Parts PLACES: Signal Bridge PEOPLE: Passengers ACCOMPANYING LARGE ILLUSTRATIONS ARE GRAPHICS, ARTIFACT CASES, INTERACTIVES, LINE DRAWING ILLUSTRATIONS--MORE OR LESS TO FULL SCALE--OF THE PEOPLE, ACTIVITIES FOR CHILDREN; SOME FIXED, OTHERS MOBILE, SOME FOLLOWING BAGGAGE PLACES & PRODUCTS OF PENNSYLVANIA'S RAILROADS FORM A CONNECTIVE VISUAL CART AESTHETIC. TISSUE THAT SURROUNDS EXHIBITS, MAKING A TRAIL FOR VISITORS TO FOLLOW. DESIGN CONCEPT C: PEOPLE PLACES PRODUCTS The People Places Products unifying design approach is based on pen and ink style sketches representing the many people, places, and products connected by rail over time. These representations might take form as standing graphic elements, bas-reliefs, hanging scrims or banners, applied graphics, or a combination and will be shown in varying degrees of intensity. These elements are repeated throughout the museum, both inside and out, and demarcate a path for visitors to take from the parking lot, into the museum, and out to the roundhouse and rolling stock yard. The site treatment at Visitor Experience Diagram Option C works hand-in-hand with this design approach and includes placement of a boxcar (representing products) in front of the museum. Signal bridges and towers frame the entry to the museum from the parking lot, and may reappear at times within the rolling stock halls and elsewhere. DESIGN CONCEPT C: PEOPLE PLACES PRODUCTS
  • 56.
    Overview The following three visitor experience diagram options map the main components of the visitor experience to the site plan. These components include facility orientation, subject orientation, audio-visual elements, exhibit themes, and visitor flow. Mapping these components to the site plan provides a visual synopsis of their adjacencies and relationships. General Observations Approach/Impression The current museum signage does not convey to potential visitors that the building houses a museum about railroads The grand scale of the rolling with a spectacular collection. There is a need for signing that combine three-dimensional elements and graphics, stock halls easily creates the which strongly identifies the museum and encourages people to stop. These elements should include a variety of feel of a train station -- a sizes from those that are visible from the road and from across the street to others that are visible from the parking feeling that can be amplified with new interpretive exhibits. lot and along the pathway into the museum. The elements should hint at experiences to be had at the museum and build anticipation and excitement. This excitement should extend into the lobby area where visitors are asked to purchase a ticket. In the current arrangement, once visitors enter the lobby, there is no enticement to purchase a ticket because they cannot see anything beyond the lobby. Visitors should be able to see something of interest beyond the ticketing point that encourages them to spend their money and hints at a worthwhile experience. Facility Orientation Because the museum is large, complex, and includes both interior and exterior exhibit elements, clear and comprehensive facility orientation is vital from the moment of arrival. Facility orientation should occur at the parking lots, along the pathway into the museum, and in the museum entry lobby. Wayfinding signage at decision points that include the parking lot, along the path, in the lobby, in the rolling stock hall, and in the rolling stock yard will work with facility orientation to make a visitor's choices clear. The current lobby ticketing and orientation sequences do not work well. The desk attendant is hard to see behind the counter. Visitors who utilize the restrooms before purchasing a ticket can easily slip past the attendant and into the The 1915 streetscape in the west rolling stock hall. The passenger cars here, as well as the immersive structures in the streetscape, present excellent museum without paying. Large groups often create a bottleneck in the lobby, making it hard for individual or opportunities for engaging visitors by taking them back in time to a train station setting with dramatic interpretation of subject matter. smaller groups of visitors to get past. Relocating and redesigning the ticketing counter to act as more of a control point for visitors will help ameliorate these issues. Groups can be led into the multipurpose room for orientation to One of the many activites for kids avoid a bottleneck at the ticket desk. inside Stewart Junction, also known as Kidspace. One idea is to spread some Because museum staff did not favor utilizing the overhead walkway on the second floor as a beginning point for of these activities--as the coal loading facility and subject orientation, the following visitor experience diagrams focus on a ground-level organization. The activity does now--out to other points size of the rolling stock hall is potentially intimidating and the random layout of rolling stock and crossover points is within the interpretive exhibits. confusing for visitors. To avoid this, the central spine through the rolling stock hall can serve as a central point for facility and subject orientation from which visitors can proceed into the isles to explore. EXISTING MUSEUM & ENVIRONS OVERVIEW and GENERAL OBSERVATIONS
  • 57.
    General Observations (continued) Subject Orientation Subject orientation should also being at the parking lots, continue along the pathways, and into the lobby. Proper location and use of subject orientation will build visitors' anticipation and excitement as they go into the museum and ultimately encourage them to purchase tickets. The museum staff has combined themes from previous interpretive planning exercises from six or eight to five. The visitor diagrams here focus on the distribution of those five themes identified by the museum. However, the synthesis of previous thematic organizations into five themes does create some uneven storyline distributions that Entry to the rolling stock halls from the lobby. Use of the crossing should be addressed at a later date, perhaps with further synthesis or slight reorganization. tracks in this central area prevents a sweeping view of the scene. The large iron bridge artifacts at the edge of the east parking area Design Approach could be easily integrated into a visitor pathway between Due to the size and orientation of the museum site, the design approach needs to provide strong visual cues that tie parking and lobby, adding the museum's identity and visitor experience together and help lead the visitor from beginning to end. The design excitement to the approach should connect the entire storyline together and enhance the museum's visual presence and recognition. sequence and exterior subject matter & facility orientation. Exhibits The ability to interchange, move, and update exhibits is key to the success of interpreting a collection that requires periodic “exercising” to keep the moving parts in working order. Any exhibits directly related to particular cars or engines in the rolling stock hall will be mobile to accommodate the need to relocate the collection on a regular basis. Museum staff has also requested space large enough to accommodate after-hours programming and events, which Vehicular approach to the main parking area lacks subject matter mobile exhibits can easily provide, particularly when combined with the space under the central spine area, which and facility and amenities orientation for visitors. can also be used for after-hours programming. Facility & amenity orientation, and a reminder of the overall plan of the site, are suggested as visitors exit the rolling stock halls on the way to the yards and the (future) roundhouse. The locomotive turntable and the (future) roundhouse are excellent opportunities for visitors to see how railroads work. EXISTING MUSEUM & ENVIRONS OVERVIEW and GENERAL OBSERVATIONS
  • 58.
    EXTERIOR VISITOR EXPERIENCEAREAS: GRASSED / LANDSCAPED PORTIONS OF SITE FENCE RESTORATION SHOP VEHICULAR AREAS, SERVICE DRIVE (GUIDED TOURS ONLY) ROADWAYS, PARKING FENC E FUTURE PEDESTRIAN AREAS, FENCE STAIR TO OU ROUNDHOUSE SIDEWALKS, HARDSCAPES SERVICE ENTRY OVERLOOK TD OO ADDITION (FOOTPRINT DASHED) PARKING R ROL LIN INTERIOR VISITOR EXPERIENCE AREAS: LOBBY, OVERLOOK ABOVE EAST ROLLING STOCK G STO T T AMENITIES, AND EXHIBIT & PROGRAM SPACES BELOW THE WEST RO CK LOCOMOTIVE LLING S LOCOMOTIVE EXHIBIT HALL TOCK YAR TURNTABLE EXHIBIT D INTERIOR OFF LIMITS AREAS: AREAS FOR STAFF; HALL SOME AVAILABLE TO VISITORS ON GUIDED TOURS 1915 STREET SCAPE TRACK AREAS FOR ROLLING STOCK, INTERIOR & EXTERIOR FENCE STAIR PRIMARY WALK FROM PARKING KIDSP ACE ENTRY OUT DOO ELEV & STAIRS R RO NEW ADJACENT STRASBURG SCENIC RAILROAD SITE BUS DROP OFF LOBBY STAFF PARKING LLIN ROUNDHOUSE AND PARKING EXISTING G ST CONTROL MULTIUSE OCK EXHIBIT FENCE STAIRS YAR FUTURE BISPHOP PROPERTY SPUR PARKING T T POINT D HALL (FOOTPRINT DASHED) MUSEUM SHOP LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL SECONDARY WALK FROM PARKING OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK OVERLOOK HALLS OVERLOOK ENTRY EXHIBITS SECOND LEVEL PLAN EXISTING MUSEUM PLAN & SITE ENVIRONS including NEW ROUNDHOUSE EXHIBIT HALL 25' 100' 400' N 0 50' 200' 800'
  • 59.
    SUBJECT CHANGING GALLERY ORIENTATION Railroads and How Railroads Working on EXHIBITS AUDIO-VISUAL their Impact Work the Railroad FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) ARRIVAL SEQUENCES ORIENTATION EXHIBITS Railroads and the Made in KIDZONE: Pennsylvania Landscape Pennsylvania Activities for GRAPHIC LEGEND VISITOR FLOW Young Audiences RESTORATION SHOP (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT SERVICE DRIVE WEST RO HALL LLING S FENC TOCK EX E HALL HIBIT FUTURE FENCE FENCE STAIR TO ROUNDHOUSE ADDITION (FOOTPRINT DASHED) OU SERVICE OVERLOOK TD ENTRY PARKING OO R ROL LIN OVERLOOK ABOVE G CENTRAL SPINE STO T T BELOW THE CK LOCOMOTIVE LOCOMOTIVE YAR TURNTABLE D 1915 STREET SCAPE FENCE STAIR KIDSP ACE EXISTING SECONDARY WALK FROM PARKING ELEV & STAIRS OUT NEW DOO METROLINER CAR (70') R RO ROUNDHOUSE BUS DROP OFF LOBBY STAFF PARKING LLIN AND PARKING IRON RAILROAD BRIDGE ELEMENTS CONTROL G ST EXHIBIT OCK POINT MULTI-USE SET IN LANDSCAPE ALONG /STAGING YAR FENCE NEW ARRIVAL PATHWAY NEW PRIMARY PROCESSION FROM STAIRS D HALL PARKING PARKING T T LOBBY MUSEUM SHOP LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL ENTRY COVERED LOGGIA GGIA COVE R ED LO OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK The five main themes of the exhibits are focused at “islands” Activities specifically designed for children are located in the Subject orientation is comprised primarily of an exhibit of interpretive displays located throughout the rolling stock hall current kids' area as well as sprinkled in with the rest of the introducing the five themes that takes place in the lobby area and roundhouse and associated with the appropriate railcars, exhibits. before visitors enter the hall. This is also where the icon/color OVERLOOK engines, and displays. The use of a different color palette palette is introduced. and/or icon for each theme allows visitors to easily identify The second floor gallery is for changing exhibits exclusively. and follow the themes throughout the museum. Audio-visual elements are infrequent, perhaps with the exception of a few kiosks that provide video views of the interior of some of the cars. ENTRY VISITOR EXPERIENCE DIAGRAM ONE CHANGING EXHIBIT GALLERY ISLANDS OF INTERPRETATION SECOND LEVEL PLAN 20' 80' 320' N 0 40' 160' 640'
  • 60.
    SUBJECT Railroads and How Railroads Working on ORIENTATION their Impact Work the Railroad CHANGING GALLERY EXHIBITS AUDIO-VISUAL FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) Railroads and the Made in KIDZONE: ARRIVAL SEQUENCES ORIENTATION Pennsylvania Landscape Pennsylvania Activities for EXHIBITS Young Audiences GRAPHIC LEGEND STAIR TO OVERLOOK VISITOR FLOW OVERLOOK ABOVE STAIR CENTRAL SPINE EXISTING SECONDARY WALK FROM PARKING METROLINER CAR (70') BELOW THE LOCOMOTIVE LOBBY IRON RAILROAD BRIDGE ELEMENTS BUS DROP OFF SET IN LANDSCAPE ALONG AND PARKING NEW ARRIVAL PATHWAY STAIRS 1915 STREETSCAPE NEW PRIMARY PROCESSION FROM PARKING T T MUSEUM SHOP GGIA D LO COVERE DROP OFF / TEMPORARY PARKING ELEV & STAIRS LOBBY VEHICULAR ARRIVAL CONTROL POINT MULTI-USE /STAGING STAIRS T T LOBBY MUSEUM SHOP Subject orientation is comprised primarily of an exhibit Placing a portion of the railroad bridge and the metroliner in A COVERED LOGGIA introducing the five themes that takes place in the lobby area front of the museum along a new primary pathway will greatly GGI ED LO COVE R before visitors enter the hall. This is also where the icon/color enhance the look and feel of the site. The juxtaposition of ENTRY palette is introduced so that visitors can follow the main themes these two items will convey the range of time periods and at the rolling stock hall exhibit "islands." artifacts in the museum as well as provide an unmistakable visual cue that this museum is about railroads. PEDESTRIAN ARRIVAL VISITOR EXPERIENCE DIAGRAM ONE ENLARGED DIAGRAMS ISLANDS OF INTERPRETATION 10' 40' 160' N 0 20' 80' 320'
  • 61.
    SUBJECT CHANGING GALLERY ORIENTATION Railroads and How Railroads Working on EXHIBITS AUDIO-VISUAL their Impact Work the Railroad FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) ARRIVAL SEQUENCES ORIENTATION EXHIBITS Railroads and the Made in KIDZONE: Pennsylvania Landscape Pennsylvania Activities for GRAPHIC LEGEND VISITOR FLOW Young Audiences RESTORATION SHOP SERVICE (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT DRIVE WEST RO HALL LLING S FENC TOCK EX E HALL HIBIT FUTURE FENCE FENCE STAIR TO ROUNDHOUSE ADDITION (FOOTPRINT DASHED) OU SERVICE OVERLOOK TD ENTRY OO R CENTRAL ROL LIN OVERLOOK ABOVE GS T T TOC BELOW THE KY LOCOMOTIVE ARD LOCOMOTIVE TURNTABLE SPINE 1915 STREET SCAPE FENCE STAIR ENTRY KIDSP EXISTING SECONDARY WALK FROM PARKING ACE ELEV & STAIRS OUT NEW DOO BUS DROP OFF PASSENGER CAR SCULPTURE/SCENIC LOBBY STAFF PARKING R ROL ROUNDHOUSE AND PARKING TREATMENT OUTSIDE /INSIDE LOBBY LING MULTI STOC EXHIBIT HEAVY DASHED LINE INDICATES K YA CONTROL POINT FENCE USE TROMPE L'OEIL STATION/DEPOT GRAPHICS ALONG 3 STEPS OF FACADE, STAIRS RD HALL FULL HEIGHT OR EYE-LEVEL T T LOBBY MUSEUM SHOP LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL EXISTING PRIMARY WALK FROM PARKING A ENTRY COVERED LOGGIA OGGI COVE RED L OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK The five themes of the exhibit are anchored along the walls of the Audio-visual elements are strategically placed throughout the hall and in the Activities specifically designed for children are located in the rolling stock halls making use of the wall space and niches. roundhouse. The sounds of a train station play subtly in the background and the current kids' area as well as sprinkled in with the rest of the Building upon the approach of the current recreated streetscape exterior of several railcars are used as projection surfaces where moving images exhibits. area, the exhibits located along the walls would tell a distinct, bring the cars to life. The inside of several passenger railcars come to life with OVERLOOK self-contained story. An orientation film in the lobby (or the projected video of passengers talking together and telling their stories, allowing The second floor gallery is for changing exhibits exclusively. multi-use room) provides a brief subject orientation, while visitors to witness history. introductions to each of the main themes occurs along the central spine of the hall. ENTRY VISITOR EXPERIENCE DIAGRAM TWO CHANGING EXHIBIT GALLERY ANCHORED INTERPRETATION SECOND LEVEL PLAN 20' 80' 320' N 0 40' 160' 640'
  • 62.
    SUBJECT Railroads and How Railroads Working on ORIENTATION their Impact Work the Railroad CHANGING GALLERY STAIR TO OVERLOOK EXHIBITS AUDIO-VISUAL FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) Railroads and the Made in KIDZONE: ARRIVAL SEQUENCES ORIENTATION Pennsylvania Landscape Pennsylvania Activities for EXHIBITS Young Audiences GRAPHIC LEGEND VISITOR FLOW OVERLOOK ABOVE CENTRAL SPINE BELOW THE LOCOMOTIVE STAIR EXISTING SECONDARY WALK FROM PARKING PASSENGER CAR SCULPTURE/SCENIC BUS DROP OFF TREATMENT OUTSIDE /INSIDE LOBBY AND PARKING 1915 STREETSCAPE CONTROL HEAVY DASHED LINE INDICATES POINT TROMPE L'OEIL STATION/DEPOT GRAPHICS ALONG 3 STEPS OF FACADE, STAIRS FULL HEIGHT OR EYE-LEVEL T ENTRY MUSEUM SHOP EXISTING PRIMARY WALK FROM PARKING LOBBY STAFF PARKING GGIA ELEV & STAIRS O RED L COVE MULTI CONTROL USE DROP OFF / TEMPORARY PARKING POINT VEHICULAR ARRIVAL STAIRS T T LOBBY LOADING DOCK & STORAGE MUSEUM SHOP COVERED LOGGIA OGG IA RED L COVE ENTRY The five themes of the exhibit are anchored to make use of An orientation film in the lobby or the multi-use room provides a brief subject The train station motif begins with the site treatment. The east exterior the wall space and niches of the rolling stock halls and of the orientation, while introductions to each of the main themes occurs along the wall of the museum shop and admin building becomes a trompe l'oeil or roundhouse. central spine of the hall. bas-relief graphic scene of a station with a passenger car pulling in. The portion of the car not seen from the outside might be represented inside the lobby area. VISITOR EXPERIENCE DIAGRAM TWO ENLARGED DIAGRAMS ANCHORED INTERPRETATION 10' 40' 160' N 0 20' 80' 320'
  • 63.
    SUBJECT CHANGING GALLERY ORIENTATION Railroads and How Railroads Working on EXHIBITS AUDIO-VISUAL their Impact Work the Railroad FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) ARRIVAL SEQUENCES ORIENTATION EXHIBITS Railroads and the Made in KIDZONE: Pennsylvania Landscape Pennsylvania Activities for GRAPHIC LEGEND VISITOR FLOW Young Audiences RESTORATION SHOP (GUIDED TOURS ONLY) EAST ROLLING STOCK EXHIBIT WEST RO HALL LLING S FENC TOCK EX E HALL HIBIT FUTURE FENCE FENCE STAIR TO ROUNDHOUSE ADDITION (FOOTPRINT DASHED) OU SERVICE OVERLOOK TD ENTRY OO R ROL LIN G STO T T BELOW THE CK LOCOMOTIVE CENTRAL SPINE LOCOMOTIVE YAR TURNTABLE D OVERLOOK ABOVE 1915 STREET SCAPE FENCE STAIR ENTRY KIDSP EXISTING SECONDARY WALK FROM PARKING ACE ELEV & STAIRS OUT NEW DEACCESSIONED BOX CAR (50') DOO R RO ROUNDHOUSE BUS DROP OFF SIGNAL BRIDGES & TOWERS IN MODULATED STAFF PARKING LLIN AND PARKING INCREMENTS LOBBY G ST EXHIBIT ALONG PATHWAY NEW PRIMARY OCK CONTROL YAR FENCE PROCESSION STAIRS POINT D HALL FROM PARKING T T LOBBY LOADING DOCK & STORAGE HANDICAPPED PARKING & ARRIVAL MUSEUM SHOP IA ENTRY COVERED LOGGIA OGG COVE RED L OUTDOOR ROLLING STOCK YARD DROP OFF / TEMPORARY PARKING FENCE FENCE PEDESTRIAN ARRIVAL VEHICULAR ARRIVAL STAIR DOWN TO ROLLING STOCK HALLS OVERLOOK The main presentations of the five main themes are located Activities specifically designed for children are located in the An introductory film in the multipurpose room provides a quick around the walls of the rolling stock halls. Supporting portions current kids' area as well as sprinkled in with the rest of the overview of the main messages, followed by introductory of the story are located on exhibit “islands” throughout the exhibits. displays in the lobby on each of the five themes before OVERLOOK hall and roundhouse associated with the cars, engines, and entering the hall. displays that are most appropriate. The use of a different color The second floor gallery is for changing exhibits exclusively. palette and/or icon for each theme allows visitors to easily identify and follow the themes throughout the museum. CHANGING EXHIBIT GALLERY ENTRY VISITOR EXPERIENCE DIAGRAM THREE COMBINATION ANCHORED and ISLANDS OF INTERPRETATION SECOND LEVEL PLAN 20' 80' 320' N 0 40' 160' 640'
  • 64.
    SUBJECT Railroads and How Railroads Working on ORIENTATION their Impact Work the Railroad CHANGING GALLERY STAIR TO OVERLOOK EXHIBITS AUDIO-VISUAL FACILITY STORY IMMERSION /AMENITIES (NONE @ OPTION ONE) Railroads and the Made in KIDZONE: ARRIVAL SEQUENCES ORIENTATION Pennsylvania Landscape Pennsylvania Activities for EXHIBITS Young Audiences GRAPHIC LEGEND VISITOR FLOW OVERLOOK ABOVE BELOW THE LOCOMOTIVE STAIR CENTRAL SPINE EXISTING SECONDARY WALK FROM PARKING DEACCESSIONED BOX CAR (50') BUS DROP OFF AND PARKING SIGNAL BRIDGES & TOWERS IN MODULATED INCREMENTS ALONG PATHWAY LOBBY 1915 STREETSCAPE NEW PRIMARY STAIRS PROCESSION FROM PARKING T T ENTRY MUSEUM SHOP O GGIA RED L ELEV & STAIRS COVE LOBBY DROP OFF / TEMPORARY PARKING CONTROL POINT STAIRS T T VEHICULAR ARRIVAL LOBBY MUSEUM SHOP A OGGI COVERED LOGGIA OVE RED L C ENTRY An introductory film in the multipurpose room provides a quick The site treatment includes placement of a boxcar in front of overview of the main messages, followed by introductory the museum next to the pathway from the parking lot. Signal displays in the lobby on each of the five themes before bridges and towers frame the entry to the museum from the entering the hall. parking lot, and become part of the subject and facility orientation exhibits. VISITOR EXPERIENCE DIAGRAM THREE ENLARGED DIAGRAMS COMBINATION ANCHORED and ISLANDS OF INTERPRETATION 10' 40' 160' N 0 20' 80' 320'
  • 65.
    Railroad  Museum  of  Pennsylvania   Meeting  Notes   Monday  July  11,  2011     Initial  Meeting  Phase   Interim  Deliverable  Conference  Call     Participants   Hilferty   SV  –  Sam  Van  Nostrand   sam@hilferty.com   DC  –  Dean  Clouse     dclouse@hilferty.com GH  –  Gerry  Hilferty     geh@hilferty.com SD  –  Sara  Devine     sara@hilferty.com   CP  –  Carol  Perloff     cbperloff@verizon.net   BHSM   SM  –  Steven  Miller     stemiller@state.pa.us   MB  –  Michael  Bertheaud   mbertheaud@state.pa.us   BR  –  Brenda  Reigle     breigle@state.pa.us     RMP   CF  –  Charles  Fox     chfox@state.pa.us   BS  –  Brad  Smith     brasmith@state.pa.us   NJ  –  Nick  Jmijewski     c-­‐nizmijew@state.pa.us   AM  –  Allan  Martin     almartin@state.pa.us   DR  –  Deborah  Reddig     dreddy@rrmuseumpa.org   AD  -­‐    Ann  Davis  -­‐       info@rrmusuempa.org   PM  –  Patrick  Morrison   pmorrison@state.pa.us   TG  –  Troy  Grubb     trgrubb@state.pa.us   CB  –  Craig  A.  Benner     cbenner@state.pa.us     This  conference  call  was  a  follow  up  to  an  interim  deliverable  distributed  by  Hilferty  via  email   on  July  6,  2011  Visitor  Experience  Diagrams  and  on  July  8,  2011  RMP  Design  Concepts.   Visitor  Experience  Diagrams  (VED)   1.  Islands  of  Interpretation  –  The  five  main  themes  of  the  exhibits  are  focused  at  “islands”  of   interpretative  displays  located  throughout  the  rolling  stack  hall  and  roundhouse  and   associated  with  the  appropriate  railcars,  engines,  and  displays.  Content  for  each  of  the  five   themes  would  be  broken  up  among  these  islands,  with  strong  color  and  design  cues  to   create  a  recognizable  identity  for  each  of  the  themes.   2.  Anchored  Interpretation  –  The  five  themes  of  the  exhibit  are  anchored  along  the  walls  of   the  rolling  stock  hall  making  use  of  the  wall  space  and  niches.  Forming  concentrated   content  areas  more  like  galleries.  Each  of  the  major  themes  would  have  a  portal  /  entry  in   the  central  spine  area,  with  a  gallery  beyond  following  one  or  two  sides  of  a  platform  for   example.   1
  • 66.
    Railroad  Museum  of  Pennsylvania   3.  Combination  Anchored  and  Islands  Of  Interpretation-­‐  The  main  presentations  of  the  five   main  themes  are  located  around  the  walls  of  the  rolling  stock  halls.  Supporting  portions  of   the  story  are  located  on  exhibit  “islands”  throughout  the  hall  and  roundhouse  associated   with  the  cars,  engines,  and  displays  that  are  most  appropriate.  The  content  of  the  five   themes  would  occur  as  smaller  galleries  along  the  Rolling  Stock  Hall  walls,  with  some  islands   associated  that  would  be  remote  from  the  galleries,  occurring  along  platforms  alongside   cars  &  locomotives.  Again,  strong  color  &  design  cues  will  associate  these  islands  with  each   of  the  galleries/themes.     Design  Concepts   A.  Clouds  Of  Connectivity  –  Abstract  and  artistic  visual  references  of  steam,  smoke,  and   wheels  begin  at  the  parking  lots  and  lead  visitors  into  the  museum.  Works  hand  in  hand   with  Visitor  Experience  Diagram  Option  1.   B.  Witness  History  -­‐  This  design  approach  will  echo  an  unmistakable  railroad  icon:  the  train   station.  Playing-­‐off  the  different  time  periods  and  styles  represented  by  the  current   collection  and  museum  buildings,  the  design  will  draw  from  multiple  time  periods  and  styles   so  that  it  can  timelessly  represent  any  train  station  in  the  state  or  an  amalgam  of  several.   Works  hand  in  hand  with  Visitor  Experience  Diagram  Option  2.   C.  People  Places  Products  -­‐  The  People  Places  Products  unifying  design  approach  is  based  on   pen  and  ink  style  sketches  representing  the  many  people,  places,  and  products  connected   by  rail  over  time.  The  site  treatment  at  Visitor  Experience  Diagram  Option  3  works  hand-­‐in-­‐ hand  with  this  design  approach  and  includes  placement  of  a  boxcar  (representing  products)   in  front  of  the  museum.   SV  gave  an  overview  of  the  VED  and  the  Design  Concepts,  how  they  relate  to  each  other,  and   how  they  would  be  applied  to  the  overall  site  and  facility.   BR  confirmed  that  Hilferty  expects  separate  comments  on  the  two  sets  of  documents.  SV,  yes   even  though  they  relate  please  evaluate  both  separately.   BS  offered  on  the  whole,  number  3  is  liked  –  but  parts  of  all  three  would  make  an  interesting   option.  Particularly,  the  approach  of  #1  (Metroliner)  with  approach  elements  of  #3  (signal   masts);  option  2  &  3  being  geographically  centered  in  rolling  stock  hall  (RSH).   SV  stated  the  main  core  in  all  options  is  focused  on  the  1st  level,  level  2  is  only  for  changing   exhibits.  BS  corrected,  2nd  level  is  for  changing  and  presently  (2)  permanent  exhibits.  Keep  the   board  room  and  the  artwork  as  permanent  displays  on  the  2nd  level.  SV  –  Can  the  board  room   move?  BS,  not  really,  nor  the  paintings.  Ideally  would  like  to  recreate  the  entire  board  room,   but  all  understand  that  it  would  utilize  too  much  real  estate.  SV  –  Do  you  have  all  of  the   millwork?  BS  –  Yes,  what’s  left  of  it.  The  original  board  room  was  reconfigured  in  1930s  and   some  of  the  original  no  longer  exists.   CF  reiterates  the  2nd  level  is  the  only  space  available  for  changing  exhibits.  SV  stated,  we   supposed  with  using  microclimate  cases  some  artifacts  could  be  displayed  in  RSH  after  the   2
  • 67.
    Railroad  Museum  of  Pennsylvania   HVAC  upgrade.  BS  wants  to  look  into  the  possibility  of  getting  some  delicate  items  out  on   display  –  unsure  if  that  would  be  possible.   Other  comments   BS  –  Regarding  option  2,  some  feel  it’s  too  compartmentalized.  How  would  you  make  a   passenger  car  come  to  life?  SV  refers  to  the  further  descriptions  in  Design  Concept  “B”  Witness   History.  We  would  project  images  and  moving  pictures  on  cutaways  of  reproduction  cars,  or   project  on  the  exterior  of  cars  and  locomotives  in  the  collection.  Refers  to  how  “B”  shows   projection  being  used  on  the  interior  of  rooms  and  on  car  glass.  CF  likes  the  idea  of  utilizing   technology,  but  concerned  about  maintenance  issues.     Moving  on  to  the  Design  Concepts  A-­‐C  SV  describes  that  they  are  a  way  to  apply  a  visual  whole   to  the  organization  of  ideas.  Allow  the  conceptual  context  compete,  just  a  bit,  with  the  scale  of   locomotives  and  railcars.  Concepts  will  carry  through  from  the  approach/entry  to  the  yards.  The   goal  was  to  come  up  with  concepts  that  will  unify,  creating  an  esthetic  or  ribbon  that  will  guide   visitors.   CF  regarding  the  use  of  technology  –  We  don’t  want  to  preclude  docents  and  volunteers  who   add  interpretation  for  visitors.  SV  agreed  that  future  design  phases  should  consider  current   programs,  and  how  interpretation  is  being  augmented  by  the  docents  and  volunteers.   CF  would  like  to  utilize  archival  footage  telling  how  produce  and  other  products  were  moved   using  railroads.  SV  agreed  it  should  be  used  in  a  big  way,  especially  because  of  its  availability.  BS   confirmed  they  have  a  large  archive  of  such  films.     BR  suggested  that  the  RMP  team  take  a  shot  at  drafting  a  version  4  when  they  returned   comments  to  her.  CF  reiterated  they  like  parts  of  all  three.  Any  further  presentation  SV?  No,   any  questions?   BR  –  I  did  not  see  the  ticketing  kiosk,  it  is  to  be  included.  SV  described  the  plans  indicated  a   control  point  that  relates  to  ticketing.  The  particular  redesign  of  the  ticket  booth  will  relate  to   the  design  direction  chosen.   It  was  stated  that  the  existing  multipurpose  room  is  needed  for  staging  and  orientation  of  large   groups.  Maybe  the  theater  could  move  to  the  “rear”  lobby.  SV  pointed  out  that  the  VEDs  have  a   second  page  that  shows  enlarged  floor  plans  of  the  area  immediate  to  the  lobby  and  control   points.   BR  restated  the  goal  of  this  phase  is  to  establish  a  general  design  vocabulary  and  layout  or   circulation  so  a  lot  of  time  isn’t  spent  when  design  begins.  The  end  product  will  not  get  to  a   level  of  ticket  desk  redesign.   MB  likes  AV  ideas,  but  they  do  appear  high  maintenance.  It’s  very  frustrating  when  exhibits  are   broken  and  don’t  work.  Also  point  of  sales  must  be  a  counter  where  people  can  be  seen  –   friendly  and  inviting.   CF  –  What  is  the  nature  of  the  orientation  experience?  BS  points  out  that  VED  3  shows  the   major  AV  experience  in  the  multi-­‐use  room.  Can’t  give  up  space,  it’s  used  too  much.  If  it  does   become  AV  then  it  has  to  double  as  special  events  space.   3
  • 68.
    Railroad  Museum  of  Pennsylvania   MB  –  Is  second  floor  big  enough  to  accommodate  changing  exhibits  and  multipurpose?   Response  was  when  a  wedding  was  in  the  second  floor  space  it  didn’t  accommodate  enough   chairs.  Not  as  many  as  the  present  multipurpose  room.   CP  –  Regarding  the  opportunity  to  tell  people  stories,  they  could  be  adapted  to  all  of  the  plans  –   we  can  add  people  stories  throughout.  CF  asked  that  we  maintain  both  technology  and  human   stories.     BS  –  So  out  of  the  three  design  concepts  are  we  to  pick  only  one?  SV  –  No,  anything  goes,  parts   of  each  may  apply.  You  can  combine  them.   CF  confirmed  RMP  team  comments  would  go  to  BR  after  they  met  again  to  discuss.   Adjourn.       4
  • 69.
    Pennsylvania Historical & Museum Commission hilferty museum planning exhibit design 14240 state route 550 athens, ohio 45701 phone 740.448.3821 fax 740.440.2331