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HomeMy WebLinkAboutRESPONSE - RFP - 7184 DISCOVERY MUSEUM EXHIBIT FABRICATION (2)Section I-C: Statement Of Understanding • A Unique Blend The Fort Collins Discovery Museum blends many diverse types of exhibits together. Science, music, history, agriculture, natural history, transportation, energy, ecology, native peoples, and children's areas must all come together seamlessly. There are also overarching requirements for the entire project; creating a museum that is a model of sustainability, reducing operating costs, building in flexibility to evolve and durability to last. Finally, and perhaps most important, everything is to come together to create a rich visitor experience and a physical statement of the City of Ft. Collin's identity - past, present and future. The Perfect Partner Combining all of this into one project, plus a new building, a tight schedule and a diverse mix of owner and fabricator suppliers makes the challenges presented by the Ft. Collins Museum unique. Art Guild is the fabrication partner best qualified to overcome them. Here are the four key reasons we confidently make this statement: 1. We have a strong record of building exhibits equally complex and in many cases for more extensive. You know this. You have already reviewed our past projects and checked our references. 2. Art Guild Inc., as well our proposed team members, have extensive experience with all the required elements including Interactive exhibits, media based exhibits, casework, artifact displays, live animal habitats, scenic environments, and extensive graphic • production requirements. 3. Art Guild has a proprietary approach to managing complex projects including comprehensive budgeting and cost tracking systems, team management and communication processes, scheduling and on-line information sharing tools - even a unique phased approach to exhibit installation. All of this can be demonstrated to you. What it gives us is control over all project elements as well cross -supplier information sharing capabilities. These combined elements allow us to organically assume a leadership role, coordinating other suppliers. We know this is not an explicit requirement of the project's scope, but it is a singular advantage that we can bring to the project. 4. We have the experience to bring sustainability to all phases of the project beginning with our 3-D modeling and virtual prototyping capabilities and going all the way through our environmentally sensitive fabrication and installation processes. The sections that follow detail these capabilities, as well as our understanding of the overall scope of work, other important work processes that we follow, and our proposed partners on this project. Fort Collins DiscoveryMuseum Art Guild, Inc Section 2: Team Organization and Management Plan • Lead Engineer/ Detailer- George Black Senior Draftsman- M+E Division George will lead Art Guild's drafting department in working with Art Guild's project management team to produce shop drawings. Shop drawings will be produced in-house based upon the criteria established by the design drawings and project specifications. George will be responsible for insuring that all design specifications, which comprise the contract sum, are accounted for in the CAD drawings, which are ultimately sent to the shop and to subcontracted firms to be built. He will also be responsible for seeing that the production of shop drawings is kept on schedule and for communicating with Art Guild's Project Manager and the client's team regarding changes and reviews. Interactive Electronics Specialist- Andrew Tomasulo Interactive Electronics Specialist Andrew will work very closely will Interactives Manager Mark Webber to create the custom electronics required for various interactives. With a masters degree in Electro-Acoustic Music from Dartmouth, Andrew will also be actively involved in creating the exhibits for the Sound and Music area. Lead Estimator- Charlie Fieger Senior Estimator - M+E Division • Charlie will take the lead in project estimating and value engineering. Utilizing the most sophisticated estimating program in the industry, he will be able to provide real time feedback on the impact of proposed scope or detail changes. Charlie will also provide the final project actual costs, a largely automated process. • Project Accounting- Carolann Bartolino Museums + Environments Division Manager Carolann will take the lead on providing project documentation, including insurance certificates, bonding, and business licensing. She will also prepare applications for payment and lien wavers. Additionally, Carolann will run material and labor reports and aggregate this data for the Project Manager, assisting in project,budget tracking. Fort Collins DiscoveryMuseum Art Guild, Inc 10 Section 9-K: Proprietary Information • Safety Record • See Attached EMIR rating and OSHA 300 Form; Art Guild, Inc. has NO OSHA Safety citations. Enclosed is a copy of Art Guild, Inc.'s Safety Program. Please note that the Appendices are available upon request. Art Guild, Inc. also has an orientation program for new hires where we review the Art Guild, Inc. Policies and Procedures, including Safety with added emphasis on safety reinforcement and work environment inspections. Our Shop also holds daily craft "toolbox" safety meetings. When an accident occurs, all Accident reports and report summaries are sent to the Field Superintendent, Production Manager and the President of our Firm. Art Guild, Inc. holds site safety meetings for field supervisors at the beginning of a job installation and as needed throughout the installation. We also conduct project safety inspections, which are conducted by the Project Manager twice weekly. Accident records and summaries are kept by Art Guild, Inc.'s Workers Compensation Insurance Carrier, (Hartford Insurance) and reported to on an as occurrence basis. Art Guild recently completed the Energy and Environmental Resource Center at PSEG's nuclear plant in Salem NJ. Art Guild was selected and contracted with through PSEG Nuclear's standard procurement process. This meant they we were held to the same safety standards as a contractor installing new nuclear fuel rods would be. Art Guild was subject to extensive safety reviews prior to award, during fabrication, and installation. At all phases Art Guild was certified as being in compliance. Based on our performance on that project, we are now working with the Nuclear Energy Institute to provide exhibits for all of the nation's nuclear plants and visitor centers. Fort Collins Discover Museum - qq - Art Guild, Inc THE M/a RT0N COMPANY INSURANCE SERVICES • M September 23, 2010 Art Guild, hic. 300 Wolf Drive Thorofare, New Jersey 08086 RE: Experience Modification • As per your request below find listed your experience modification for the past four (4 ) years. January 1, 2010/2011 .978 2009/2010 1,062 2008/2009 1.042 2007/2008 .919 The Experience Modification shows an increase for the 2008/2009 and 2009/2010 policy period due to one loss. Very truly yours, THE MARTIN COMPANY Carol A. Nardi SOO JESSUP ROAD WEST DEPTFORD NJ 08066 &ELEPHONE 856.S45.3636 100 FACSIMILE S 56.645.9 1 9 1 • 12 I w � of � � 0I -,1 0 1 al 1 al b a r.� • 8 g� 0; g v e E� Gi yypq�e 4y S � a avE?e e1 s e �I • E 11 ART GUILD, Inc. Injury and Illness Prevention Plan 102 TABLE OF CONTENTS ART GUILD, INC. INJURY & ILLNESS PREVENTION PLAN APPENDIX A: Health & Safety Policy Statement APPENDIX B: Policy for Work Related Injuries APPENDIX C: Company's General Safety rules APPENDIX D: Accident Investigation Report APPENDIX E: Near -Miss Investigation Report APPENDIX F: Hazard Communication Program APPENDIX G: Contractor Safety Policy APPENDIX H: Safety Training Programs IrIN • Introduction The safety and health of each Art Guild, Inc. employee is of prime importance. The prevention of on-the-job injuries is a critical responsibility of management and employees together. The management team of Art Guild, Inc. will provide a safe and healthful workplace for the employees. The Health and Safety Policy Statement included in Appendix A details the company's commitment to safety. Prevention of injuries cannot be left to chance. This Injury and Illness Prevention Plan (IIPP) has been implemented to ensure that adequate steps are taken to prevent injuries and to ensure compliance with regulatory requirements. The elements of this IIPP are based on best safety and health practices. Additionally, each year a Safety Action Plan will be developed which will evaluate and analyze the injury and workers' compensation data from the prior year and will outline goals and objectives to minimize injuries and accidents and lower the workers' compensations costs associated with these accidents. Program Obiectives The primary objective of Art Guild, Inc. Illness Prevention Plan is to achieve continuous improvement in the reduction of accidents and illnesses. Additional objectives include the following items: • To establish a safety program based on awareness and education, utilizing the combined efforts of all employees. � J • To apply best practices and commonsense to reduce accidents and improve working conditions. • To develop and apply safety standards based on applicable legal and voluntary codes, rules and standards as a minimum. • To ensure supervisors understand their basic responsibilities for the safety of employees and property, and to guarantee the consistent enforcement of safety requirements by all levels of management. • To facilitate the quick return to work of any employee who has an accident by providing restricted or light duty positions and exploring all alternatives to expedite his/her return to work. A copy of Art Guild, Inc. occupational health provider's Medical Status and Return to Work Instruction Form is included as Appendix B. 104 • Successful Implementation Art Guild, Inc. has developed a written safety policy statement. This statement is communicated to all employees via the Employee Handbook and is posted on the safety bulletin boards. All members of management are expected to ensure a safe working environment and to be in compliance with federal, state, and local safety regulations. Employees are expected to obey safety rules, follow established safe work practices, and exercise caution in all of their work activities. Both the Department Safety Rules and the General Safety Rules are included in Appendix C. The Safety Department will administer this Injury and Illness Prevention Action Plan to reduce injuries and to help minimize workers' compensation costs. Annually, the company must establish safety goals for the coming year. The safety goals must include both performance -oriented and results -oriented goals. These goals, as well as progress toward completion of the goals, are periodically communicated to all employees. A Safety Action Plan is also documented annually to identify specific steps that will be taken toward achieving the goals. • Responsibilities • Accident prevention and efficient production go hand in hand. Safety is a primary responsibility of all employees. Specific responsibilities are outlined below. Safety Director The Safety Director is assigned the responsibility and authority to implement the Injury and Illness Prevention Plan. Additional responsibilities of the Safety Director are: • Assist the management team in developing safety goals. • Provide guidance with development of the facility accident prevention program. • Review and evaluate safety performance rates. Distribute reports to the management team and supervisors, and communicate to all employees on progress toward the safety goals. • Coordinate safety and health activities. • Keep up-to-date information on required local, state and federal safety and health regulations. • Determine needs and coordinate safety and health training. • Establish safety and health inspection procedure with follow-up to ensure necessary corrective actions are completed in a timely manner. 105 • • Coordinate and participate in investigation and analysis of accidents. • Review completed accident investigation reports to ensure the proper causes and corrective actions are identified. Accident Investigation Report is included in Appendix D. • Maintain a detailed accident reporting system and analyze accident data to assist in planning and directing safety activities. • Participate in the review for potential safety and health hazards of all new processes, methods or materials introduced into the facility. • Act as the liaison with outside agencies, such as local and state agencies, and workers' compensation claims administrator. • VP of Operations & Proiect Managers Construction Management is responsible for supporting implementation of the Injury and Illness Prevention Plan and for the following: • Assist with establishing the safety goals and review progress toward those goals. • Support the assignment of safety responsibility and accountability to individuals at all levels. • Provide active leadership by participation, example and a demonstrated interest in the safety program. • Notify the Safety Department of any potential safety or health hazards of which he/she is aware, including the introduction of new chemicals, process changes or facility changes. • Support the implementation of corrective actions resulting from accident investigations, inspections or other means of hazard identification. • Support the actions of the safety coordinator, managers, supervisors, safety committees and/or any other methods of employee involvement. • Conduct safety tours of the facility. • Participate in safety meetings with employees. • Participate in the review for potential safety and health hazards of all new processes, methods or materials introduced into the facility. • Review workers' compensation data and injury rates. • Review accident investigations for all OSHA -recordable cases, at a minimum. Provide comments regarding investigations reviewed. Supervisors All Supervisors are responsible for supporting implementation of the Injury and Illness Prevention Plan and for the following: • Remain knowledgeable regarding safety and health regulations affecting the operations supervised. 106 • Ensure each employee is capable and understands how to complete safely each task to which they are assigned. • Ensure all equipment is maintained in safe operating condition. • Know and actively enforce all company policies, rules and procedures pertaining to safety. • Investigate incidents and identify/implement corrective actions necessary to prevent a similar incident from occurring again. • Ensure accident investigations are documented using facility -approved forms • Report, without delay, any unsafe condition or practice they cannot safely correct. Submit work orders to maintenance identified as safety related. Inform the safety coordinator of all serious conditions for comments and follow-up. It is the supervisor's ultimate responsibility to assure the condition or practice is corrected in a timely manner depending on severity. (Immediate, 24 hrs, 48 hrs, 1 week) • Train, newly hired or transferred employees regarding safety and the hazards to which they may be exposed. • Conduct safety meetings with employees utilizing huddles, individual meetings or other means, which will communicate information to the employees and promote safety awareness. • Provide active leadership by participation, example and a demonstrated interest in the safety program. • Support the actions of the Plant Manager, Safety Department, Safety Committee and/or other methods of employee involvement in the safety program. • Maintenance Personnel 11 • Maintain all machines and tools in good working condition. • Participate in the review to ensure no machine is placed into operation without meeting all applicable safety requirements. • Respond promptly to work orders identified as safety related involving machines, tools, etc. The response to the work order must be in a timely manner depending on the severity of the situation. (Immediate, 24 hrs, 48 hrs, 1 week) The Safety department will resolve any disagreement involving "response time" between the Supervisor and maintenance personnel. • Keep informed of and comply with local, state, and federal regulations pertaining to maintenance operations, especially those involving lockout, confined spaces and electrical equipment. • Support the actions of the VP of Operations, Project Managers, Supervisors, Safety Committee and/or other methods of employee involvement in the safety program. Employees Employees are encouraged to actively participate in the facility's safety program. Employees have the following responsibilities in the safety program: • Follow all safety rules. 107 • • Be aware of the work area and report without delay any observed unsafe procedure or condition. • Correct any observed unsafe condition, where possible. • Recommend changes to procedures or conditions that may improve job safety and performance. • If you think a procedure you're asked to do is unsafe, "STOP" and question your Supervisor before proceeding. If you are not satisfied with your Supervisor's response again "Do Not Proceed" but ask to speak with your Supervisor's manager or the Safety Director or the Safety Supervisor. • Immediately report to your Supervisor all near miss incidents, identified safety hazards or incidents resulting in property damage. • Immediately report all injuries, no matter how minor, to the Supervisor. Complete all incident investigation forms provided by the Supervisor or the Safety Department. • Employees are encouraged to inform their Supervisor of any concern they have about potential hazards in the workplace. In addition, employees may also inform Safety Committee members, the Safety Department, or other members of management. Employees are encouraged to report hazards or unsafe acts by filling out a Hazard/Near Miss Report — see Appendix E. • Keep work area neat and clean. • Wear all required personal protective equipment. • Support the actions of the Plant Manager, Safety Department, Supervisors, Safety Committee and/or other methods of employee involvement in the safety program. • Employee Participation • Art Guild, Inc. encourages employee involvement in the safety program. There are a variety of means by which employees can participate. (Examples may include but are not limited to the following: Safety Committees, accident investigations, new employee mentor, employee meetings, near miss hazard report, etc.) Safety committees, adhere to the following guidelines: • The duties of the members and the goals of the committee should be clearly defined. • Members include plant production personnel. • Members have a limited term providing a chance for others to participate. • Written agendas and minutes are utilized and distributed to the management team and supervisors, and are communicated to the employees. Identifying and Evaluating Hazards The Company has established procedures to identify hazards in the workplace. Hazard identification methods must focus on unsafe conditions and unsafe behaviors since both are causes of accidents. aza Section 2: Team Organization and Management Plan • • 0 The Museums + Environments Team Art Guild's Museums + Environments Division is staffed with the most experienced professionals in their fields. Every member of our team has spent the majority of their career working either in or with museums and apply their years of knowledge to the unique challenges of building and installing exhibits. In addition to the project specific staff listed below, substantial additional personnel are available should they be needed to supplement this core team. Please see Section 4 for resumes. Fort Collins DiscoveryMuseum Art Guild, Inc • Regularly scheduled inspections of the workplace are the primary tool to identify unsafe conditions and practices. Inspections are conducted every week by the Operations Department and are conducted to evaluate and score each department on housekeeping and safety compliance. The Director of Safety trains individuals performing the inspections and ensure they are knowledgeable in hazard recognition applicable to the areas they are inspecting. In addition to the scheduled periodic inspections, inspections are made when the following conditions exist: 1. New substances, processes, procedures or equipment are introduced into the workplace representing a new occupational safety or health hazard. 2. A new or previously unrecognized hazard becomes apparent. 3. As otherwise required by OSHA. Inspection reports are reviewed and analyzed by Operations to determine If repetitive situations are occurring. The analysis is conducted at least quarterly. Employees are encouraged to report hazards in their work areas. These reports of identified hazards are documented. Employees receive feedback regarding their report. The feedback is provided as quickly as possible to let the employee know when the problem will be corrected. • Accident Reporting and Investigation 0 All accidents are investigated. These include incidents that result in personal injury or property damage and near miss incidents. The responsibility for investigating accidents rests with the Supervisor and the Operations Department. Minor first aid treatment such as splinters, minor cuts and abrasions are not investigated. The Supervisors are instructed to identify all causes of an accident including those related to supervision. The Director of Safety reviews all Supervisors' accident investigation reports to ensure they are adequate and that appropriate and meaningful corrective actions have been identified. Inadequate investigations are revised or returned to the Supervisor. If the review of the accident investigation report reveals a need for better understanding of accident investigation techniques, Operations will ensure that the Supervisor and/or other investigative team member receives additional training. Additional Responsibilities for any Injury Incidents Operations has the following responsibilities when an Injury occurs 109 • • Discuss with the employee the procedure for workers' compensation, paperwork, benefits to be expected, etc. • Keep in touch with the employee to ensure correct administration of his/her benefits. • Inform treating physician of our policy of returning injured employees to work. • Maintain contact with the employee to ensure he/she continually feels a part of Art Guild even though they are not able to return to work, if the injury involves days away from work. • Keep in contact with workers' compensation claims administrator to ensure payments are made and adequate reserves are being set aside. Correcting Unsafe Conditions and Work Practices Art Guild, Inc. will use the following types of corrective actions: 1. Engineering controls. This is the preferred method of corrective action since it eliminates or reduces the hazard and is a permanent solution. 2. Training. Once a safe job procedure has been established, employees must be trained in the proper job method utilizing standard work procedures. 3. Administrative controls. These controls require the cooperation of the employee. An example is rotating employees among job tasks to limit exposure to ergonomic risk factors. 4. Personal protective equipment. Where personal protective equipment has • been determined to be necessary, employees must use the equipment at all times. This action requires training and constant supervision to ensure the equipment is used properly. All substandard conditions and the corrective actions that will be taken are documented. Appropriate personnel are assigned responsibility for completing each corrective action in a timely manner. The documentation is updated as each corrective action is completed and all affected Supervisors and affected employees are informed of those corrective actions. When a corrective action for an unsafe condition or practice will involve multiple steps or cannot be completed immediately, an action plan is developed. The plan identifies who is responsible for completing the plan the estimated date of completion and what interim procedures will be implemented to assure employee safety while the solution is being completed. This corrective action plan is communicated to the management team, supervisors and affected employees. REQUIRED SAFETY PROGRAMS • Required and recommended safety programs are listed in Appendix H. 0 • TRAINING Training is important to ensure employees have the knowledge necessary to take an active role in their safety and health. All employees are trained by the Safety Department and or their Supervisor regarding their responsibilities in the Injury and Illness Prevention Plan, the hazards associated with their jobs, how to recognize hazardous conditions, safe work procedures to follow in order to protect themselves from hazards, and the actual and potential consequences of not following proper procedures. The Hazcom/Right-To-Know Plan is included in Appendix F. Every training session is documented. Documentation includes an outline or overview of information presented to the employees. This training documentation (including employee's signed and printed name) is maintained in the employee's HR file. To ensure employees understand the information presented in safety training sessions it is necessary to test comprehension where appropriate or required. This is achieved through quizzes given at the end of the session, hands-on activities designed to tests skills learned in the session, and monitoring employees following the training to ensure they are following the safe procedures presented in the training. The Production Manager will retrain employees who are observed not following recommended safe work practices. When appropriate, retraining also occurs following an incident, such as an injury or near miss. • The Production Manager evaluates and periodically modifies all training materials to ensure they are effective. Orientation: New hire safety orientation is provided to all new employees prior to beginning work in the facility. Job -specific safety training is provided for new and reassigned employees prior to beginning the newly assigned job. Job -specific training includes safety requirements for the particular job the employee will perform. Any outside Contractors are required to satisfy Art Guild's Safety Policy included in Appendix G. Safety Discussion: The Safety Director and Production Manager will hold monthly discussions on safety and accident prevention with their employees either individually or in a group. First Aid Training: A number of employees are trained in First Aid and CPR as a volunteer member of their community Fire Departments and other E.M.S. Providers. Art Guild, Inc. ensures that these volunteer responders are provided adequate First Aid supplies and Personal 0 • Protective Equipment. A system is in place to notify the emergency responders that an incident has occurred in the facility. Communication This Injury and Illness Prevention Plan is designed to allow and encourage employees to communicate with all levels of management on safety and health topics or concerns. It also provides mechanisms for management to keep employees informed regarding matters important to their health and safety. Reporting of Injury Data The Operations Department maintains the OSHA Form 300 and reports injury data to the Corporate HR Office. The OSHA Log is posted on the employee bulletin board Discipline — Rights and Responsibilities Unsafe job procedures are not to be tolerated. Any member of management observing unsafe job behavior is expected to bring it to the attention of the employee's Supervisor or the Safety Department. Supervisors are expected to take steps immediately to correct the behavior. When disciplinary measures must be taken, Art Guild's disciplinary procedure, outlined in the Company's Employee Handbook, must be followed. • Program Evaluation r� L In order to ensure the effectiveness of the facility's Injury and Illness Prevention Plan, a periodic evaluation of the plan is conducted at least annually. The VP of Operations and the Safety Director, at a minimum, are part of the evaluation. An action plan is developed to address any inadequate procedures identified during the evaluation and appropriate changes are made in the IIPP. 112 i OP ID: KID 41 ,4`oiro CERTIFICATE OF LIABILITY INSURANCE DAT1t118/ OYYY) THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER. IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(les) must be endorsed. If SUBROGATION IS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement. A statement on this certificate does not confer rights to the certificate holder in lieu of such endorsements). PRODUCER 856-845-3636 The Martin Company 856-845.9191 500 Jessup Road West Deptford, NJ 08066 Sam Martin TACT NAME: PHONE FAX AC 0 Eft: AIL No: EMAIL ADDRESS: PRODUCER ARTGU-3 CUSTOMER,, INSURER(S) AFFORDING COVERAGE NAIC0 INSURED Art Guild, Inc./Syma Systems INSURER A. Hartford Insurance Co. INSURER B: Firemen's Fund Indemnity Corp. 300 Wolf Drive INSURER C Thorofare, NJ 08086 INSURER D INSURER E INSURER F : COVERAGES CERTIFICATE NUMBER: REVISION NUMBER: THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. NSR TR TYPE OF INSURANCE JADsOo ❑6 POLICY NUMBER MWDOr�Y' MIONLDDIYYY LIMITS GENERALLIABILITY EACH OCCURRENCE $ 1,000,00 A X COMMERCIAL GENERAL LIABILITY 13UUNU14295 01/01/10 01101111 pRFiAlses Eaowmanra s 300,00 MED E%P (Any aria celsw) E 10,00 CLAIMS-MADE aOCCUR PERSONAL SADV INJURY E 1,000,00 GENERAL AGGREGATE f 3,000,00 GEN L AGGREGATE LIMI I APPLIES PER PRODUCTS-COMPIOP AGG 3 2,000,00 $ RO LOG POLICY I X PIF C A AUTO MOBILE LIABILITY ANY AUTO 13UENAF5567 01101110 01/01111 COMBINED SINGLE LIMN (Ea accident) S 1,000,00 X BODILY INJURY (Per persap $ BODILY INJURY(P., xsXont) $ ALL OWNED AUTOS SCHEDULED AUTOS HIRED AUTOS I PROPERTY DAMAGE (Per ae0idanl) $ $ NON-OWNEDAUTOS -. I$ UMBRELLA LIAB X OCCUR EACH OCCURRENCE f 10,000,00 AGGREGATE $ 10,000,00 B EXCESS LIAR CLAIMS MADE SLID 00072217839 01101110 01/01111 — DEDUCTIBLE f $ RETENTION E A WORKERS COMPENSATION ANOEMPLOYERSLIABILITY ANY PROPRIETORIPARTNER/EXECUTIVE Y� 13WBR06744 01101710 01/01/11 X WC STATU- OTH- RY IMIT EACH AccloEm EL EA E 1,000,00 E.L. CISEASE-EAEMPLOYEE $ 1,000,00 OFFICERIMEMSER EXCLUDED' (Mandatory In NHl NIA EL DISEASE -POLICY LIMIT $ 1,DDD,off If yea, desolbe under DESCRIPTION OF OPERATIONS below A EXhibition B. Displ 13MSU16084 01101110 01/01)11 Limit 500,00 Floater,Transil DESCRIPTION OF OPERATIONS I LOCATIONS I VEHICLES (ARach ACORD 101, Additional ReMadlf Schedule, It more space Is required) SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS. AUTHORIZED REPRESENTATIVE Sam Martin ©1988-2009 ACORD CORPORATION. All rights reserved. ACORD 25 (2009/09) The ACORD name and logo are registered marks of ACORD 113 Section IO-I: Appendix • E ►, 0 Exceptions to the Contract / Agreement Comments: General Conditions 2.6.2.1 states "in no case will a schedule be acceptable which allows less than 21 calendar days for each review by Engineer". Art Guilds' preferred turnaround time for drawing approvals is typically one week / 5 weekdays. Art Guild will need to review these terms. Art Guild sees no other issues with the remaining General Conditions. Fort Collins Discovery Museum Art Guild, Inc. 114 ARTGUILD December 3, 2010 City of Fort Collins Purchasing Division 215 North Mason St., 2nd floor Fort Collins, Colorado 80524 Re: Request for Proposal DISCOVERY MUSEUM EXHIBIT FABRICATION RFP 7184 Discovery Museum Team: Art Guild Inc. is pleased to submit the enclosed qualifications for the Fabrication and Installation Services for the Discovery Science Center and Fort Collins Museum exhibits. Before you proceed to the proposal, we would like to make several brief points. • Art Guild specializes in the engineering and fabrication of highly interactive and media based exhibits for science centers and children's museums. We also build exceptional artifact based exhibits for the nation's leading collecting institutions. Not only have we produced award winning exhibits for institutions such as Liberty Science Center, The Franklin Institute, the American Museum of Natural History, the Peabody Museum at Yale, and the Denver Museum of Nature and Science, many of our staff members have worked for these • very same institutions. This inside knowledge gives us unique insights into the requirements of building exhibits for these institutions. • We are committed to sustainable exhibit production and have completed LEED certified projects at every level, including Platinum. Art Guild has a longstanding commitment to sustainability. We have an internal Sustainability Team which works to green our operations as well as consults on LEED projects. Currently they are working on plans for a 1 Megawatt rooftop solar array for our headquarters, as well as involved in the new TELUS World of Science Calgary project. Art Guild's size, both in terms of qualified personnel and facilities, provides assurance that adequate resources can be committed to this project for its successful completion. We are confident in our ability to meet your project schedule, we have never missed an opening date. Should the project require additional resources, due to added scope or a compressed installation schedule, you can be confident that we have the ability to increase the project team as needed. Thank you again for this opportunity. Should we be chosen, you will find us to be as committed as you are to bringing both the sprit and specifications of this project to life exactly as intended. If you have questions or need further clarification, please do not hesitate to contact me. Best regards, John Gunning VP, Museums + Environments Division 973-701-1812 (direct) iaunnina@artauildinc.com ART GUILD, INC. I MUSEUMS + ENVIRONMENTS 300 Wolf Drive I West Deptford, New Jersey 08086 1 voice 856.853.7500 1 fax 856.853.0916 1 www.artguildinc.com v ARTGUILD City of Fort Collins Discovery Science Center / Fort Collins Museum Response to Request For Qualifications for the Discovery Museum Exhibit Fabrication Table of Contents Section 1 — Exhibit Fabrication Projects for Museum and Science Facilities Past Experience & References Section 2 -- Financial Capability Bonding Capacity & Banking References Insurance Company & Certificate • Section 3 - Management Experience and Capability Management Approach Section 4 -- Team Member Experience Meet the Team & Staff Bios Section 5 -- Team Building Section 6 -- Unique Capabilities Section 7 -- Safety Record EMIR Rating Letter OSHA 300 Log Form Company Safety Program Section 8 -- Subcontractors Major Subs Section 9 -- Agreement Comments Exceptions to Contract Section 10 -- Cost Factors 40 Overhead and Profit Markups • • Proiect Name: The Franklin Institute, "Electricity" and "Chanaina Earth", Philadelphia, PA Owner: The Franklin Institute Designer: The Franklin Institute Floor Space: 7,000 square feet Museum Type: Science Museum Fabrication Team: Art Guild Inc. -all scope except Media Production, AV Hardware Integration and select interactives including the Tesla Coil. Description/Scope: With the $1.3 million addition of electricity and Changing Earth galleries in April 2010, Philadelphia's The Franklin Institute continued a tradition of creating unique interactive exhibits celebrating Benjamin Franklin's scientific spirit of inventiveness. Visitors to Electricity use their own kinetic energy to trigger a live Tesla Coil, manage our country's energy infrastructure, and learn to make better choices for energy consumption. By analyzing their personal carbon footprint, giving a mock television weather forecast, or seeing the effects of climate change, individuals in Changing Earth explore their reciprocal relationship with the environment. Art Guild fabricated major exhibit structures, designed and built electro-mechanical interactives, produced all graphics, and provided on -site coordination and installation. We also ensured materials and fabrication techniques were LEED compliant. D, .,,vu y >,Tl6r - )1; i)n 'A is„ r' -�C1tion I LVkibit um3 aft. ,�C PIICC 1-aOIIhws • • Section 2-D: Team Organization and Management Plan • Subcontractor Qualifications • • The fabrication business, by its nature, requires us to routinely manage our internal staff, external subcontractors and coordinate with other trades on -site. We have the experience, procedures and people in place to manage these aspects of the production and installation process. Art Guild's in-house capabilities are extensive, but we seek the expertise of subcontractors for highly specialized fabrication work, such as artifact mounting, specialty glass and metal work and scenic production. We subcontract with firms who have a proven track record for completing work on time and to the highest standards of quality. We know what to expect from these firms and they understand the quality we expect from them. The firms listed below offer the specialties that we would subcontract for this project. In some instances, such as Media Production, we have received multiple proposals which are very close on cost and quality, while we have selected a company that we feel is a good fit for the project, we are open to using another contractor if the owner and designer desire. Thematic & Scenic Fabrication IN-DEPTH, INC. Qualifications On past projects, In -Depth has consistently delivered the highest quality workmanship at relatively low prices. In -Depth is a minority owned business and experienced in sustainable, earth friendly manufacturing techniques and material selection, important for achieving LEED certification goals. In -Depth was founded in 1999 and is headquartered in Philadelphia. It has a stated goal of becoming a nationally recognized as a leader in its industry, and is well on its way with a long -list of reputable projects. Core services include: Estimating Drafting Mold making Machining Faux finishing Taxidermy Recent key projects include: Project management Model making Casting Metal Work Mural painting Cabinetry The National Infantry Museum and Soldiers Center, Fort Benning, Ga. Mt. Vernon Education Center, Mt. Vernon, VA. The Cradle of Aviation Museum - all diorama fabrication and thematic painting Fort Collins DiscoveryMuseum 12 Art Guild, Inc F101"cts kIr Nin.runis anJ,`�ciens a.-i itie. • Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. In this case Art Guild also assisted the museum in value engineering over one million dollars out of the project, post award, to make up for GC renovation cost overruns. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. Project Contract Duration: September 2009 - July 2010 • Actual Duration: Project completed on time within contract time frame Original Award Value: $2,341,811 Contract Amount: $1,320,290 Final Contract Amount: $1,365,685 Contract amount increased due to Owner initiated additions to original scope. Owner Contact Information: The Franklin Institute 222 North 201" Street, Philadelphia, PA Rick Bluhm / rbluhm e fi.edu Phone: 215.448.2370 �ccti,n I. F.\nhil .,hnc.ih<,nF,i„Ic ItiI„I MLIsrunu.in,�--)Cr, I .itiilir� • Proiect Name: Expedition Health at the Denver Museum of Nature and Science, Denver, CO Owner: Denver Museum of Nature and Science Designer: Jeff Kennedy Associates Floor Space: 10,000 square feet Museum Type: Science Museum Fabrication Team: Art Guild Inc. -Fabrication, Media Production, AV Hardware Integration for all exhibits. Select media components were produced by Snibbe Interactive, Fablevision and DMNS. Theaters were not in AGI's scope. Description/Scope: The creativity and technological savvy of Art Guild's Interactive Team really shines on "Expedition Health", a 10,000 square foot, permanent installation at the Denver Museum of Nature & Science. Unlike most exhibits about the human body, this one allows each visitor to monitor their reactions to a simulated expedition up Colorado's 14,258 foot Mt. Evans. Some of the 40 interactive exhibit stations include "Wind Chill", a chance to learn how your body responds to wind in a freezing cold chamber, the "Bio Ride", a virtual mountain bike race that measures target heart rate and even an exhibit that details the fate of a granola bar after it is eaten. A personalized "Peak Pass" card, activated upon entry and used at each station, records your performance. At the end of the exhibit this information, including images captured of you, is printed for each visitor. More personalized performance information is available to the visitor on-line. • E `"lr. thin I, r \�ihihj .3hri. a'i,+n Fl olecl'�l.,r NiusCnnis :3111,`_)nenec. 9ali Yie.s Art Guild's scope of work on Expedition Health included fabrication, installation, graphics, interactive prototyping and engineering, custom software and AV integration. The creation of this unique, cutting edge exhibit was a team effort of the design firm, the museum's in house digital media staff, Art Guild Inc, and other specialty media contractors. Art Guild worked with DMNS's digital media department and the design firm of Jeff Kennedy Associates to prototype and finalize the user experience for the interactives in this gallery. This required everything from engineering custom barcode scanners, creating a refrigerated environment, measuring visitors heart rhythm using EKG and looking at UV light on people's skin. Art Guild also customized computer software for many of the interactive experiences, which combined physical interaction and inputs with on screen displays and HD video clips of Mt. Evans shot by DMNS. All of the media and interactive experiences were connected to an AMX show control system setup by DMNS, as well as to a central database which stored visitors information and pushed it to interactives, printers, and online. In addition to the interactive and media experiences created by Art Guild, the gallery also includes media pieces by other specialty suppliers. Art Guild coordinated the integration of these pieces into the overall exhibit construction. Art Guild also produced static exhibit elements, graphics, murals, display cases and was responsible for ail AV hardware integration and tie-in's with the DMNS data and show control systems. In the exhibit's first year of operation, Art Guild received ZERO interactive warranty calls. • is 0 0 --)cCfi,m I: I—t�iihitJ nhn..ih,+i 1 5rc r,hs i, Njudeiini>.ih, 1 —1cirn,-r t d.i I It Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. Project Contract Duration: August 2008 - April 2009 Actual Duration: Project completed on time within contract time frame Contract Amount: $1,701,867 Final Contract Amount: $1,782,033 Contract amount increased due to Owner initiated additions to original scope. Owner Contact Information: Denver Museum of Nature and Science 2001 Colorado Blvd., Denver, CO 80205 Bryce Snellgrove / bsnellaroveComns.ora Phone: 303.370.8258 Comments: Expedition Health was recently awarded the 2010 Association of Science and Technology Centers, Roy L. Shafer Leading Edge Award for Visitor Experience. Di>zovery S( ae ce Ce'I '� or i;1)11II'. A9u>earr :5 _ AC Gudd. Inc i I El N It • Proiect Name: Liberty Science Center, Jersey City, NJ Owner: Liberty Science Center Designer: Liberty Science Center Floor Space: 45,600 square feet Museum Type: Science Museum Fabrication Team: Art Guild Inc. -Core exhibit fabrication for all galleries. Individual Interactives and components were fabricated by other vendors contracted directly to LSC, AGI coordinated with all of these vendors including Media Integrators and producers. Description/Scope: Filled with innovative technology and interactive experiences, LSC completely reinvented itself and changed the idea of what a science museum should be. Originally opened in 1993, LSC closed its doors in 2006 and underwent a $109 million renovation and expansion. New exhibits provide everything from the thrill of seeing poisonous frogs to the skill of learning how to operate a cargo crane. Visitors marvel at the hidden world of microbes, understand what it takes to build a tower that touches the clouds, and leave with a new view of their role in caring for the environment we call home. • • `l'ct1,III I j Jr.I I j it ,L.Ii j i.,le: �s �, ,i �. �, i.•, m.• ,�,t `7;ir...,. j ,. �n �',� i � EL[YIIm ECIIWIS Art Guild's scope included fabrication of all major exhibit structures, graphic production, site installation and coordination with other project contractors for Skyscraper, Our Hudson Home, Communication, I Explore, Infection Connection and Eat and Be Eaten. We also refurbished and reinstalled the Energy Quest exhibit at the same time, but under a separate contract. Liberty Science Center's in p J16 house design department took a unique approach to the design and fabrication of their new science center. Due to C the size of the project and the scope of unique interactive L . experiences they were interested in including, they figured no single fabricator would be able to complete the project. Early on in their process they contracted with Art Guild to be the primary fabricator for all of the core exhibits. We worked closely with their staff to value engineer exhibits and prepare for the permitting process. Due to the nature of some of the exhibits, and the museum's location in Jersey City, Art Guild was required to obtain building permits and inspections for all exhibit components. This required extensive upfront coordination with the building architects, GC, and other specialty fabricators. In each exhibit Art Guild's produced most of the base exhibit components, graphics, and some of the interactives. Other media and interactive elements were fabricated by a network of over 20 specialty producers who were contracted and managed by LSC. In addition to our own work, Art Guild was responsible for the seamless integration of outside contractors' elements into the galleries. Once again, Art Guild's focus on systematic project management was critical to the project's success, particularly when the building construction failed to keep on schedule. With our large production capacity, and ability to draw from a pool of qualified union fabricators, we were able to meet the museum's opening date despite very late turnover of the building to us for installation. Uiscaa y .',enee i ,._Fi.ri i;olln. flu ,nJr y Ar, ("Idd. Inc ,�r11-IJfI I'. j_A�II-It j . Ikrl CGIh i In F1 I' I CC Fn 10n"MIl1 CI1❑IJ e311�,�C I CnC C j 3CIJ[IC.� Art Guild's involvement in this project as a dollar figure is misleading. We played a much larger role as a cost consultant, permitting coordinator, project manager and installer. As the only contractor working in all exhibit galleries, totaling 45,600 square feet and spread over 3 floors, Art Guild played a key role in scheduling, coordinating delivery, installing, and managing the AV integration of all exhibits. Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a project such as this, that was being installed in new building construction, significant coordination was required with the GC and other trades on site. Art Guild merged their primary project milestones into our project schedule and adjusted our installation to the realities of their construction progress. Project Contract Duration: March 2006 to August 2007 Actual Duration: Project completed on time within contract time frame Contract Amount: $3,900,000 Final Contract Amount: $5,064,000 Contract amount increased due to Owner initiated additions to original scope including the Subway Car experience and the refurbishment of Energy Quest, and acceleration costs caused by significant late delivery of final designs and lack of facility availability for installation. Owner Contact Information: Liberty Science Center 222 Jersey City Blvd., Liberty State Park, Jersey City, NJ 07305-4600 Ann Neumann / aneumannCa lsc.ora 201.253.1282 0 D,,cover; Scence Certvr For.:,nilirs MLI":w 1p_ An Guild. Inc. Fl kA • • 0 Proiect Name: McKenna Children's Museum, New Braunfels, TX Owner: McKenna Memorial Hospital Designer: Jack Rouse Associates Floor Space: 18,000 square feet Museum Type: Children's Museum Fabrication Team: Art Guild Inc. -all scope including Media Production and AV Hardware Integration. Description/Scope: The McKenna Children's Museum is part of McKenna Hospital's 70,000 square foot community outreach and wellness center. At 18,000 square feet, the McKenna Children's Museum is one of Texas' largest, and the only children's museum that is part of a community healthcare and wellness outreach program. The museum is also unique in the number of ways the exhibits are tied to the local community. The New Braunfels theme is apparent in a mural that gives a Texas Hill Country twist to familiar nursery rhymes, for example, and an exhibit that lets kids design and print a front page of the city's local daily newspaper with their photos on it. Art Guild's scope included fabrication and installation of all of the interior, and most of the exterior exhibits and interactives. Section 2-D: Team Organization and Management Plan • The Please Touch Museum, Philadelphia, PA St. Augustine Village - models of historic village of St. Augustine NH Fish and Game: Children's Discovery Room - all thematic fabrication Corinth Civil War Interpretative Center Syrian Dig Site Water Exhibit Fabricator BOSS Display Qualifications Boss Display Corporation has mastered the design and manufacturing of custom interactive exhibits for over 30 years. While 90% of our yearly production is for children's museum and science centers, they also work with corporate institutions to provide trade show exhibits and visitor centers. They are a full service firm with a 26,000 square foot production facility located in • Columbus, OH. Boss Display has been producing quality interactive exhibits all over the United States and many cities abroad. Their mission is to offer much more than amusement park entertainment. They design and build fun, interactive, durable, and safe exhibits that challenge children to learn and explore. Core services include: Industrial Design - Electrical Engineering Engineering - Painting Machining - Sculpting Welding - Carpentry Recent key projects include: Moneypoloozo, Marbles Kids Museum, Raleigh, NC RiverWorks, National Mississippi River & Aquarium Museum, Dubuque, IA Water Table and Tree House, City Treehouse, New York, NY Flow Works, Children's Museum of Houston, Houston, TX • Kid City Ball Wall, Reuben H. Fleet Science Center, San Diego, CA Fort Collins DiscoveryMuseum Art Guild, Inc 13 .1I If, It Fl-,.I, 'I Nil:"unld .,fill c�eccc .i_i stirs • Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. Project Contract Duration: February 2005 - March 2006 Actual Duration: Project completed on time within contract time frame • Contract Amount: $1,975,000 Final Contract Amount: $2,150,000 Contract amount increased due to Owner initiated additions to original scope. Owner's Rep. Contact Information: Jack Rouse Associates 600 Vine Street, Suite 700, Cincinnati, OH 45202 Mike Meyer, mmevera_. iackrouse.com Phone: 513.381.0055 0 Disr.ovei y SGcnc,. Cenl,z, F,,,o. Crnrns Mj5ej!' 'Alf,A.Gu ltl Ins: i 4 ,�c'Ctl„n I. )-_\iiliI.it I II.rl..itMr! ',+Iretl0rl`1n�r unl. ,in,l .`l, l-n. IIIi'les • Project Name: Gettvsbura National Battlefield Museum & Visitor Center, Gettysburg, PA Owner: Gettysburg Foundation (contact) and the National Park Service Designer: Gallagher & Associates Floor Space: 18,000 square feet, not including theaters or cyclorama Museum Type: Military History Museum Fabrication Team: Art Guild Inc., Media Production by Donna Lawrence Productions and Second Story • Description/Scope: The Gettysburg. National Battlefield Museum and Visitor Center was a joint project of the Gettysburg Foundation and the National Park Service. The museum joins together artifacts, hands-on exhibits, multimedia technology, and archival materials for an interactive, enriching experience and brings to life the Battle of Gettysburg and the entire Civil War era. The 11 permanent galleries are based on phrases from Abraham Lincoln's Gettysburg Address. Art Guild's scope included the entire interior exhibit gallery fit -out; including interior walls, exhibit fabrication of permanent and temporary galleries, AV hardware procurement and integration of theaters, graphic production, casework fabrication and installation of the entire project. The Gettysburg Museum is located in a recently constructed complex. At the time, close coordination was required with the project architects, general contractor, exhibit designer, NPS and media producers. Due to Art Guild's competence in managing this project, we were asked to also complete the exhibit lighting which had been omitted. We did this with a $2M change order to the original contract. With thousands of Civil War artifacts, engineering and fabrication of cases required a close relationship between the NSP's conservators and our Belgian is 0 t`J F I `7echoe I- j_�vhll � a�ncah, a� r,>�e_. is}.+r '�iisrums do„_�;iener ;i�i ltlPs casework subcontractor, Meyvaert. Meyvaert completed the glass and framing of the cases, while Art Guild produced the exterior skins, interiors, graphics, artifact labels and mounts. The cases were unique in their integration with the surrounding walls, graphics and other exhibits. Graphic production for this project was completed in-house. Art Guild used its DuPont Chromaprint UV Inkjet Direct to Media printer extensively here. This relatively new printing technology allowed us to print directly on wood panels and other substrates, rather than paper or film. By printing directly on wood grain panels we were able to achieve a harmonious look between the building construction and exhibit design. Highly interactive touchscreen kiosks are located throughout the galleries. Art Guild worked closely with the media producer, Second Story, to insure seamless integration of this technology with the overall visitor experience. Art Guild's AV scope also included two large format theaters, audio and lighting for an iconic, reinstalled, cyclorama, as well as multiple smaller theaters scattered through the exhibit halls. All of these theaters relied on cutting edge digital projection technology and highly tuned acoustics. Art Guild ensured exceptional experiences in these theaters through the paring of our AV Integration subcontractor, Electrosonic Inc, with media producer Donna Lawrence Productions. Art Guild's extensive production capacity and disciplined approach to project management brought all of these elements together to produce a world -class military history museum. u �r,fI,,T. I. r.Ahlhltj ,,I,I"l i. l I I, I I I rT, II II, t, l„, NI I IIV 1101>. I II, I"n,II,II,C j .1C,IIfI,-, Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. In the case of this project, the client was so impressed with the quality of Art Guild's project management and production, that a large scope of work that had been omitted from the GC's scope, was awarded to Art Guild as a Change Order. This scope included interior construction and exhibit lighting. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a • project such as this, that was being installed in new building construction, significant coordination was required with the GC and other trades on site. Art Guild merged their primary project milestones into our project schedule and adjusted our installation to the realities of their construction progress. Project Contract Duration: October 2006 to April 2008 Actual Duration: Project completed on time within contract time frame Contract Amount: $7,759,000 Final Contract Amount: $9,635,409.00 After original contract was signed, owner added significant new scope, including base building work that could not be completed by the General Contractor. Owner Contact Information: Gettysburg Battlefield Foundation 1195 Baltimore Pike, Gettysburg, PA 17325 Elliot Gruber- recently resigned to pursue other opportunities. Phone: 866.889.1243 NPS Contact Information: Gettysburg National Military Park 1195 Baltimore Pike, Suite 100, Gettysburg, PA 17325 Greg Goodell Chief of Museum Services (717) 334-1124 x1291 • A, (' I!,! If,; 4 • Protect Name: Mt. Vernon Education Center, Mt. Vernon, VA Owner: Mt. Vernon Ladies Association Designer: Chadbourne Associates & Museum Design Associates Floor Space: 16,500 square foot Museum Type: History Museum Fabrication Team: Art Guild Inc. -all scope except Media Production. Description/Scope: Visitor's will learn about President George Washington's exceptional life and accomplishments while exploring 23 galleries, theater spaces, interactive displays, a major movie, short films and high-tech immersive experiences designed to dispel the elder statesman icon and encourage people to think about Washington in a new way: as an incomparable American hero who evolved from a young man of modest means into this country's first and greatest president. i • • ticetion I. Lthil'il � ahncafi�ni r„ectsl�,r�'�usruni�oi���.`7�-iencr.I o.iitics Art Guild's scope included the fabrication and installation of all archival cases, casework, graphic production, AV integration, and the creation of all scenic environments. To give visitors a more immersive sense of the man and the environment he lived in during key periods of his life, extensive use of dioramas and models were employed. In the process of creating these referencing historical documents and archeological evidence, Art Guild's staff entering a closed room in the main house, called Martha's Garret, where she mourned George's death, in order to measure and reproduce the room for one of the dioramas. Other environments included part of a full-size log cabin, full-scale outdoor scenes with figures of Washington in natural environments including a wooded scene with simulated trees and a scene on horseback in winter, and a recreation of his inauguration. Custom models included a highly detailed working interactive grist mill. Scenic recreations and lifeforms were managed by Art Guild, while the installation included components produced by multiple subcontractors as well as Art Guild. This process required a high degree of planning and coordination by both Art Guild's project management team, as well as our engineering and production staff. • ,)I tionI I nl �n.;) h,m F10I C, I. I O fr Ilse i in i 5.in�,`7 I encc F.a a lhe" In addition to the integration of media based components throughout the exhibit spaces, Art Guild also managed the installation of the 4D theater, including seating with bass shakers, AV, lighting, and snow effects. Custom artifact cases were jointly produced by both Art Guild and our subcontractor, Meyvaert. The most unique case was engineered and fabricated by Art Guild to house Washington's false teeth and included a dumbwaiter element to remove the artifact. The Meyvaert cases included microclimate systems. The extensive digital wall murals and exhibit graphics were all produced in-house by Art Guild using inkjet printers, dimensional letters, and silkscreening. All installation and subcontractor coordination was managed by Art Guild. Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal • use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a project such as this, that was being installed in new building construction, significant coordination was required with the GC and other trades on site. Art Guild merged their primary project milestones into our project schedule and adjusted our installation to the realities of their construction progress. Project Contract Duration: March 2005 to September 2006 Actual Duration: Project completed on time within contract time frame Contract Amount: $3,178,725 Final Contract Amount: $3,558,812 Contract amount increased due to owner initiated additions to the original scope including significant additional AV scope. Owner Contact Information: Mt. Vernon Ladies Association PO Box 110, Mt. Vernon, VA 22121 Ann Bay Phone: 703.799.8601 0 Disccvery Srle ,r, C^_ntr;r. Pon CNlins Mij,,-,ir,- 41, G,uld h,r �\ffl}y�.�RMM Iv WE,114 1 711i., �aR I T N ll V- U n Section Z-D: Team Organization and Management Plan • Media / Interactive Design and Programming, AV Systems Integration Boston Productions Qualifications For over 25 years, Boston Productions (BPI) has been developing, producing, and integrating AV and interactive media for museums, special venues and theme parks throughout the U.S. BPI specializes in producing highly interactive multi -production and multi -disciplinary projects that involve complex integrated technology solutions. We develop and produce film productions, immersive audio environments, multimedia interactives, motion graphics and more for clients throughout North America. Our extensive background in film production, coupled with our highly developed programming skills, helps inform our multimedia interactive solutions and allows us to truly engage the visitor in our interpretive design solutions. BPI collaborates with our clients —including fabrication and design teams —to develop multimedia interactive experiences. With a highly experienced creative team, and in- house resources dedicated to film production, editing, and interactive programming, we develop everything from single stand-alone kiosks, to large multi -person interactive exhibits and immersive multimedia theater experiences. With the addition of our dedicated and talented in-house AV team, we also handle all hardware and systems • integration, offering our clients a complete turn -key multimedia package. Our award -winning media design and production team has created highly interactive experiences for museum clients including the International Spy Museum, the National Historic Trails Interpretive Center, the National Museum of American History, the Connecticut Science Center, the Philadelphia Zoo, The Hershey Story, and the Hoover Dam Visitors Center. Core services include: Multi Media Design Linear Film Production Film Making integration team - In -House Prototyping - Interactive development Recent key projects include: National Museum of the Pacific War, Fredericksburg, TX - Audio Visual Integration - Interpretive Development - Hardware and Software Design - Hardware Integration - Project Management Black Holes: Space Warps & Time Twists, Harvard -Smithsonian Center for Astrophysics • Connecticut Science Center, Hartford, CT Fort Collins DiscoveryMuseum Art Guild, Inc 14 Section Z: Financial Capability I. Financial Stability Founded in 1923, Art Guild Inc. has a long history of sound financial management, an attribute which has proven even more vital in these economic times. While many of our competitors struggle with obtaining performance bonds, we enjoy a $15M bonding capacity. (See attached Bonding Capacity Letter from Rosenberg & Parker) a. Bonding company. Provide the name, address and phone number of the firm's bonding agent. Provide a letter from the bonding agent indicating the firm's bonding capacity is adequate to undertake this work. Art Guild, Inc.'s Bonding Company is: (see attached Capacity Letter) b. Identify project financial arrangements. Rosenberg & Parker, Inc. Surety Bonds Contact: Matthew J. Rosenberg, Principal 455 South Gulph Road, Suite 400 King of Prussia, PA 19406 Phone: 610.668.9100 Fax: 610.667.5200 Art Guild, Inc. does not require any special project financial arrangements. AIA or • similar payment schedules are acceptable. c. Any pending or outstanding claims or judgments? Art Guild, Inc. has no pending or outstanding claims or judgments. d. References from banking and credit institutions with whom business has been conducted. Attached please find Art Guild, Inc.'s Banking and Credit References. e. Insurance Company. Provide the name, address and phone number of the firm's Insurance agent(s). Provide certificate of insurance outlining coverage and policy limits. Can this coverage be extended for work on this project: Can coverage be increased? Can the City be listed as an additional insured? Are there any current claims that will affect coverage limits available to the city for this project? Art Guild, Inc. carries insurance coverage that is also carried onto our projects on a per project basis. A copy of our current policy is attached. Coverage is extended to our projects and can be increased as need be with the project "Owner" listed as an additional insured. is There are no current, past or outstanding claims against our policy. Discovery Science Center / Fort Collins Museum Art Guild, Inc -23- Section Z: Financial Capability E • Art Guild, Inc.'s Insurance Agent: The Martin Company Contact: Samuel P. Martin 500 Jessup Road West Deptford, NJ 08066 Phone: 856.845.3636 Fax: 856.845.9191 f. Banking reference. Provide the name, address and phone number of the firm's banking reference. Art Guild, Inc.'s Banking Reference: Discovery Science Center I Fort Collins Museum Wachovia Bank Contact: Barbara Martinelli 600 Cuthbert Boulevard Haddon Township, NJ 08108 Phone: 856.858.7688 Fax requests to: 704.427.2477 Art Guild, Inc 24 - R®SIENB ERG & PARKER • • • S U R E T Y B O N' D S November 17. 2010 City of Fort Collins 215 North Mason Street 2ntl Floor Fort Collins, CO 80524 Re: Art Guild of Philadelphia, Inc. — Bonding Capacity Discovery Science Center / Fort Collins Museum To Whom It May Concern Art Guild of Philadelphia, Inc. is a highly regarded and valued client of International Fidelity Insurance Company. International Fidelity Insurance Company has expressed its willingness for bonding support in the aggregate amount of $15,000,000. In accordance with the normal practice, International Fidelity Insurance Company's willingness to extend suretyship will be based on their underwriting of the account at the time the contractor requests bonds. In addition, we would expect that the execution of any final bonds would be subject to a review of the contract documents by Art Guild of Philadelphia, Inc. and International Fidelity Insurance Company as well as satisfactory evidence of financing for the project. Sincerely, Mbhewos n9L ber �"P MJR/mgh `OOUv 25 j•e••e0e00••'•• 455 SOUTH GULPH ROAD SUITE 400 KING OF PRUSSIA, PENNSYLVANIA 19406 p 610.668.9100 p 800.394.9200 f 610.667.5200 infoQsoretybond.com suretybond.com ART GUILD INC. 300 Wolf Drive West Deptford, NJ 08086 1 voice 856.853.7500 fax 856.686.4184 ARTGU1Ln www•artguildinc.com BANKING INFORMATION Wachovia Bank Fax requests to: (704)427-2477 600 Cuthbert Boulevard Haddon Township, NJ 08108 INDUSTRY REFERENCES Cadpro, Inc. Renaissance Management, Inc 114 W. Atlantic Avenue 2300 West Parkplace, Suite 146 Clementon, NJ 08021 Stone Mountain, GA 30087 Ph: (856)435-0050 Ph: (770)879-0485 Fx: (856)435-0060 Fx: (770)879-0721 Attn: Elaine Bartie Attn: Steve Johnson Fessenden Hall Inc. Russell Plywood, Inc . 1050 Sherman Ave. Pennsauken, NJ 08110 401 Old Wyomissing Rd. Reading, PA 19611 Ph: (856)665-2210 Ph: 800-787-7355 Fx: (856)665-6518 Fx: (610)374-9138 Attn: Rich Lutz Attn: Sharon Greenberg ext. 1004 Montrose Molders Corp Salesmaster Corp 230 St Nicholas Avenue 87 Towpath Road South Plainfield, NJ 07080 Fairless Hills PA, 19030 Ph: (908)754-3030 Ph: (215)295-2300 Fx: (908)561-5989 Fx: (215)295-6602 Attn: Amy Martinez Attn: Barbara Northrop Nth Degree Sam Schwartz 2675 Breckinridge Blvd, Ste 200 932 E. Hunting Park Ave Duluth, GA 30096 Philadelphia, PA 19124 Ph: (800)621-7233 Ph: (214) 744-9996 Fx: (404)508-2983 Fx: (215)744-9960 Attn: Kathy Harlock Attn: Michael Schwartz PURCHASE ORDERS - required Alanna R. Nelson CPA, CMA OUR FEDERAL I.D.# 23-1651753 Controller -26- 071610 OF ID: KID 41 A`"R EY CERTIFICATE OF LIABILITY INSURANCE DaT"118/ THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER. IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(les) must be endorsed. If SUBROGATION IS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement A statement on this certificate does not confer rights to the certificate holder in Ileu of such endorsements). PRODUCER 856-845-3636 The Martin Company 856-845-9191 500 Jessup Road West Deptford, NJ 08066 Sam Martin CONTACT NAME' PHONE FAX AI rt: NC No: EMAIL ADDRESS: PRODu ER ARTGU-3 M RIDR INSUREP431 AFFORDING COVERAGE NAICIT INSURED Art Guild, Inc./Syma Systems 300 Wolf Drive Thorofare, NJ 08086 INSURER A; Hartford Insurance Co. INSURERS: Firemen's Fund Indemnity Corp. INSURERC: INSURER D : INSURER E INSURER F : r`OVEF AGES r.FRTIFIr:ATF NIIMRFR- REVISION NUMBER: THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS, INSR LTR TYPE OF INSURANCE OL S POLICY NUMBER POLICY EFF MWDD/YYYY POLICY EXP MWDDIYYYY LIMITS A GENERAL LIABILITY X I COMMERCIAL GENERAL LIABILITY CLAIMS -MADE X OCCUR 13UUNUI4295 01101110 01/0t/11 EACH OCCURRENCE S 1,000100 PREMISES EA occrence $ 300,00 MED EXP I" me Person) S 10,00 PERSONAL S ADV INJURY $ 11000,00 GENERAL AGGREGATE S 3,000,00 GEN L AGGREGATE LIMIT APPLIES PER POLICY I X PRO- F I LOG PRODUCTS - COMPIOP AGO $ 2,000,00 $ A AUTOMOBILE LIABILITY ANY AUTO ALL OWNED AUTOS SCHEDULEDAUTOS HIRED AUTOS NON -OWNED AUTOS 13UENAF5567 01101110 01/01111 COMBINED SINGLE LIMIT (Ea accident) $ 11000,00 X BODILY INJURY (Per p cnj S BODILY INJURY (Per accidenl) £ PROPERTY DAMAGE IPm aPiwt) £ S S B UMBRELLA LIAR EXCESS LABCLMMSMADE X OCCUR SUO 00072217839 01/01110 01/01/11 EACH OCCURRENCE f 10,000,00 AGGREGATE £ 10,000,00 _ - — DEDUCTIBLE RETENTION $ S S A WORKERS COMPENSATION AND EMPLOYERS' LIABILITY IN ANYPROPRIETORtPARTNE/EXECUTIVE Y R❑ (OFFICERNEMSER EXCLUDEDY (Mandatory In NH) B yaA deaoihe under DESCRIPTION OF OPERATIONS below NIA 13WBRO6744 01101/10 01101111 X WC STATU- OTM- E.L. EACH ACCIDENT S 1,000,00 E,DISEASE - EA EMPLOYEE £ 11000,00 E.L. DISEASE -POLICY LWIT E 1,000,00 A Exhibition 8 DIspi Floater, Transit 13MSU16084 01/01110 01/01)11 Limit sou,D0 DESCRIPTION OF OPERATIONS I LOCATIONS I VEHICLES (Arlach ACORD 1D1, AddiBonal Remade Schedule, If more apece is required) SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS. Sam Martin ACORD 25 (2009109) The ACORD name and logo are registered marks of ACORD 27 All rights reserved. Section j: Management Experience and Capa6ilit, • For every project fabricated by Art Guild, our team utilizes a formalized Project Management Process. Section 4 will reference the specific projects for which the proposed project team has used the approach noted below. All aspects of this tried-and-true approach are outlined in our standard process manual provided to all of Art Guild's Museums + Environments staff, along with all standard forms. Our management approach is designed to track every aspect of the fabrication process to ensure an on time, on budget installation. For example, after the award of two permanent galleries at The Franklin Institute (TFI) last year the client learned renovation of the existing space by the General Contractor far exceeded their expected budget (due to the discovery of asbestos and other infrastructure problems). Unfortunately, their only revenue source for additional funds was the exhibit fabrication budget. Art Guild worked intimately with TFI designers and developers over 3-4 weeks to value engineer approximately one million dollars out of the fabrication budget while eliminating only one visitor experience. And once the contract amount was established, TFI realized soon afterwards due to their high level of confidence in Art Guild's process and team that the small contingency budget they had reserved was able to be tapped into to put back various elements that had been removed during value engineering. Even though this additional review step set back the project by at least 4 weeks, Art Guild still delivered on time and on budget with no premium for the condensed schedule. On every project Art Guild is prepared to bring its expertise and experience to the table, as needed, to respond to each client's unique needs. The following information details the key elements of our proven management approach to successful project completion. Project Management Plan Key Elements • Kick Off Meeting: We start every project with a kick off meeting to review project contacts, schedule, scope, approval processes and communication protocols to ensure that all partners start with the same understanding and expectations. This meeting typically requires a full review of the design development package to clarify the design intent. In attendance at this meeting will be Art Guild's VP of M&E Operations, Director of Project Management, and the Project Manager. In conjunction with the kick off meeting Art Guild conducts a comprehensive site survey or meeting with the building architect and GC. Complete meeting notes are distributed to the project team in a timely manner following the meeting. • Project Contact Sheet: Following the kick off meeting, the Project Manager distributes a Project Contact Sheet which identifies the primary and secondary contacts for each of the key suppliers and the client. This information is collected at the kick off meeting. Electronic Communications Form: Art Guild distributes the Electronic Communications Form which gives instructions regarding the suggested formats for email headings, instructions for FTP site access, and links to project related websites. Project Schedule: Based on the information collected during the kick off meeting, Art Guild will develop a detailed project schedule. All major subcontractors are integrated into this fully coordinated schedule. The schedule is distributed and revised, as needed, and re -submitted for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings ensure that the project continues to meet or exceed the requirements of the schedule. Any changes must be approved by the museum's Project Director. Discovery Science Center / Fort Collins Museum Art Guild, Inc. -28- Section j: Management Experience and Capa6ility • On -Site Presence: The Project Manager will make regular site visits, increasing in frequency as installation commences. Other site visits are conducted by our drafting and engineering staff to collect site measurements and as -built drawing specifications. Project Management Website: Art Guild utilizes a custom designed, secure, online project management web application called "The Hub". Each active project has a dedicated area on the Hub to consolidate all internal communications and streamline the coordination of project documents and scheduling. Client access to project documents is provided via ftp. By centralizing our communications and project data we can insure an unparalleled degree of coordination. Since all project data is accessible via Web/VPN, our onsite team members have access to the same documents as our inside staff. Progress Meetings: Weekly progress meetings are held (via teleconference or in person, as needed) to discuss on -going issues and to monitor the rolling list of milestones and to measure the progress towards deadlines for the active elements of the project schedule. Detailed meeting notes are distributed to the project team members after each meeting. Meeting Agendas and Minutes: Prior to any meeting, Art Guild distributes a Meeting Agenda. Following all meetings, Art Guild distributes the Meeting Minutes to all project team members. Requests for Information: Any questions for the client are submitted by Art Guild in writing, on a standard format RFI form. This provides a clear, consistent format for all responses. Submittals and Approvals: Following the kick off meeting, Art Guild issues an Approval Process Form which outlines the process for each type of approval and identifies the turnaround times • established during the kick off meeting. All items needing client approval are clearly labeled and accompanied by a Submittal Form. Shop Drawings: Art Guild's engineers prepare highly detailed shop drawings and submit them for client review in programmed increments. As shop drawings are approved, fabrication begins at the Art Guild shop, as well as with any subcontractors, focusing on long -lead items first. Work Orders: Art Guild issues an internal Work Orders for all work that needs to be completed within the project scope. The WO contains all relevant details to the specific scope of work and references any drawings, CNC files, finish schedules or other attachments. Work Order Addendums: Art Guild issues an internal WOA for addendums to work assigned. Review of Work: At specific increments during the production process, Art Guild schedules an in - shop review of work in progress, as well as a review of completed components. Art Guild takes pride in our transparency and invites clients to visit our shop at any time. In addition, completed components can be photographed and delivered electronically for remote assessment. All exhibit components are preassembled in our fabrication facility for pre -shipping reviews by the client. Shipping: Art Guild generally ships completed sections of exhibits in logically divided areas for installation. This minimizes the construction impact onsite and maximizes efficiencies. All shipments are coordinated on the master construction schedule. Individual components may be delivered separately, or out of sequence, if collaborative fabrication is required to coordinate with other specialties/trades outside of Art Guild's scope. This division of delivery and its • subsequent execution will be determined very early in the process in order to help all parties Discovery Science Center / Fort Collins Museum Art Guild, Inc. -29- Section 3: Management Experience and Capability • function more effectively. All shipped components will be carefully packed, labeled, shipped via dedicated truck, and fully insured. Installation: Primary installation is led by our site supervisor and the project manager along with our shop foreman as necessary. Daily toolbox talks are held to review safety issues and the day's goals. Skilled labor will be provided by the Art Guild shop. As major sections of the installation are completed Art Guild's project manager will review with the client and ask for sign -off approval. Final handover includes site walkthrough, cleaning instructions & maintenance manual delivery, and an overall project review as part of Art Guild's internal quality assurance program. At the time of final completion the warranty period begins. Warranty covers all workmanship and material defects for one year. Job Tracking: Art Guild utilizes a computer based, time tracking and material purchasing management system to accurately track all project costs. This system allows project managers and others to access up to the minute job reports from a secure web portal at any time. This system allows us to track the project in real time and assure that we are on time and on budget. Acceptance of Work: Upon completion of a scope of work Art Guild may submit the work for client inspection and request sign -off on an Acceptance of Work Form. Upon final completion and client inspection the client will by asked to sign -off on a Final Acceptance of Work Form. Warranty Exceptions: There may be circumstances when the client directs Art Guild to perform work which Art Guild does not recommend. In this rare circumstance Art Guild will ask the client to sign an Exception to Warranty Form. This form will exempt this particular item from Art Guild's warranty and any other liability associated with the item. • Change Orders: Only if the client directs Art Guild to take on an additional scope of work, or requests a significant change in scope, will a Change Order Request Form be issued. The request may reflect a cost reduction, cost increase, or no change in cost. The client will be asked to sign the form even if there is no cost impact, so that there is a record of the request. If there is a cost impact and the Change Order Request is approved, Art Guild will submit a formal Change Order and adjust the contract sum accordingly. Applications for Payment: Art Guild works with the client to determine the Schedule of Values for billing purposes. For each invoice, Art Guild will follow the procedures put in place by the client for this project. Project Manuals: We recognize the opening of your new exhibition is only the beginning of an exhibit's lifecycle. From the moment we begin cost estimating we document our work to insure that you have the information needed to keep the exhibits operating and looking as good in 10 years as they do on opening day. Because we start documenting your exhibit on the first day, our manuals are the best in the business. All are image based and hyperlinked to allow for easy paper, or online, viewing and updating. We include assembly/disassembly photos, callouts of all major components, parts lists with suppliers, maintenance schedules, troubleshooting matrixes, PLC code, electrical and AV schematics, backup copies of software, as well as complete as - built CAD drawings. Discovery Science Center / Fort Collins Museum Ad Guild, Inc. -30- Section j: Management Experience and Capability • Technical Services Art Guild's technical capabilities help strengthen our overall project approach by providing the foundation for accurate pricing and scheduling, building durable interactive and static exhibit components, providing effective communication and quality fabrication. The following provides a brief explanation of the technical services offered by Art Guild to ensure your project opens on time, and within budget. Estimating We firmly believe that a successful project must start with thorough and comprehensive estimating. At Art Guild we enjoy the unparalleled expertise of Senor Estimator Charlie Fieger and his team. Not satisfied that any commercial estimating software truly addresses the unique demands of museum projects, Charlie Fieger has created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. During the estimating phase all materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, and subcontractors are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. Engineering isArt Guild utilizes the latest in Computer Aided Drafting and is an engineering driven company. Our museum exhibit engineers and detailers work in AutoCad 2010 for static components and Autodesk Inventor 2010 and Solidworks for interactive and mechanical assemblies. Since our fabrication methodology is based on detailed up front engineering and CNC production, the quality and detail of our shop drawings is paramount. Simply put, you will not find higher quality, more detailed, shop drawings. Our detailers are also highly experienced craftspeople who understand the nuances of museum quality construction and collaborate with our production craftspeople on the approach to fabrication details. All drawings include multiple views, cross sections, 3D views, exploded views, CNC files, STL files, and even animated video clips as required. We recognize that in today's automation -driven fabrication process the engineer/detailer is building the exhibit as much as the craftsperson on the shop floor. Interactive and Media Based Exhibits Our interactive exhibits are unparalleled. No other fabricator can equal our track record in engineering and fabricating interactive exhibits. Our Interactive Technologies Department averages less than one warranty call for each major exhibition which includes interactive components. When the top science and children's museums want it built right, and want it to last, they come to us. Our approach to interactive exhibits is very well structured. We maintain a database of standard, proven, components amassed over a 30 year history. We supplement this with extensive prototyping, both physical and virtual, as well as by utilizing Rapid Prototyping and Manufacturing technologies. Once an interactive component is proven in the prototyping phase we utilize CNC manufacturing, 3D Printing, and Laser/Water Jet cutting extensively in our fabrication process. Once all interactive components are fabricated and assembled we run each exhibit through an extensive testing and quality control process. In order to insure the long • term functioning of these components, we prepare exhaustive maintenance manuals and conduct comprehensive staff training. Discovery Science Center / Fort Collins Museum Art Guild, Inc. -31- Section 3: Management Experience and Capability 0 Commissioning Interactive exhibits by their very nature must be tested in a "hands-on" way. Interactive creation begins with prototyping. We build cost effective prototypes of particular components and then test them with people who represent a cross section of the typical visitors to the client's institution. For mechanical interactives, we "test to failure" to find weak points in a design. Electronic interactive components are left running for a period of at least 48 hours continuously and inspected for overheating, component malfunctions or any other problems. With the initial burn -in complete, the exhibit is available for testing and review. We first test the overall function of the exhibit and try to anticipate different usage scenarios. Once we feel the exhibit has been properly rung out we then test it with people representative of the client's institution's visitors. Any problems that are found can then be corrected in our shop and retested prior to shipping to site for installation. Shop Fabrication Art Guild is proud to offer the highest level of fabrication craftsmanship. Our production methodology is based on a combination of detailed shop drawings, CNC part production, and meticulous craftsmanship. Most parts are cut either on our CNC panel saw, or on one of our two multi -head CNC routers. Our shop is outfitted with a wide range of wood and plastic working machinery including; 7 table saws, 5 drill presses, 4 radial arm saws, 3 jointers, 5 band saws, 13 cut off saws, 2 shapers, 2 thickness planers, numerous sanders and grinders, 3 hinge routing stations, 2 edge banders, and a full complement of power, hand and pneumatic tools. Our • machinery is configured into central work cells with dedicated stations for different materials, which helps support our company wide LEED and sustainability efforts. • Graphic Production Our graphic production shop provides a full complement of outputs, substrates, and laminations. Capabilities in-house include direct -to -media -printing on our DuPont Chromaprint U.V., inkjet printing on our Soljet Eco-Solvent printer, inkjet prints on our 5 Roland hi-fi pigment ink printers, vinyl lettering on our 2 graphic cutters, silk screening and hot & cold laminating on our 2 roller presses. All machines are professionally calibrated regularly and we maintain a rigid sampling protocol. Specialty Services Art Guild focuses on our core competencies rather than diversifying too much into specialty services. Depending upon the specifics of a project, we have strategic partnerships with specialty metal, plastic and glass fabricators, artifact mount makers, lighting suppliers, AV hardware integrators and media producers. Finishing All spray finishing is performed in-house by our experienced finishing professionals. We maintain two EPA certified spray booths, one Carolina Virginia (30'1 x 16'w x 16'h) and a second Binks USA (20'1 x 14'w x Th). We are highly experienced in both solvent and water based finishes, and we maximize the use of low VOC finishes. Discovery Science Center f Fort Collins Museum Art Guild, Inc. -32- Section 2-D: Team Organization and Management Plan • Coacoochee's Story, Tampa Bay History Center, Tampa, FL The Hershey Story, The Museum of Chocolate Avenue, Hershey, PA Create Your Own Candy Bar, Chocolate World, Hershey, PA Indianapolis Children's Museum, Power of Children, Indianapolis, IN ECHO Lake Aquarium & Science Center, Voices for the Lake, Burlington, VT Washokie Museum and Cultural Center, Worland, WY AV Hardware Integrator CEAVCO Audio Visual Qualifications CEAVCO has 50 years experience providing audiovisual solutions for events, installations and equipment maintenance & repair. Family owned and locally operated, they partner with their clients to design and manage hundreds of events and • system installations each year. They are recognized locally and nationally as one of the best in the industry. offering Audio visual equipment sales, rental and staging services, technical repair and warranty services, on site operation support and the areas finest audio-visual integration services for presentation and broadcast institutions including corporation / industrial / medical applications, television and production studios, and government / educational institutions. Core services include: - Rental & Staging - System Design - Systems Integration - Video Conferencing - Built To Specification Recent key projects include: Kaiser Permaneante Space Foundation Wells Fargo - Fabrication of Systems - Audio Visual Production - Web Streaming & Event Recording - Tradeshow and Convention Audio Visual Services St. John's Episcopal Cathedral • Community Foundation of Northern Colorado Fort Collins DiscoveryMuseum Art Guild, Inc 15 Section 3: Management Experience ancj Capability • Shipping and Logistics Art Guild has dedicated logistics specialists and warehouse staff who track all received goods and manage shipping of final exhibit components. We specialize in custom crating for traveling exhibits, blanket wrapping, and environmentally responsible packaging. Our logistics specialists work closely with our trucking and airfreight partners to ensure damage free and on schedule shipping. Installation Our clients tell us that our installation crews are the best they have ever worked with. We pride ourselves on orderly, clean, professional installations which minimize onsite work and facility interruptions. Our installation crews are typically lead by the shop foreman or leadman for the project to insure continuity from the shop work to completion. We maintain pre -stocked gang boxes and hardware kits exclusively for installation work. Since all exhibits are preassembled in the shop prior to shipping our on -site installation time can be minimized and we strive to avoid any modifications onsite. Safety, cleanliness, and organization are always a priority for us onsite. On LEED type projects we remove all waste from site for recycling. We offer both union and non- union installation services. Project Close Out When our work is complete, the museum's exhibit staff's work is just beginning. To insure that the exhibit galleries look as good in 10 years as they do on the first day, Art Guild will supply comprehensive exhibit manuals, as-builts, cleaning instructions, and staff training. • Warranty Support and Maintenance Contracts • Art Guild warrants that all exhibit components will be free of defects in materials and workmanship for a period of one year from final completion. At project completion we will supply an electronic warranty reporting form which will help us respond swiftly to any issues which may arise, and will help us track our performance. For clients without their own maintenance staff we are able to offer ongoing maintenance contracts. Value Engineering At Art Guild Inc., all of our projects begin with the preparation of a highly detailed estimate, which can either take place early in the project as a budget check, or as a competitive bid. We begin our estimating process with a thorough understanding of the project and our scope of the work to be completed. We utilize a custom designed estimating program, which is unparalleled in detail and flexibility. At this point any discrepancies or clarifications are identified and formally submitted to the design team. Each component of the exhibit is then broken out separately, by area and specialty (wood, plastic, glass, metal, AV, interactive, scenic, graphics, flooring, lighting, artifact mounting, etc.). At this time long lead items and facility impact items are identified in order to generate reports for the PM to utilize. Full graphics schedules are also created which will evolve throughout the project. Comprehensive parts lists for AV and Interactive components are also created. These will also evolve throughout the project. Finally, material costs and labor hours are estimated for each component, and pricing from subcontractors is entered in. Discovery Science Center / Fort Collins Museum Art Guild, Inc. -33- Section 3: Management Experience and Capability • Our goal with such attention to detail is to be able to easily create accurate summaries of the project and identify key cost drivers. Working with the client and design team, we can then check the impact of material substitutions, design changes, deletions, and additions in real time to order to see and evaluate the cost impact. The only area where we discourage value engineering is in interactive exhibits. In our experience, rarely can this be done without impacting their durability. Most recently we used this value engineering process with the Franklin Institute Science Museum in Philadelphia for two new permanent exhibits, Electricity, and Changing Earth. We were awarded the projects with a competitive bid of $2.4M. After we won the project, the museum was faced with substantial cost overruns on the GC portion of the work, which was renovating the two gallery spaces. Working with their in-house designers we were able to reduce the exhibit cost to $1.3M without significantly impacting the visitor experience. • • Discovery Science Center I Fort Collins Museum Art Guild, Inc. -34- Section 3 Management Experience and Capa6ilittq 0 Recent Project Examples (select projects completed in past 5 years) Fredericksburg Area Museum and Cultural Center, Fredericksburg, VA o The Fredericksburg Area Museum and Cultural Center serves to educate residents and visitors about the city's significant role in history as well as its contemporary role in the region. Most known for the significant "Battle of Fredericksburg", this fight is remembered as being one of the most one-sided battles of the American Civil War, with Union casualties more than twice as heavy as those suffered by the Confederates. Art Guild's task was to bring to life these war time events by building scenic elements, exhibit wall structures, as well as display cases and a number of wall size murals and other graphics. o Floor space: 4,000 square feet • USS Intrepid Sea, Air and Space Museum - "USS Growler Submarine" , New York, NY o Re -opened to the public for Fleet Week in May 2009, The Intrepid Sea, Air & Space Museum in NYC offers a first-hand look at the World War II USS Growler SSG-577—a diesel -powered attack sub converted to carry nuclear guided missiles of the short-lived Regulus Program. The Growler is the sole survivor of the Navy's fleet of pioneering strategic missile submarines, and is the only American nuclear missile submarine on public display. An exhaustive on- board field survey accurately documented the Growler's 300+ feet of passageways. Art Guild produced shop drawings and full-size templates then fabricated and installed a custom corridor system composed of powder - coated steel tube frames with tempered glass side walls. Art Guild delivered • the entire system ahead of schedule —all fully coordinated within the constraints of the Intrepid Museum's scheduled activities and tight security. o Floor Space: 5,000 square feet "below deck" American Museum of Natural History "Spitzer Hall of Human Origins", NYC o Opened in February 2007 the Spitzer Hall of Human Origins offers the most comprehensive evidence of human evolution ever assembled with over 200 casts of the rarest hominid fossils and artifacts documenting how modern humans evolved over millions of years. New DNA evidence reveals how closely related we are to each other and to our primate ancestors. With the help of an exciting array of exhibition techniques and technology -from engaging interactive displays and video projections to breathtakingly realistic dioramas -the Spitzer Hall brings to life the latest research by Museum scientists and their colleagues around the world. Art Guild's work included shop drawings, fabrication and installation of exhibit structures and intensive coordination of multiple specialty subcontracts. o Floor Space: 10,000 square feet • Edison National Historic Site, West Orange, NJ o The Thomas Edison National Historical Park features the Laboratory Complex built by Edison in 1887. Edison continued to work on his inventions in these laboratories until his death in 1931. With all 3 floors open to the public for the first time in the history of the park, visitors encounter Edison's original machine shop, office, workshop and storage areas. Authentic furnishings and historical machinery bring the sights and sounds of Edison's original music recording • studio, private library and photography studio to life. Art Guild's project scope included fabrication of the custom metal railing system which guides visitors through the historic laboratory, produced the interactive kiosks designed to Discovery Science Center I Fort Collins Museum Art Guild, Inc. -35- Section 3: Management Experience and Capakility • bend an old -school Edison style with modern LCD screens and video technology, built the orientation theatre elements, as well as graphic production and installation. o Floor Space: 13,000 square feet • Ft. Mose Historical State Park, St. Augustine, Florida o Tucked away in the marshes of St. Augustine, Florida, one of the most important sites in American history honors the first free community of ex -slaves, founded in 1738 and called Grocio Real de Santa Teresa de Mose or Fort Mose (pronounced Moh-Say). Listed on the National Register of Historic Places in 1994 the archeological site operated by Florida State Parks features walking trails and a visitor center. A quarter mile of boardwalk with interpretive signage highlighted with cast bronze replica artifacts tells the story of the people and land now hidden by the changed landscape. Exhibits inside the visitor center and costumed interpreters expand the story in greater depth. Art Guild's work included shop drawings, cast bronze replicas, small- scale diorama, metalwork, exterior and interior graphics, specialty & theatrical lighting, AV hardware and software, casework and installation of all elements. o Floor Space: 8,000 square feet gallery and exterior trail signage • Museum of the African Diaspora, San Francisco, CA o Opening in December of 2005, the Museum of African Diaspora (MoAD) showcases the history, art and the cultural richness that resulted from the dispersal of Africans throughout the world. MoAD is uniquely positioned as one of the only museums in the world focused exclusively on African Diaspora culture and on presenting the rich cultural products of the people of Africa and of African descendant cultures across the globe. Its location has allowed it to become a cornerstone in the cultural and economic revitalization of downtown San Francisco. Art Guild's work included shop drawings, fabrication and installation of exhibit structures, and the fabrication and installation of all graphic elements. o Floor Space: 4,500 square feet PSEG Energy & Environmental Resource Center, Salem, NJ o The PSEG Energy & Environmental Resource Center opened in November 2009. The Energy & Environmental Resource Center is a multi -use facility with exhibits focused on building a greater understanding of energy, the environment and strategies for balancing energy demand with environmental stewardship. The new center includes interactive exhibits that describe the complexities of electrical generation, explore climate change and allow users to measure their own carbon footprint. All of Art Guild's work was performed in accordance with applicable permits, codes and LEED Gold certification requirements. Art Guild's scope included fabrication and installation of all exhibits, produced shop drawings, graphic production, interactive exhibit development, scenic elements and coordination with multiple stakeholders and contractors. o Floor Space: 6,000 square feet Discovery Science Center / Fort Collins Museum Art Guild, Inc. -36- Section j: Management Experience and G paklitJ • Philadelphia Zoo "Big Cat Falls", Philadelphia, PA o After entering Big Cat Falls, families and kids wind their way down an outdoor path to viewing areas where they come face to face with big cats and their fascinating natural behaviors. Along the way, visitors can experience Big Cat Theater and an inspiring wide-screen movie that high lights the wondrous behavior of big cats. Three educational pavilions - Africa, the Americas and Asia - connect each viewing area. They'll also travel around the world via video screens that feature in -the -field reports and local interviews by Channel 6 Action news reporters who traveled with Zoo staff to visit big cats in the wild at exotic locations. At computer stations kids can "be" a jaguar - navigating the challenges of hunting and being hunted as they make their way from northern Mexico to Arizona. Art Guild's scope included fabrication of all interpretive signage (interior and exterior), media hardware, scenic fabrication, and inferactives. o Floor Space: Interior and Exterior spaces spread over many acres • Yale University Art Gallery "Kahn Lobby Media Lounge", New Haven, CT o The renovation back to its original form of the Louis Kahn building at the Yale University Art Gallery comprised the first phase of a 12 year revitalization program. The award winning NYC architectural firm of Joel Sanders chose Art Guild to create the custom casework and sophisticated AV systems for the new lobby and entrance to all of the museum's galleries. Art Guild produced black stained walnut furnishings, stainless steel donor panels, tempered glass projection screens, and a multi use media system designed to disappear into the space. A large glass projection screen noiselessly slides out of a cabinet • on a custom motorized track when needed for presentations. Speakers are hidden inside the origami like ceiling, and an RSS driven digital signage system was integrated with the projection screens. o Floor Space: 6,000 square feet Martin Guitar Museum & Visitors Center, Nazareth, PA o C.F. Martin Company is the oldest American manufacturer of premium stringed instruments, primarily acoustic guitars. The recent renovation of their main entrance has been completely rebuilt to replicate the fagade of the old, circa 1859. The lobby of the Visitors Center houses the entrance to the museum, "1833" retail shop and a gallery wall of famous Martin owners. Guests are also invited to visit the Pickin' Parlor to play some of Martin's best known and top -selling guitars. The Martin Museum showcases Martin's impressive history with photomurals, timelines and unique instrument displays. The museum's collection features Martin guitars from the early 1800s to today's latest designs, including unusual and one -of -a kind instruments. Art Guild's scope included fabrication and installation of all exhibit casework and graphics for both the museum and retail store. o Floor Space: 6,000 square feet • Shangri-La Botanical Gardens & Nature Center, Orange, TX o It was critical to Shangri-La's mission that conservation and sustainable practices be utilized throughout the construction of their new visitor center. As one of the most earth -friendly projects in the world, it earned the U.S. Green Building Council's LEED Platinum certification and offers a glimpse of • how people can live in harmony with nature. The Nature Center includes a hands-on exhibit called the Nature Discover Center, a laboratory, and three Discovery Science Center I Fort Collins Museum Art Guild, Inc. -37- Section j: Management Experience and Capa6ilit�q isoutdoor classrooms located deep in the cypress swamp. The Orientation Center includes an Exhibit Hall, Discovery Theater, Children's Garden, Exhibition Greenhouses, Cafe, and Garden Store. Art Guild's scope included the fabrication of interior and exterior exhibit structures, graphic production, multimedia hardware and integration, artifact mounting and installation. LEED specifications define strict guidelines that Art Guild followed for the management and disposal of waste materials on the project site. o Floor Space: Grounds cover multiple acres Spartanburg Science Center at Chapman Cultural Center, Spartanburg, SC o This three -building campus comprises 86,000 gross square feet, providing a variety of spaces for visual and performing arts, science and history. Art Guild fabricated the exhibits for The Spartanburg Science Center portion of the project. The Science Center includes a live animal room and 14 complex interactive exhibits, along with associated graphics and wall units. Art Guild was responsible for cabinetry, metal work, interactive devices (including prototyping), graphic printing, and coordination with AV hardware and software vendors. o Floor Space: 1,600 square feet • Detroit Institute of Art "Digital Books," Detroit, MI o Art Guild partnered with the digital design firm Pentagram of NYC to create series of custom multitouch kiosks as part of the DIA's strategy to increase the dynamism of their displays. The scope of this project for Art Guild's Interactive Department was prototyping, fabrication, programming and installation of • three MUSE Technology, and SEGD Design Award winning kiosks. These kiosks enabled visitors to explore an Egyptian scroll that's fragments are scattered across museums all over the world, zoom in on the pages of a miniature illuminated manuscript, and explore the furnishing depicted in a Victorian era interior decorating book. All of these experiences were installed adjacent to the actual artifacts. o Floor Space: N/A, 3 kiosks located in 3 different galleries American Express Corporate Archives, NYC o Located on the ground floor of American Express' world headquarters adjacent to Ground Zero, the display windows designed by world -renown Morris Sato Studio, feature the company's entire history from the original Charter to Shawn White TV ads. Each exhibit combines artifacts, reproductions, original media, touch controls and localized sound to highlight iconic American Express images such as the original dog on strongbox logo, the Gold Card Dress, vintage travel guides, and magazine and television ads. All touch elements were activated through 1 _" thick bulletproof glass. Art Guild's scope included casework, graphics, reproductions, artifact mounting, AV hardware integration, lighting installation and AV control systems. o Floor Space: 1,200 square feet • Mercy Corp "Action Center to End World Hunger", NYC o The Action Center to End World Hunger offers visitors an opportunity to learn about global hunger and poverty, the efforts being made to combat these challenges and what role they can play in accomplishing these efforts. The 4,000 square foot Center in Lower Manhattan is a Platinum LEED rated space featuring interactive exhibits, content and exercises to inspire visitors to join in Discovery Science Center / Fort Collins Museum Art Guild, Inc. -38- Section 3; Management Experience and Capability • efforts to end hunger and poverty. The Center features interactive training towers that features live news bureau feeds from various countries where Mercy Corps is offering assistance and action stations with immediate and long term opportunities to make a difference. o Floor Space: 4,000 square feet • Maimonides Infants and Children's Hospital, NY o Maimonides, like many hospitals, understands that environment is an important factor in creating successful patient outcomes. So when Maimonides built a new pediatric wing, we got the job of helping make it as comfortable and functional as possible for patients and their families. Art Guild's work included installation of donor recognition walls, a family lounge and play area, colorful graphic murals and art glass with a relaxing water and constellation theme. Art Guild also built and programmed multi -language, LED directional signs, an internet resource room, and even setup a live camera feed from the Coney Island Aquarium to the family lounge. o Floor Space: Multiple areas spread throughout • NYU Stern School of Business, NYC o NYU Stern School of Business' branding project included large-scale, high - resolution, stylized graphics and custom exhibit elements, including multistory banners, stainless steel posting structures in student areas, unique benches with laptop docks and specialty AV walls. Art Guild supplied materials and finish samples, fabricated prototypes and delivered graphic proofs for all major project components prior to final production and installation. • Development of a clear process and timeline in conjunction with close coordination with the general contractor was critical to meet all design expectations and the project's expedited timeline. o Floor Space: Multiple high traffic areas I� Morgan's Wonderland, the World's First Ultra Accessible Theme Park, San Antonio, TX o Located in San Antonio, TX, Morgan's Wonderland opened in March 2010 as the world's first large-scale theme park designed specifically for visitors with special needs. Inspired by Morgan Hartman and created under the concept of universal access, the exhibits challenged Art Guild's Interactive technologies Department to engineer stimulating experiences that offered interactive opportunities for persons with a broad range of physical, cognitive and emotional skills. Our team responded enthusiastically by developing and fabricating a simulated driving challenge, a pneumatic tool symphony, a weather -broadcasting studio, and playful water cannons at lakeside, among several others. Art Guild's scope included interactive exhibit development, AV hardware, media content, engineering, shop drawings, fabrication and some installation in both interior and exterior environments at the Sensory Village, Pirate Island & Fishing Wart and Off -Road Adventure. o Floor Space: Select interactive exhibits in the 100-acre park Discovery Science Center / Fort Collins Museum Art Guild, Inc. -39- Section j: Management Experience and Capability • International Civil Rights Center & Museum, Greensboro, NC o The International Civil Rights Center & Museum, housed in the original 1929 F.W. Woolworth retail store in Greensboro, N.C., opened in February 2010. The exhibit space spans two floors and covers 30,000 square feet. The museum features sixteen major exhibits and hundreds of graphics produced and installed by Art Guild. At the heart of these exhibits is the original lunch counter and stools where four students sat and ignited the Sit-in Movement. Art Guild's scope included the restoration and re -installation of the historic lunch counter, casework, graphics, scenic elements, specialty glass and specialty lighting. Due to the compressed fabrication and installation schedule, extensive coordination with the building architects and base building contractors was necessary for a successful project completion. The coordination with the GC and Exhibit Designer on this type of compressed schedule, and fixed budget, was only successful because of Art Guild's application of our standardized project management process and ability to supplement the core project team with additional staff resources. o Floor Space: 30,000 square feet C� P Discovery Science Center / Fort Collins Museum Art Guild, Inc. -40- Section -+: Team Member Experience • Art Guild's Museum + Environments (M+E) Division is dedicated exclusively to museum exhibit and environment fabrication. The M+E Division is permanently staffed by an experienced group of museum professionals. Every project is assigned an exclusive project team from the kick-off meeting through installation and warranty. This structure provides our clients with a cohesive group of seasoned professionals that will actively execute all aspects of the project. • Museum + Environments Division Structure VP- Museum Operatics vP- Museum Services Senor Estimator Director - Project Management I Museum Division Manager EStimato5 M�Jor - Pi.a� Interactive Tech . Directs -Graphics Asst. Project Managers Manager -Graphics Graphic Design I lGraphic Coorcinaticn I I Detailers /Enpneers Meet the Museums + Environments Team Manager -EJneering Art Guild's Museums + Environments Division is staffed with the most experienced professionals in their fields. Every member of our team has spent the majority of their career working either in or with museums and apply their years of knowledge to the unique challenges of building and installing exhibits. In addition to the project specific staff listed below, substantial additional personnel are available should they be needed to supplement this core team. No members of our staff hold professional licenses. Management John Gunning Vice -President, M+E Division John has 30 years of experience in managing the process of creating exhibitions. He is an effective administrative manager and skilled in defining client requirements and mapping the strategy necessary to accomplish a successful exhibition production process. John's most recent museum accomplishments include the National Infantry Museum & Soldier Center, The • Please Touch Children's Museum, Santa Barbara Natural History Museum, The Franklin Institute and the National Purple Heart Hall of Honor. Discovery Science Center / Fort Collins Museum Art Guild, Inc -q1- Section +: Team Member Experience 411 Lath Carlson Vice President, Operations - M+E Division • With 19 years of museum exhibit experience, Lath is at the forefront of leveraging the latest technologies to improve the process for creating exhibits. He is the founder of Art Guild's Interactive Technology Department dedicated to harnessing the latest computer -based engineering and production technology and online project management tools to create interactive experiences of unparalleled quality. He also excels at managing complex projects. A former staff member of The Franklin Institute, The Please Touch Museum, and The Maxwell Museum of Anthropology, Lath's collaborations with diverse teams have honed his ability to help clients translate their creative concepts into attractive, durable, and effective experiences that exceed their goals. Lath holds a BA in Anthropology from the University of New Mexico, and is a Senior Lecturer in the Museum Exhibition Planning and Design graduate program at the University of the Arts in Philadelphia. David M. Egner Director, Project Management - M+E Division David holds a BA in American history from the University of Florida, an MA in American history from the University of North Carolina at Chapel Hill, and attended the MA program in Museum Studies at the Cooperstown Graduate Program. From 1987 to 2002 David worked in exhibits at the North Carolina Collection Gallery, the New York State Historical Association, the Charles H. Wright Museum of African America History in Detroit, and the Atwater Kent Museum of Philadelphia. He has also consulted with a variety of museums nationally, and presented at AAM, ARAM, the Philadelphia Museum of Art, Temple University and the Cooperstown Graduate Program. As a project manager with Art Guild, David successfully completed major projects at the Science Center of Iowa, McKenna Children's Museum, and Liberty Science Center, among others. Recently, he spent a year with Jack Rouse Associates as the project manager for scenic fabrication at Ferrari World in Abu Dhabi, United Arab Emirates. David returned to Philadelphia in May 2009 and re -joined Art Guild as Director of Project Management. Mark Webber Manager, Interactive Technology Department Mark knows interactive exhibits, inside and out. He has spent the last 17 years designing and engineering interactive exhibits specifically for museums. His cutting edge knowledge of components, engineering, design, 3D modeling, prototyping, and CNC machining makes him well suited to deliver the most compelling and durable interactive exhibits. His work can be seen at the Please Touch Museum, Detroit Science Center, Franklin Institute, Monticello, Science Center of Iowa and Port Discovery. Mark has studied art in Italy and holds a BA from Dalhousie University, BFA from Nova Scotia College of Art and Design, and an MFA from Tyler School of Art. Discovery Science Center I Fort Collins Museum Art Guild, Inc -42- Section 2-D: Team Organization and Management Plan • Seagate Technologies University of Colorado, Executive Programs National Park Service, Pacific West Region Acrylic Display Cases Capital Plastics Qualifications A family owned business since 1952, Capital Plastics experience and commitment to quality have earned them a worldwide reputation for excellence. Dedicated craftsmen, the highest quality materials and adhesives, and our full design and manufacturing facilities means that CAPCO is the best choice for satisfying all of your needs for custom fabricated plastics products. Core services include: • _ Manufacturing - Project management Acrylic Fabrication - Design Thermoforming - Craftsman - Vacuum Forming Recent key projects include: National Air and Space Museum National Museum of Natural History Freer Gallery of Art National Gallery of Art National Portrait Gallery The National Zoo National Museum of the American Indian Disney The National Holocaust Memorial Museum The Coca-Cola Company Fort Collins DiscoveryMuseum Art Guild, Inc 16 Section +: 1-cam Member Experience • Matthew Stark Director, Graphic Design and Production Matt is the consummate graphic expert with more than 30 years in graphic design and production. He has deep experience across a wide range of design and production platforms in the museums, trade -shows, and permanent installation industries. Before joining Art Guild, Matt was the Director of Graphic Production at Exhibit Group Giltspur's New York office, with oversight responsibility for their nine U.S. graphic production facilities. His museum experience includes graphic production projects for the Jewish Heritage Museum in New York, the Intrepid Air and Space Museum, the American Museum of Natural History's Rose Center in New York, the Football Hall of Fame in Canton, Ohio, the National Civil War Museum in Harrisburg, Pennsylvania, and the International Civil Rights Center and Museum. Carolann Bartolino Museums + Environments Division Manager A skilled professional with over 23 years of museum and tradeshow knowledge, Carolann brings her outstanding attitude, skills, and professionalism to oversee accounting, purchasing, and the administrative systems that support all projects in the M+E Division at Art Guild. Her experience includes sales, marketing, special events coordination, and project management with diverse companies such as Hyatt International, CoreStates Financial Corp., and Showtime Exhibit Builders. At Art Guild, her clients included DuPont, Endo Pharmaceuticals, Princeton Financial, NSG America, CoreOptics and David's Bridal —both nationally and internationally. Her M+E experience includes projects for the Franklin Institute, PSEG, Morgan's Wonderland, NYU Stern • School of Business, McQuay Showroom, and the International Civil Rights Center and Museum. Carolann is a graduate of Taylor Business Institute. • Charlie Fieger Senior Estimator - M+E A successful project starts with thorough and comprehensive estimating. Charlie has 34 years of experience, and has created the most innovative estimating system in the industry. Together, his experience and unique estimating tool affords our clients the best value, and provides the back bone of our project management process. Because Charlie's estimating process includes every element of the project, the project manager can confidently export the critical information to create the project schedules. Charlie has overseen estimating for all of Art Guild's museum projects for the past 6 years. Discovery Science Center / Fort Collins Museum Art Guild, Inc -43- Section 4: Team Member Experience • Project Manager - Discovery Museum Project Team Jim Guarino Project Manager Jim has been managing projects at Art Guild for 15 years. During that time, he's proven to be highly organized, a creative problem solver and indispensable member of our museum team. His project management experience includes the International Civil Rights Center and Museum, National Constitution Center, Maimonides Children's Hospital, Intrepid Sea, Air & Space Museum, Philadelphia Zoo, PSEG Energy and Environmental Resource Center, and The Franklin Institute. Jim will be assigned exclusively to this project for its duration. Graphic Design Services - Discovery Museum Project Team Denise Cucurello Graphic Design Coordinator Denise is a highly creative graphic designer and skilled in managing the flow of graphical information through our in-house production facility and subcontracted facilities. Her 8 years of experience has yielded an in-depth knowledge of large and small scale graphic design and how it translates to various substrate materials, mounting possibilities and screening. She has • successfully tracked the graphic portions of projects for Liberty Science Center, Gettysburg Museum & Visitor Center, Mercy Corps Center to End World Hunger, Denver Museum of Nature & Science and the Philadelphia Zoo. Denise holds a BA in graphic design from Rowan University. • Engineering / Drafting - Discovery Museum Project Team Bill Furr Sr. Engineer / Special Projects Manager Bill's experience includes engineering, detailing, and project management. His 13 years of engineering and design experience play a vital role in developing design engineering specifications and shop drawings. His depth of knowledge brings incredible insight and attention to detail during the value engineering phases of the project. In addition, he's an effective project manager, and contributes to the fabrication process in all areas of his expertise. His project experience includes Liberty Science Center, Gettysburg National Battlefield Museum, the American Museum of Natural History, Nantucket History Museum, Tampa Bay History Center, the Franklin Institute, and Ferrari World in Abu Dhabi. He holds a BFA in Industrial Design from the Rhode Island School of Design. Discovery Science Center / Fort Collins Museum Art Guild, Inc -44- Section 4: Team Member Experience O George Black Senior Draftsman George is a seasoned technical draftsman who has worked on more than 75 museum projects. With more than 7 years at Art Guild, George is an excellent communicator, and works particularly well with clients to achieve a complete understanding of their vision, and then translating that vision into buildable, design -sensitive shop drawings. His experience includes projects for the US Holocaust Memorial Museum, Gettysburg Museum and Visitor Center, Liberty Science Center, American Museum of Natural History, Kellogg Cereal City, and Hong Kong History Center. George holds a BA from Gettysburg College, and an MFA from Temple University. Production & Purchasing - Discovery Museum Project Team Robert Kidd Shop Foreman Bob has led the technical fabrication for all of Art Guild's museum work for over 16 years. He is a journeyman carpenter with a temperament that is well -suited to a high pressure shop environment. Bob's recent projects include the Denver Museum of Nature and Science Expedition Health, Mount Vernon Education Center, Museum of Jewish Heritage, American Museum of Natural History and Liberty Science Center. Andrew Tomasulo Interactive Electronics Specialist Andrew manages the engineering and integration of electronics and media into interactives. His experience as a prototype designer and electronics specialist makes him particularly well suited to oversee the myriad details of electronic interactive exhibits. His project experience includes the Thomas Edison National Historic Park, The Franklin Institute, Shangri-La Botanical Gardens and Nature Center, and the National Children's Museum in Amman Jordan. Andrew attended Temple University in Rome, holds a BFA from Temple University in PA, and a MA from Dartmouth College. Brian Moore Purchasing Agent Brian has the purchasing expertise to acquire the highest quality materials for the lowest possible price. He has developed strong working relationships with vendors and industry groups to be sure every client's budget receives the greatest value. In the past several years, Brian has been building his LEED requirement knowledge, sustainable purchasing sources and tracking processes to secure all possible LEED credits. He has participated in projects for University of Pennsylvania Museum of Archeology and Anthropology, International Civil Rights Center & Museum and PSEG. Discovery Science Center / Fort Collins Museum Art Guild, Inc -45- Section j: Team building • The Projects Art Guild fabricates all involve various team building scenarios. Our projects range from design -build partnerships to pre -qualified bid work. Art Guild does not pursue lowest price open bid projects. The exhibit designer is an integral member of every project team. Typically they will work hand in hand with our Project Manager working through construction details, submittals, approvals, and reviews of prototypes and completed work. If the client does not possess the necessary internal resources to be directly involved in the fabrication and installation process, often the exhibit designer will also take on the role of owner's rep, or an outside firm will be retained in this capacity. In all of these permutations of the owner/design/rep team, Art Guild's highly developed communications and documentation protocols ensure a harmonious and productive team environment. On design -build projects we only build teams with the most qualified parties for a particular project. Depending on the type of museum or exhibit, we choose the best fit from the many design firms, media producers, and subcontractors which we maintain close relationships. We do not maintain any exclusive arrangements; we find that this is not in the best interest of museum projects, each of which is unique. On bid projects we are typically short-listed through an RFQ process, and once we have reviewed the RFP, and ideally met with the client -designer team, we will build our core team of subcontractors. Once again, this is done based on the best fit for a particular project. In other cases a design firm may have already involved a specialty supplier in the project, or might have a preference in suppliers. In this case we would rarely have an issue with pursing this vendor as a member of the team, and we are likely to have a preexisting relationship with them. • On any project we view our relationships with other trades and contractors involved in the project to be as important as those with our own vendors. On any project which includes base building work, or is new construction, we will seek to establish good communications with the other contractors as soon as possible. Our team building process is led by Art Guild's Lath Carlson, VP -Operations, Museums+ Environments Division along with David Egner, Director of Project Management, Museums+ Environments Division. Both of these museum professionals have over 19 years experience as part of exceptional museum exhibit teams, both as museum staff, and working for fabrication firms. One of Art Guild's greatest strengths is the depths of our relationships with other vendors, which have been forged over a long history of significant projects. The most relevant projects which were executed on a negotiated contract basis include Electricity and Changing Earth galleries at The Franklin Institute and Liberty Science Center. For the renovation of Liberty Science Center, outlined in Section 1, Art Guild was selected early on in the project based on our qualifications. Our team of estimators, project managers, interactive engineers and technical production staff worked very closely with LSC's internal design team to finalize all construction details. This process was done in an open book fashion with the help of our highly detailed proprietary estimating software. We were able to make adjustments in the cost estimates on the fly as designs evolved which streamlined the value engineering process. Because of our involvement in the final design process, construction drawings did not need to be produced by LSC, eliminated what is often a redundant scope of work. Instead Art Guild provided our own shop drawings to be used in this capacity, and also for • permitting. The final estimates created in collaboration with LSC became the initial contract sum, and was only increased when LSC asked Art Guild to take on additional scope, which was Discovery Science Center / Fort Collins Museum Art Guild, Inc -46- Section j: Team building . handled in the some manner. David Egner, Charlie Fieger, Lath Carlson, Bill Furr, George Black, and Bobby Kidd were all key participates in the team building and contracting associated with this project. • The contracting process for the two new galleries at The Franklin Institute evolved differently. The project was originally released to a prequalified group of fabricators as a bid project. Art Guild submitted the highest bid, but demonstrated an unparalleled understanding of the museum's requirements, and was awarded the project on this basis. Post project award, it was discovered that the GC's cost for the base building renovations far exceeded the projections. Art Guild was then asked to partner with the museum to cut the exhibit cost from $2.4M to $1.3M. This was achieved in much the same way as we had successfully done for Liberty Science Center. We leveraged the flexibility of our estimating system and our staff's knowledge to cut the budget without adversely affecting the visitor experience. David Egner, Charlie Fieger, Lath Carlson, Bill Furr, Jim Guarino, and Bobby Kidd were all key participates in the team building and contracting associated with this project. Discovery Science Center I Fort Collins Museum Art Guild, Inc -47- Section 6: Unique capakilities • Museum Professionals No other museum exhibit fabricator employs as many former museum staff members as Art Guild. Our President, VP of Museum Operations, Director of Project Management and Senior Project Manager all have extensive professional experience working behind -the - scenes in some of the nation's leading museums. This intimate knowledge gives Art Guild unique insight into the design, fabrication, installation and operation of museum exhibits. Other members of our project team are craftspeople who specialize in shop production and installation. Our technical and production staff are trained in museum fabrication with 15-20 years experience in the field. We employ the most qualified engineers and draftspeople in the industry, resulting in shop drawings of exceptional detail. Our shop production craftspeople are members of New Jersey Regional Council of Carpenters Local 2098, which supplies highly -trained personnel exclusively to the exhibit industry. Leaders in Sustainable Exhibit Fabrication and LEED Art Guild has been at the forefront of sustainable exhibit fabrication practices, and has completed LEED certified projects at every level. We are prepared to support the Discovery Museum's LEED goal, by offering sustainable practices for the exhibit fabrication, including material selection, "green" fabrication methods and recycling construction waste. We have been developing and implementing sustainable fabrication practices for more than five years and many of our projects have earned LEED certifications. For example, at the Liberty Science Center, we used low-VOC paints, • recycled/salvaged wood in the form of repurposed support posts to build framing for structures, incorporated plyboo (an eco-friendly alternative to plywood into a gallery), and incorporated a recycled rubber product, EcoSurface, as an alternative cabinet surface and flooring. We are currently building the exhibits for the new Children's Museum of Naples, Florida, which has been designed with the goal to meet or exceed Platinum Level LEED requirements. Recently, we completed exhibits for the Mercy Corps Action Center to End World Hunger (NYC), a LEED Platinum Certified project; Gettysburg National Battlefield Museum & Visitor Center, a LEED Silver Certified project; PSEG Energy & Environmental Resource Center (NJ), a LEED Gold Certified project; and McQuay International Showroom (Jersey City), a LEED Silver Certified project. Unmatched Capabilities and Resources Art Guild has the largest and most modern fabrication facilities in the industry. Our 315,000 sq. foot corporate headquarters in West Deptford New Jersey, minutes from Philadelphia, serves as our primary fabrication facility. We also maintain an 80,000 sq. foot production facility in Las Vegas, NV. Each facility has been designed with the latest in communication, computer, and electronic systems to ensure utilization of modern technologies and production efficiencies. Our fabrication capacities include wood, metals, plastics, laminates, graphics • production, large and small format digital printing, painting and finishing, scenic production, lighting, integration of Audio Visual hardware, electronic and electro- mechanical Interactives, installation and training. Our in-house tooling includes a CNC Discovery Science Center / Fort Collins Museum - Art Guild, Inc. -48- Section 6: Unique Capakilities • panel saw, 2 multi -head CNC Routers, 2 EPA certified spray booths, a DuPont DTM Printer, 6 inkjet printers, 2 laminators, and a full complement of conventional fabrication equipment and tools. In addition to a 60 person shop fabrication space, we also keep available a 40,000 sq. foot setup space for previewing exhibits prior to shipping and installation. Over 100,000 sq. feet of storage space is also available to store completed components, allowing for 'just in time' delivery, which is particularly important for exhibits being installed in new construction. Art Guild typically employs a staff of about 150 people in its two facilities. This number varies based on the fluctuating number of Union Carpenters employed in our production facilities. Administrative / Sales Production Management 14 Production Manager 1 Accounting 5 Shop Foremen 3 Purchasing 3 Graphics Foreman 1 Account Management 8 Paint Foreman 1 Business Development 4 Interactives 2 Fabrication 30-60 Pre -Production and Management Services Paint 5 Project Management 15 Graphics Production 8 Drafting/Engineering 10 Helpers 6 Graphics Coordination 5 Warehousemen 6 • Tradeshow Design 4 Proven Project Dedication and On -time Completion As fellow museum professionals, you will find Art Guild's team as enthusiastic and dedicated to your projects success as you are. Our dedicated team approach ensures that those working with you on the project are singularly focused and available. No other fabricator can show you as detailed of a history of immaculate project communications and transparency. With Art Guild on your project team, you will find a partner eager to share information, knowledge, progress, and questions. We maintain on open shop policy, inviting client's to visit at any time. In Art Guild's long history, we have never missed an opening date. Every project is completed on, or before schedule. This is true even in the most challenging circumstances. For example, Art Guild had started fabrication of the International Civil Rights Center and Museum in 2004 and then the project was put on hold until May 2009. From that point to the museum's opening on the 50'h anniversary of the sit-in movement on Feb. 1, 2010, the GC worked up to three shifts, and Art Guild fabricated and installed 30,000 sq feet of exhibits, finishing days in advance. Our work for the Growler Submarine at the Intrepid Museum faced similar pressure. All work needed to be completed on a floating submarine in time for Fleet Week. Confident in our team, led by Project Manager Jim Guarino, Art Guild negotiated a bonus clause in addition to the liquidated damages clause. The project was completed more than one week early. Discovery Science Center / Fort Collins Museum Art Guild, Inc. -49- Section 7: Safety Record • Safety Record Provide the firms' current Workman's Compensation Experience Modification Rate (EMR) Insurance multiplier for the last 3 years, OSHA Safety citations, if any and the most recent OSHA 300 Form. See Attached EMIR rating and OSHA 300 Form; Art Guild, Inc. has NO OSHA Safety citations. Outline your company's safety program and any additional information that would be useful in showing your approach to a safe work site. Enclosed is a copy of Art Guild, Inc.'s Safety Program. Please note that the Appendices are available upon request. Art Guild, Inc. also has an orientation program for new hires where we review the Art Guild, Inc. Policies and Procedures, including Safety with added emphasis on safety reinforcement and work environment inspections. Our Shop also holds daily craft "toolbox" safety meetings. When an accident occurs, all Accident reports and report summaries are sent to the Field Superintendent, Production Manager and the President of our Firm. Art Guild, Inc. holds site • safety meetings for field supervisors at the beginning of a job installation and as needed throughout the installation. We also conduct project safety inspections, which are conducted by the Project Manager twice weekly. • Accident records and summaries are kept by Art Guild, Inc.'s Workers Compensation Insurance Carrier, (Hartford Insurance) and reported to on an as occurrence basis. Art Guild recently completed the Energy and Environmental Resource Center at PSEG's nuclear plant in Salem NJ. Art Guild was selected and contracted with through PSEG Nuclear's standard procurement process. This meant they we were held to the same safety standards as a contractor installing new nuclear fuel rods would be. Art Guild was subject to extensive safety reviews prior to award, during fabrication, and installation. At all phases Art Guild was certified as being in compliance. Based on our performance on that project, we are now working with the Nuclear Energy Institute to provide exhibits for all of the nation's nuclear plants and visitor centers. Discovery Science Center I Fort Collins Museum Art Guild, Inc -50- T H E M A R T■ N C O M P A N Y INS U RANCE SERVICES • M September 23, 2010 Art Guild, Inc. 300 Wolf Drive Thorofare, New Jersey 08086 RE: Experience Modification As per your request below find listed your experience modification for the past four (4 ) years. January 1, 2010/2011 .978 2009/2010 1,062 2008/2009 1.042 2007/2008 .919 The Experience Modification shows an increase for the 2008/2009 and 2009/2010 policy period due to one loss. Very truly yours, THE MARTIN COMPANY Carol A. Nardi 500 JESSUP ROAD WEST DEPTFORD NJ 08066 •ELEPHONE 856.845.3636 51 FACSIMILE 656.045.9191 l. 9 �Sf f al�x (t�i;1 Im iry r�' i55 �• � x 8' Wa v 5 m m= g rra�t � � B � p 'JI uLJ1;QI?�- E � o F 7j7j,�pA��" j x _ �t�-s�i�u,��a���'9iFh�r(ItnS•* J e®�x IDl sstr, 611M c @WW � w � � 7 i➢9 try i d�t��Px lad; d C I aEi o.�`�i fi • 1 J O h Es,x ® 8n4 � 'YYFi o �7 tltle m r - lip y N a N co m m S O! H z � 2 Section 2-D: Team Organization and Management Plan is Specialty Metal Fabricator CAD -PRO Qualifications Cad -Pro is a woman owned small business with 10 employees specializing in custom metal work. Their motto is, "If it's metal, we'll make it happen," and they do, as they have proven over the course of a long-term partnership with Art Guild on a number of museum projects. These include The Action Center for World Hunger in New York, the Liberty Science Center, The Tampa Bay History Center and projects for the American Museum of Natural History in New York. Cad -Pro was founded in 1986 with shop and headquarters in Clementon, New Jersey. Cad -Pro also offers the latest technologies in manufacturing and assembly systems for the Department of Defense. A key component of what Cad -Pro brings to museum projects is the ability to work with project managers and drafts people to find ways to improve quality and/or to reduce cost while maintaining the highest standards for safety and workmanship. Core In-house services include: - Design and engineering - Machining • - Bending/rolling TIG and MIG welding i Recent key projects include: The Franklin Institute Please Touch Museum Harley Davidson Museum Carnegie Museum of Natural History Constitution Center University of Pennsylvania Museum of Archeology and Anthropology Fabrication Electro-mechanical assembly Installation services Prototyping Philadelphia, PA Philadelphia, PA Milwaukee, WI New York, NY Philadelphia, PA Philadelphia, PA Fort Collins DiscoveryMuseum AA Guild, Inc 17 • i 2006 ART GUILD, Inc. Injury and Illness Prevention Plan 53 TABLE OF CONTENTS ART GUILD, INC. INJURY & ILLNESS PREVENTION PLAN APPENDIX A: Health & Safety Policy Statement APPENDIX B: Policy for Work Related Injuries • APPENDIX C: Company's General Safety rules APPENDIX D: Accident Investigation Report • APPENDIX E: Near -Miss Investigation Report APPENDIX F: Hazard Communication Program APPENDIX G: Contractor Safety Policy APPENDIX H: Safety Training Programs 54 • Introduction The safety and health of each Art Guild, Inc. employee is of prime importance. The prevention of on-the-job injuries is a critical responsibility of management and employees together. The management team of Art Guild, Inc. will provide a safe and healthful workplace for the employees. The Health and Safety Policy Statement included in Appendix A details the company's commitment to safety. Prevention of injuries cannot be left to chance. This Injury and Illness Prevention Plan (IIPP) has been implemented to ensure that adequate steps are taken to prevent injuries and to ensure compliance with regulatory requirements. The elements of this IIPP are based on best safety and health practices. Additionally, each year a Safety Action Plan will be developed which will evaluate and analyze the injury and workers' compensation data from the prior year and will outline goals and objectives to minimize injuries and accidents and lower the workers' compensations costs associated with these accidents. Program Objectives The primary objective of Art Guild, Inc. Illness Prevention Plan is to achieve continuous improvement in the reduction of accidents and illnesses. Additional objectives include the following items: • To establish a safety program based on awareness and education, utilizing the combined efforts of all employees. is • To apply best practices and commonsense to reduce accidents and improve working conditions. • To develop and apply safety standards based on applicable legal and voluntary codes, rules and standards as a minimum. To ensure supervisors understand their basic responsibilities for the safety of employees and property, and to guarantee the consistent enforcement of safety requirements by all levels of management. • To facilitate the quick return to work of any employee who has an accident by providing restricted or light duty positions and exploring all alternatives to expedite his/her return to work. A copy of Art Guild, Inc. occupational health provider's Medical Status and Return to Work Instruction Form is included as Appendix B. 55 • Successful Implementation Art Guild, Inc. has developed a written safety policy statement. This statement is communicated to all employees via the Employee Handbook and is posted on the safety bulletin boards. All members of management are expected to ensure a safe working environment and to be in compliance with federal, state, and local safety regulations. Employees are expected to obey safety rules, follow established safe work practices, and exercise caution in all of their work activities. Both the Department Safety Rules and the General Safety Rules are included in Appendix C. The Safety Department will administer this Injury and Illness Prevention Action Plan to reduce injuries and to help minimize workers' compensation costs. Annually, the company must establish safety goals for the coming year. The safety goals must include both performance -oriented and results -oriented goals. These goals, as well as progress toward completion of the goals, are periodically communicated to all employees. A Safety Action Plan is also documented annually to identify specific steps that will be taken toward achieving the goals. • Responsibilities Accident prevention and efficient production go hand in hand. Safety is a primary responsibility of all employees. Specific responsibilities are outlined below. Safety Director The Safety Director is assigned the responsibility and authority to implement the Injury and Illness Prevention Plan. Additional responsibilities of the Safety Director are: • Assist the management team in developing safety goals. • Provide guidance with development of the facility accident prevention program. • Review and evaluate safety performance rates. Distribute reports to the management team and supervisors, and communicate to all employees on progress toward the safety goals. • Coordinate safety and health activities. • Keep up-to-date information on required local, state and federal safety and health regulations. • Determine needs and coordinate safety and health training. • Establish safety and health inspection procedure with follow-up to ensure necessary corrective actions are completed in a timely manner. 56 • • Coordinate and participate in investigation and analysis of accidents. • Review completed accident investigation reports to ensure the proper causes and corrective actions are identified. Accident Investigation Report is included in Appendix D. • Maintain a detailed accident reporting system and analyze accident data to assist in planning and directing safety activities. • Participate in the review for potential safety and health hazards of all new processes, methods or materials introduced into the facility. • Act as the liaison with outside agencies, such as local and state agencies, and workers' compensation claims administrator. VP of Operations & Project Managers Construction Management is responsible for supporting implementation of the Injury and Illness Prevention Plan and for the following: • Assist with establishing the safety goals and review progress toward those goals. • Support the assignment of safety responsibility and accountability to individuals at all levels. • Provide active leadership by participation, example and a demonstrated interest in the safety program. • Notify the Safety Department of any potential safety or health hazards of which • he/she is aware, including the introduction of new chemicals, process changes or facility changes. • Support the implementation of corrective actions resulting from accident investigations, inspections or other means of hazard identification. • Support the actions of the safety coordinator, managers, supervisors, safety committees and/or any other methods of employee involvement. • Conduct safety tours of the facility. • Participate in safety meetings with employees. • Participate in the review for potential safety and health hazards of all new processes, methods or materials introduced into the facility. • Review workers' compensation data and injury rates. • Review accident investigations for all OSHA -recordable cases, at a minimum. Provide comments regarding investigations reviewed. • Supervisors All Supervisors are responsible for supporting implementation of the Injury and Illness Prevention Plan and for the following: • Remain knowledgeable regarding safety and health regulations affecting the operations supervised. 57 • Ensure each employee is capable and understands how to complete safely each task to which they are assigned. • Ensure all equipment is maintained in safe operating condition. • Know and actively enforce all company policies, rules and procedures pertaining to safety. • Investigate incidents and identify/implement corrective actions necessary to prevent a similar incident from occurring again. • Ensure accident investigations are documented using facility -approved forms • Report, without delay, any unsafe condition or practice they cannot safely correct. Submit work orders to maintenance identified as safety related. Inform the safety coordinator of all serious conditions for comments and follow-up. It is the supervisor's ultimate responsibility to assure the condition or practice is corrected in a timely manner depending on severity. (Immediate, 24 hrs, 48 hrs, 1 week) • Train, newly hired or transferred employees regarding safety and the hazards to which they may be exposed. • Conduct safety meetings with employees utilizing huddles, individual meetings or other means, which will communicate information to the employees and promote safety awareness. • Provide active leadership by participation, example and a demonstrated interest in the safety program. • Support the actions of the Plant Manager, Safety Department, Safety Committee and/or other methods of employee involvement in the safety program. • Maintenance Personnel • • Maintain all machines and tools in good working condition. • Participate in the review to ensure no machine is placed into operation without meeting all applicable safety requirements. • Respond promptly to work orders identified as safety related involving machines, tools, etc. The response to the work order must be in a timely manner depending on the severity of the situation. (Immediate, 24 hrs, 48 hrs, 1 week) The Safety department will resolve any disagreement involving 'response time" between the Supervisor and maintenance personnel. • Keep informed of and comply with local, state, and federal regulations pertaining to maintenance operations, especially those involving lockout, confined spaces and electrical equipment. • Support the actions of the VP of Operations, Project Managers, Supervisors, Safety Committee and/or other methods of employee involvement in the safety program. Employees Employees are encouraged to actively participate in the facility's safety program. Employees have the following responsibilities in the safety program: • Follow all safety rules. 58 • • Be aware of the work area and report without delay any observed unsafe procedure or condition. • Correct any observed unsafe condition, where possible. • Recommend changes to procedures or conditions that may improve job safety and performance. • If you think a procedure you're asked to do is unsafe, "STOP" and question your Supervisor before proceeding. If you are not satisfied with your Supervisor's response again "Do Not Proceed" but ask to speak with your Supervisor's manager or the Safety Director or the Safety Supervisor. • Immediately report to your Supervisor all near miss incidents, identified safety hazards or incidents resulting in property damage. • Immediately report all injuries, no matter how minor, to the Supervisor. Complete all incident investigation forms provided by the Supervisor or the Safety Department. • Employees are encouraged to inform their Supervisor of any concern they have about potential hazards in the workplace. In addition, employees may also inform Safety Committee members, the Safety Department, or other members of management. Employees are encouraged to report hazards or unsafe acts by filling out a Hazard/Near Miss Report — see Appendix E. • Keep work area neat and clean. • Wear all required personal protective equipment. • Support the actions of the Plant Manager, Safety Department, Supervisors, Safety Committee and/or other methods of employee involvement in the safety program. • Employee Participation i Art Guild, Inc. encourages employee involvement in the safety program. There are a variety of means by which employees can participate. (Examples may include but are not limited to the following: Safety Committees, accident investigations, new employee mentor, employee meetings, near miss hazard report, etc.) Safety committees, adhere to the following guidelines: • The duties of the members and the goals of the committee should be clearly defined. • Members include plant production personnel. • Members have a limited term providing a chance for others to participate. • Written agendas and minutes are utilized and distributed to the management team and supervisors, and are communicated to the employees. Identifying and Evaluating Hazards The Company has established procedures to identify hazards in the workplace. Hazard identification methods must focus on unsafe conditions and unsafe behaviors since both are causes of accidents. 59 • Regularly scheduled inspections of the workplace are the primary tool to identify unsafe conditions and practices. Inspections are conducted every week by the Operations Department and are conducted to evaluate and score each department on housekeeping and safety compliance. The Director of Safety trains individuals performing the inspections and ensure they are knowledgeable in hazard recognition applicable to the areas they are inspecting. In addition to the scheduled periodic inspections, inspections are made when the following conditions exist: 1. New substances, processes, procedures or equipment are introduced into the workplace representing a new occupational safety or health hazard. 2. A new or previously unrecognized hazard becomes apparent. 3. As otherwise required by OSHA. Inspection reports are reviewed and analyzed by Operations to determine if repetitive situations are occurring. The analysis is conducted at least quarterly. Employees are encouraged to report hazards in their work areas. These reports of identified hazards are documented. Employees receive feedback regarding their report. The feedback is provided as quickly as possible to let the employee know when the problem will be corrected. • Accident Reporting and Investigation All accidents are investigated. These include incidents that result in personal injury or property damage and near miss incidents. The responsibility for investigating accidents rests with the Supervisor and the Operations Department. Minor first aid treatment such as splinters, minor cuts and abrasions are not investigated. The Supervisors are instructed to identify all causes of an accident including those related to supervision. The Director of Safety reviews all Supervisors' accident investigation reports to ensure they are adequate and that appropriate and meaningful corrective actions have been identified. Inadequate investigations are revised or returned to the Supervisor. If the review of the accident investigation report reveals a need for better understanding of accident investigation techniques, Operations will ensure that the Supervisor and/or other investigative team member receives additional training. Additional Responsibilities for any Iniury Incidents Operations has the following responsibilities when an Injury occurs 60 • Discuss with the employee the procedure for workers' compensation, paperwork, benefits to be expected, etc. Keep in touch with the employee to ensure correct administration of his/her benefits. • Inform treating physician of our policy of returning injured employees to work. • Maintain contact with the employee to ensure he/she continually feels a part of Art Guild even though they are not able to return to work, if the injury involves days away from work. • Keep in contact with workers' compensation claims administrator to ensure payments are made and adequate reserves are being set aside. Correcting Unsafe Conditions and Work Practices Art Guild, Inc. will use the following types of corrective actions: 1. Engineering controls. This is the preferred method of corrective action since it eliminates or reduces the hazard and is a permanent solution. 2. Training. Once a safe job procedure has been established, employees must be trained in the proper job method utilizing standard work procedures. 3. Administrative controls. These controls require the cooperation of the employee. An example is rotating employees among job tasks to limit exposure to ergonomic risk factors. 4. Personal protective equipment. Where personal protective equipment has • been determined to be necessary, employees must use the equipment at all times. This action requires training and constant supervision to ensure the equipment is used properly. • All substandard conditions and the corrective actions that will be taken are documented. Appropriate personnel are assigned responsibility for completing each corrective action in a timely manner. The documentation is updated as each corrective action is completed and all affected Supervisors and affected employees are informed of those corrective actions. When a corrective action for an unsafe condition or practice will involve multiple steps or cannot be completed immediately, an action plan is developed. The plan identifies who is responsible for completing the plan the estimated date of completion and what interim procedures will be implemented to assure employee safety while the solution is being completed. This corrective action plan is communicated to the management team, supervisors and affected employees. REQUIRED SAFETY PROGRAMS Required and recommended safety programs are listed in Appendix H. 61 • TRAINING Training is important to ensure employees have the knowledge necessary to take an active role in their safety and health. All employees are trained by the Safety Department and or their Supervisor regarding their responsibilities in the Injury and Illness Prevention Plan, the hazards associated with their jobs, how to recognize hazardous conditions, safe work procedures to follow in order to protect themselves from hazards, and the actual and potential consequences of not following proper procedures. The Hazcom/Right-To-Know Plan is included in Appendix F. Every training session is documented. Documentation includes an outline or overview of information presented to the employees. This training documentation (including employee's signed and printed name) is maintained in the employee's HR file. To ensure employees understand the information presented in safety training sessions it is necessary to test comprehension where appropriate or required. This is achieved through quizzes given at the end of the session, hands-on activities designed to tests skills learned in the session, and monitoring employees following the training to ensure they are following the safe procedures presented in the training. The Production Manager will retrain employees who are observed not following recommended safe work practices. When appropriate, retraining also occurs following an incident, such as an injury or near miss. . The Production Manager evaluates and periodically modifies all training materials to ensure they are effective. n U Orientation: New hire safety orientation is provided to all new employees prior to beginning work in the facility. Job -specific safety training is provided for new and reassigned employees prior to beginning the newly assigned job. Job -specific training includes safety requirements for the particular job the employee will perform. Any outside Contractors are required to satisfy Art Guild's Safety Policy included in Appendix G. Safety Discussion: The Safety Director and Production Manager will hold monthly discussions on safety and accident prevention with their employees either individually or in a group. First Aid Training: A number of employees are trained in First Aid and CPR as a volunteer member of their community Fire Departments and other E.M.S. Providers. Art Guild, Inc. ensures that these volunteer responders are provided adequate First Aid supplies and Personal 62 jection i-F: Frolect r-ahenence an,7 Qualifications [\hikit ralDrication Fro Iccts Ior Museums an� jcience Facilities �roiect Name: The Franklin Institute, "Electricity" and "Changing Earth", Philadelphia, PA Owner: The Franklin Institute Designer: The Franklin Institute Floor Space: 7,000 square feet Museum Type: Science Museum Fabrication Team: Art Guild Inc. -all scope except Media Production, AV Hardware Integration and select interactives including the Tesla Coil. E • Description/Scope: With the $1.3 million addition of electricity and Changing Earth galleries in April 2010, Philadelphia's The Franklin Institute continued a tradition of creating unique interactive exhibits celebrating Benjamin Franklin's scientific spirit of inventiveness. Visitors to Electricity use their own kinetic energy to trigger a live Tesla Coil, manage our country's energy infrastructure, and learn to make better choices for energy consumption. By analyzing their personal carbon footprint, giving a mock television weather forecast, or seeing the effects of climate change, individuals in Changing Earth explore their reciprocal relationship with the environment. Art Guild fabricated major exhibit structures, designed and built electro-mechanical interactives, produced all graphics, and provided on -site coordination and installation. We also ensured materials and fabrication techniques were LEED compliant. Art Guild. Inc Protective Equipment. A system is in place to notify the emergency responders that an incident has occurred in the facility. Communication This Injury and Illness Prevention Plan is designed to allow and encourage employees to communicate with all levels of management on safety and health topics or concerns. It also provides mechanisms for management to keep employees informed regarding matters important to their health and safety. Reporting of Injury Data The Operations Department maintains the OSHA Form 300 and reports injury data to the Corporate HR Office. The OSHA Log is posted on the employee bulletin board Discipline — Rights and Responsibilities Unsafe job procedures are not to be tolerated. Any member of management observing unsafe job behavior is expected to bring it to the attention of the employee's Supervisor or the Safety Department. Supervisors are expected to take steps immediately to correct the behavior. When disciplinary measures must be taken, Art Guild's disciplinary procedure, outlined in the Company's Employee Handbook, must be followed. Program Evaluation In order to ensure the effectiveness of the facility's Injury and Illness Prevention Plan, a periodic evaluation of the plan is conducted at least annually. The VP of Operations and the Safety Director, at a minimum, are part of the evaluation. An action plan is developed to address any inadequate procedures identified during the evaluation and appropriate changes are made in the IIPP. 63 Section 8: Subcontractors Subcontractor Qualifications The fabrication business, by its nature, requires us to routinely manage our internal staff, external subcontractors and coordinate with other trades on -site. We have the experience, procedures and people in place to manage these aspects of the production and installation process. Art Guild's in-house capabilities are extensive, but we seek the expertise of subcontractors for highly specialized fabrication work, such as artifact mounting, specialty glass and metal work and scenic production. We subcontract with firms who have a proven track record for completing work on time and to the highest standards of quality. We know what to expect from these firms and they understand the quality we expect from them. The firms listed below offer the specialties that we would typically subcontract. Depending on the requirements of the final design, some or all of these firms could be utilized. Once we have an opportunity to review the final design documents and meet with the project team, a revised list can be provided. Thematic & Scenic Fabrication IN-DEPTH, INC. • Qualifications On past projects, In -Depth has consistently delivered the highest quality workmanship at relatively low prices. In -Depth is a minority owned business and experienced in sustainable, earth friendly manufacturing techniques and material selection, important for achieving LEED certification goals. In -Depth was founded in 1999 and is headquartered in Philadelphia. It has a stated goal of becoming a nationally recognized as a leader in its industry, and is well on its way with a long -list of reputable projects. Core services include: - Estimating - Drafting - Mold making - Machining - Faux finishing Taxidermy Recent key projects include: Project management Model making Casting Metal Work Mural painting Cabinetry The National Infantry Museum and Soldiers Center, Fort Benning, Go. Mt. Vernon Education Center, Mt. Vernon, VA. • The Cradle of Aviation Museum - all diorama fabrication and thematic painting Discovery Science Center I Fort Collins Museum Art Guild, Inc. -64- Section 8: Sukcontractors • The Please Touch Museum, Philadelphia, PA St. Augustine Village - models of historic village of St. Augustine NH Fish and Game: Children's Discovery Room - all thematic fabrication Corinth Civil War Interpretative Center Syrian Dig Site Artifact Mounting SAUNDERS MUSEUM SERVICES Qualifications Sanders Museum Services is a full -service artifact exhibition company that has been involved with the handling, mounting and installation of more than 50,000 artifacts in its 27 year history. This includes a number of successful projects with Art Guild such as the Gettysburg Visitors Center and Mt. Vernon Educational Center. Sanders considers their specialty to be creating mounting solutions that successfully unify the • sometimes contradictory objectives of the various parties involved in exhibit creation including the Designer, Conservator and Curator. Located in Sheperdstown, West Virginia, Sanders Museum Services was founded in 1981, learning the rules and procedures for the treatment of artifacts on exhibit in a close and early association with the Conservation Labs of the Smithsonian Institution. Core services include: Design, patterning, fabrication and installation of armatures, mounts, supports, and display systems for museum -quality artifacts of all kinds including: Textiles Multimedia - Books and documents - Garments - Objects requiring armature mounts of all shapes and sizes Recent key projects include: Gettysburg Visitor Center Gettysburg, PA Kennedy Space Center Cape Canaveral, FL Astronaut Hall of Fame • International Spy Museum Washington, DC Discovery Science Center I Fort Collins Museum Art Guild, Inc. -65- Section 8: Subcontractors • Clinton Presidential Museum and Library Little Rock, AK Smithsonian Washington, DC National Museum of the American Indian • • Missouri Historical Society St Louis, MS Mt. Vernon Educational Center Mt. Vernon. VA Oregon History Museum Portland, OR Specialty Metal Fabricator CAD -PRO Qualifications Cad -Pro is a woman owned small business with 10 employees specializing in custom metal work. Their motto is, "If it's metal, we'll make it happen," and they do, as they have proven over the course of a long-term partnership with Art Guild on a number of museum projects. These include The Action Center for World Hunger in New York, the Liberty Science Center, The Tampa Bay History Center and projects for the American Museum of Natural History in New York. Cad -Pro was founded in 1986 with shop and headquarters in Clementon, New Jersey. Cad -Pro also offers the latest technologies in manufacturing and assembly systems for the Department of Defense. A key component of what Cad -Pro brings to museum projects is the ability to work with project managers and drafts people to find ways to improve quality and/or to reduce cost while maintaining the highest standards for safety and workmanship. Core in-house services include: - Design and engineering - Machining - Bending/rolling - TIG and MIG welding Recent key projects include: The Franklin Institute Please Touch Museum Harley Davidson Museum Carnegie Museum of Natural History Discovery Science Center / Fort Collins Museum - Fabrication - Electro-mechanical assembly - Installation services - Prototyping Philadelphia, PA Philadelphia, PA Milwaukee, WI New York, NY 66 - Art Guild, Inc. Section 8: Su6contractors n LJ Constitution Center University of Pennsylvania Museum of Archeology and Anthropology Media Production Philadelphia, PA Philadelphia, PA We prefer to defer our choice of media producers until we are able to consult with the project team and review the media treatments. Preferred subcontractors include: Red Hill Studios Second Story Interactive Studios Chedd Angier Lewis Production Co. Donna Laurence Productions 0 AV Hardware Integration We prefer to defer our choice of AV Integrator until we are able to consult with the project team and review the media treatments and hardware requirements. Preferred subcontractors include: Electrosonic CED MAD Systems Archival Display Cases We prefer to defer our choice of archival case supplier until we are able to consult with the project team and review the conservation requirements. Preferred subcontractors include: Zone Display Cases Meyvaert Glass Engineering • GSK Display Cases Discovery Science Center / Fort Collins Museum Art Guild, Inc. -67- Section 9: Agreement Comments • • The Exhibit Fabrication team is expected to sign the agreement (Chapter 7). Any exceptions to the agreement must be stated with your submission of qualifications for this project. The City makes no guarantees it will change the agreement, but will consider the exceptions. General Conditions 2.6.2.1 states "in no case will a schedule be acceptable which allows less than 21 calendar days for each review by Engineer". Art Guilds' preferred turnaround time for drawing approvals is typically one week / 5 weekdays. Art Guild will need to review these terms. Art Guild sees no other issues with the remaining General Conditions. Discovery Science Center / Fort Collins Museum Art Guild, Inc. lE Section 10: Cost Factors • • Overhead and profit (combined) margin for general office activities on the base bid cost. 8% Combined • Overhead and profit (combined) margin for other office activities on the base bid cost. 12% Combined • Markup on subcontractor exhibit fabricators work by the Prime Contractor. Subcontractor markups typically vary from 10% to 25% depending on the degree of project management required by Art Guild, and liability assumed for this scope. For most services a 20% markup is standard. • Markup on materials and equipment on the base bid cost. Stock materials are marked up 50%, specialty materials and equipment 20%. Shipping and Installation costs have no markup. • Markup on project labor or materials to determine the final contract price. Labor markup is typically 10-25% Final contract price is determined by the various material costs and markups combined with all labor costs and markups. In a negotiated contract process Art Guild will provide all labor and material costs in an open book manner, and will adjust markups as needed to achieve the desired balance. Art Guilds would seek a 5% overall profit percentage for this project. • Change order markup, including supervision, labor and material markups, and overhead and profit percentages, as a percent of labor and materials cost for any changes in the work following contract award. Same negotiated rates and markups as for base contract, unless overtime or expediting charges apply. Art Guild is fully committed to an open book policy and working with complete transparency. Discovery Science Center / Fort Collins Museum Art Guild, Inc. -69- �ection i-�_.: �ro�cct yFcrience anc Qualifications I \hibit rabncation rrojccts for MUSeums an IA 1�31:ience Facilities i • 0 Section 1-C: Statement Of Understanding • Proven Experience We have proven expertise across all the different areas of technical production required for this project. We have fabricated and installed archival display cases for the American Museum of Natural History, interactive exhibits for the Denver Museum of Nature and Science, children's exhibits for the McKenna Children's Museum, live animal displays for Liberty Science Center, and full scale historical vignettes for Mt. Vernon. Art Guild also has the ability to take all the diverse elements - not typically seen in a single museum - and blend all of them to create a single cohesive experience. We believe we bring unique insights into the both the intended visitor experience and challenges that will be faced in bringing it to life, because we are staffed largely by museum professionals - people who have spent many years on the other side of the table, working for some of the most prestigious museums and science centers in the country. Interactive Expertise The interactive exhibits proposed for the museum are a blend of buy-outs, owner sourced components, and custom engineered interactives. The procurement, engineering, fabrication, testing, and installation of all interactive exhibits will be managed by Art Guild's Interactive Technology Department. These highly experienced engineers, who are focused solely on creating engaging and durable interactive exhibits, have made Art Guild the preferred interactive fabricator of The Franklin Institute, Liberty Science Center, and the Denver Museum of Nature and Science. During the bidding phase of the Discovery Museum project we established good relationships with all of the sole -source and recommended suppliers, such as The Exploratorium, many of whom we have worked with previously. We are confident the pricing, SOW, and warranty assurances we have obtained from them will lead to a smooth process of • integrating their components into the overall exhibits fabricated by Art Guild. We expect to establish similar relationships with the suppliers contracted directly to the owner, once the contract is awarded. Establishing these relationships and understanding of the scope of deliverable from each party is crucial to setting the foundation for positive collaboration. At every phase of the project we will actively share information with the other interactive suppliers, regardless of who holds their contract. This will include coordination of schedules, drawings, facilities impact planning, integration into construction, cable path planning, maintenance access planning, and more. In past projects, such as Liberty Science Center, we have found it to be advantageous for the overall project for Art Guild to assume the lead role in coordinating the other suppliers. As the primary fabricator, largely responsible for the final exhibits, it is in the museum's best interest for us to take this role, even though it is not explicitly stated as part of our project scope. Custom engineered Interactives, such as the piano key mechanism, will be created using our highly refined development process. We start in the bid phase by developing a keen understanding of the intent of the design and visitor experience. We also note any potential safety or durability concerns. In the creation of our cost estimates we draw from our database of proven interactive components to increase durability and the accuracy of cost estimating. Our estimates include every part needed to build each interactive, labor hours required and allowances for prototyping and testing. Our engineering process is based on using proven components, up front prototyping, and extensive 3D CAD modeling and virtual prototyping. All • interactive are 3D modeled in Autodesk Inventor or Solid Works to ensure that all parts work together, are serviceable, and can be integrated into the finished exhibit structure. Fort Collins DiscoveryMuseum Art Guild, Inc 1jection j-L: Project Lxperience and Qualifications [_.xklkit Pakrication Projects for Museume ani 57 jencc r,icilities *Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. In this case Art Guild also assisted the museum in value engineering over one million dollars out of the project, post award, to make up for GC renovation cost overruns. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. *Project Contract Duration: September 2009 - July 2010 Actual Duration: Project completed on time within contract time frame Original Award Value: $2,341,811 Contract Amount: $1,320,290 Final Contract Amount: $1,365,685 Contract amount increased due to Owner initiated additions to original scope. • Owner Contact Information: The Franklin Institute 222 North 20m Street, Philadelphia, PA Rick Bluhm / rbluhm@fi.edu Phone: 215.448.2370 Fort CNIhns DiscoveryMus�•um Art Guild Inc 20 `Jection 5-L: f'rolect LxF+enence anJ Oualificahons E_rkikit ra1L)ncet1o11 Frolects for museums anj jaence Faulities *Project Name: Expedition Health at the Denver Museum of Nature and Science, Denver, CO Owner: Denver Museum of Nature and Science Designer: Jeff Kennedy Associates Floor Space: 10,000 square feet Museum Type: Science Museum Fabrication Team: Art Guild Inc. -Fabrication, Media Production, AV Hardware Integration for all exhibits. Select media components were produced by Snibbe Interactive, Fablevision and DMNS. Theaters were not in AGI's scope. • Description/Scope: The creativity and technological savvy of Art Guild's Interactive Team really shines on "Expedition Health", a 10,000 square foot, permanent installation at the Denver Museum of Nature & Science. Unlike most exhibits about the human body, this one allows each visitor to monitor their reactions to a simulated expedition up Colorado's 14,258 foot Mt. Evans. Some of the 40 interactive exhibit stations include "Wind Chill", a chance to learn how your body responds to wind in a freezing cold chamber, the "Bic, Ride", a virtual mountain bike race that measures target heart rate and even an exhibit that details the fate of a granola bar after it is eaten. A personalized "Peak Pass" card, activated upon entry and used at each station, records your performance. At the end of the exhibit this information, including images captured of you, is printed for each visitor. More personalized performance information is available to the visitor on-line. Art Guild's scope of work on Expedition Health included fabrication, installation, Fart Collins DNcoveryMuseum Art Budd In,. Section i-L: Froleet L�perrence anti Qualitraitron1 L\I­t&t ral rication erolects for Mueeums and SUence rac rlities • graphics, interactive prototyping and engineering, custom software and AV integration. The creation of this unique, cutting edge exhibit was a team effort of the design firm, the museum's in house digital media staff, Art Guild Inc, and other specialty media contractors. Art Guild worked with DMNS's digital media department and the design firm of Jeff Kennedy Associates to prototype and finalize the user experience for the interactives in this gallery. This required everything from engineering custom barcode scanners, creating a refrigerated environment, measuring visitors heart rhythm using EKG and looking at UV light on people's skin. Art Guild also customized computer software for many of the interactive experiences, which combined physical interaction and inputs with on screen displays and HD video clips of Mt. Evans shot by DMNS. All of the media and interactive experiences were connected to an AMX show control system setup by DMNS, as well as to a central database which stored visitors information and pushed it to interactives, printers, and online. In addition to the interactive and media experiences created by Art Guild, the gallery also includes media pieces by other specialty suppliers. Art Guild coordinated the integration of these pieces into the overall exhibit construction. Art Guild also produced static exhibit elements, graphics, murals, display cases and was responsible for all AV hardware integration and tie-in's with the DMNS data and show control systems. In the exhibit's first year of operation, Art Guild received ZERO interactive warranty calls. • • Fort Collins DiscuvervMuy=_um Art Guild Inc Section i-E-: FrOlect j-_xpenence and Q LJ;ilific:jti0ns E-x6kit Fakncation FrOJCcts for Museums an i ,Science racilities • Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating, We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. •Project Contract Duration: August 2008 - April 2009 Actual Duration: Project completed on time within contract time frame Contract Amount: $1,701,867 Final Contract Amount: $1,782,033 • Contract amount increased due to Owner initiated additions to original scope. Owner Contact Information: Denver Museum of Nature and Science 2001 Colorado Blvd., Denver, CO 80205 Bryce Snellgrove / bsnellarove@dmns.org Phone: 303.370.8258 Comments: Expedition Health was recently awarded the 2010 Association of Science and Technology Centers, Roy L. Shafer Leading Edge Award for Visitor Experience. �! Collins Art Guild, Inc • • E �ectiun 3-[_: ra)ject L-Xperl('nce anj ()ua�i�-rcatiuns L—♦W)lt rabnc.ition Frojc'c is for Niljseums an.i ,science ric ilities Fort Collins DiscoveryMuseuni ,�4 I- )eCtlon 3- Frolect L rrerience and Qualirieations [. hil7it ]- abncation erolrcts for Museums and Science f acilities •Project Name: Liberty Science Center, Jersey City, NJ Owner: Liberty Science Center Designer: Liberty Science Center Floor Space: 45,600 square feet Museum Type: Science Museum Fabrication Team: Art Guild Inc. -Core exhibit fabrication for all galleries. Individual Interactives and components were fabricated by other vendors contracted directly to LSC, AGI coordinated with all of these vendors including Media Integrators and producers. • Description/Scope: Filled with innovative technology and interactive experiences, LSC completely reinvented itself and changed the idea of what a science museum should be. Originally opened in 1993, LSC closed its doors in 2006 and underwent a $109 million renovation and expansion. New exhibits provide everything from the thrill of seeing poisonous frogs to the skill of learning how to operate a cargo crane. Visitors marvel at the hidden world of microbes, understand what it takes to build a tower that touches the clouds, and leave with a new view of their role in caring for the environment we call home. ort Collins DiscoveryMuseum ejection )—L: erolect l_xFerience anti Qualifications Exhibit rahrncation Protects for Museums anti 1�3ci<•nce f acilities EIEgiPP YECPPYICS Art Guild's scope included fabrication of all major exhibit structures, graphic production, site installation and coordination with other project contractors for Skyscraper, Our Hudson Home, Communication, 1 Explore, Infection Connection and Eat and Be Eaten. We also refurbished and reinstalled the Energy Quest exhibit at the some time, �. but under a separate contract. Liberty Science Center's in y ; house design department took a unique approach to the � design and fabrication of their new science center. Due to +, the size of the project and the scope of unique interactive 11►IL experiences they were interested in including, they figured no single fabricator would be able to complete the project. Early on in their process they contracted with Art a Guild to be the primary fabricator for all of the core exhibits. We worked closely with their staff to value r engineer exhibits and prepare for the permitting process. Due to the nature of some of the exhibits, and the museum's location in Jersey City, Art Guild was required to obtain building permits and inspections for all exhibit components. This required extensive upfront coordination with the building architects, GC, and other specialty fabricators. In each exhibit Art Guild's produced most of the base exhibit components, graphics, and some of the interactives. Other media and interactive elements were fabricated by a network of over 20 specialty producers who were contracted and managed by LSC. In addition to our own work, Art Guild was responsible for the seamless integration of outside contractors' elements into the galleries. Once again, Art Guild's focus on •systematic project management was critical to the project's success, particularly when the building construction failed to keep on schedule. With our large production capacity, and ability to draw from a pool of Fort Collins DisCoveryMusseiim Art Guild. Inc r; ,")cc Lion 1�-[: erolect Lxperience an J Qualil ications r_ahihit j-.jhncation Protects for Museums ana,`7acnce raaiitics qualified union fabricators, we were able to meet the museum's opening date despite very late turnover of the building to us for installation. Art Guild's involvement in this project as a dollar figure is misleading. We played a much larger role as a cost consultant, permitting coordinator, project manager and installer. As the only contractor working in all exhibit galleries, totaling 45,600 square feet and spread over 3 floors, Art Guild played a key role in scheduling, coordinating delivery, installing, and managing the AV integration of all exhibits. Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal ase. Art Guild will never substitute any finish material without approval, and will never attempt to defer any dditional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a project such as this, that was being installed in new building construction, significant coordination was required with the GC and other trades on site. Art Guild merged their primary project milestones into our project schedule and adjusted our installation to the realities of their construction progress. Project Contract Duration Actual Duration: Contract Amount: Final Contract Amount: Owner Contact Information • March 2006 to August 2007 Project completed on time within contract time frame $3,900,000 $5,064,000 Contract amount increased due to Owner initiated additions to original scope including the Subway Car experience and the refurbishment of Energy Quest, and acceleration costs caused by significant late delivery of final designs and lack of facility availability for installation. Liberty Science Center 222 Jersey City Blvd., Liberty State Park, Jersey City, NJ 07305-4600 Ann Neumann / aneumann@lsc.ora 201.253.1282 Fort Collins DiscovervN1 isauin Art Guild_ Inc 4 J/ it )ection i-� ; F'r�,ject F �Ferience an�i (�u:j f(i:.jti�,ns L\hihit r.,I>ric,ition Projects ror Museums and �aence raalttfes r -11 l J Project Name: McKenna Children's Museum, New Braunfels, 7X Owner: McKenna Memorial Hospital Designer: Jack Rouse Associates Floor Space: 18,000 square feet Museum Type: Children's Museum Fabrication Team: Art Guild Inc. -all scope including Media Production and AV Hardware Integration. Description/Scope: The McKenna Children's Museum is part of McKenna Hospital's 70,000 square foot community outreach and wellness center. At 18,000 square feet, the McKenna Children's Museum is one of Texas' largest, and the only children's museum that is part of a community healthcare and wellness outreach program. The museum is also unique in the number of ways the exhibits are tied to the local community. The New Braunfels theme is apparent in a mural that gives a Texas Hill Country twist to familiar nursery rhymes, for example, and an exhibit that lets kids design and print a front page of the city's local daily newspaper with their photos on it. Art Guild's scope included fabrication and installation of all of the interior, and most of the exterior exhibits and interactives. r 1 U Fort Collins DiscoverVMUSeum Aft (,wla Iris. Section 1-C: Statement Of Understanding • Once drawings are approved, we begin fabrication. All stock parts are ordered from the bill of materials first started during the estimating phase and these same part lists will carry over all the way through to final manuals. Custom parts are machined using CNC Mills, lathes, 3D printers, laser cutters, and other state of the art technologies, many of which enable us to use a minimal amount of material, and to recycle what scrap is created. All interactive electronic controls are designed to use industrial DIN rail mounted industrial automation components. This approach ensures durability and the ability to replace components at a discrete level, reducing maintenance and costs while also generating minimal E-Waste. Art Guild also welcomes the return of all electronic components at the end of their lifecycle for reuse or recycling. All interactive exhibits will be fully assembled in our lab prior to installation. They will be tested for both visitor usability and durability. Any modifications will be done in our shop prior to shipping to site for installation. At this stage we often complete the final integration of these components into the larger exhibit structures. We will also take final detail photos for use in the maintenance manuals which will be drafted at this time. Media Partnerships A wide variety of media based experiences are included in the design of the Fort Collins Discovery Museum. Like the interactives, these include a mix of custom elements, buy-outs, and owner contracted elements. Art Guild will manage these items following a similar process to that used for the interactives, coordinating with the various suppliers to ensure a smooth integration process. • For the custom produced media elements, such as the Interactive Map in Zone 11 we have teamed up with highly respected media producers, Boston Productions. Our relationship with them goes back to the Space Command exhibit at the Franklin Institute in Philadelphia, and more recently the Tampa Bay History Center. We are confident in their ability to produce superior quality media content and to become an integral part of our team. To provide the AV hardware not supplied by HP, and to perform the AV integration functions we have aligned with the Colorado based, CEAVCO Audio Visual Co.. Partnering with this local firm, recommended to us by the Denver Museum of Nature and Science, helps keep installation costs low, while also ensuring rapid on -going support. White Glove Treatment The Fort Collins Discovery Museum includes historical, archeological and natural artifacts in the displays. This requires that the exhibit fabricator be skilled in the fabrication of artifact cases and well as in the handling and mounting of artifacts. We are and have proven it in our work with the University of Pennsylvania Museum of Archeology and Anthropology, The American Museum of Natural History, Tampa Bay History Center, the National Constitution Center and other museums. Artifacts handled have ranged from George Washington's dentures to whale skeletons. We typically follow National Park Service standards as developed by Harpers Ferry. The cases specified for this project are not sealed archival cases, but they do require careful attention to construction details and must be engineered to hold and protect the artifacts • displayed in them. Choice of materials and fabrication methods for these cases are important, but we have found that artifact sensitive case construction also tends to be environmentally Fort Collins DiscoveryMuseum Art Guild, Inc ]cctiun i-L: Froirct rXFenence an171 (�uali �icatirms F_,W)it ra6rication FrOlects for Museums anJ(,1"_)ilenc e F"acilities Wethodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. roject Contract Duration: February 2005 - March 2006 Actual Duration: Project completed on time within contract time frame Contract Amount: $1,975,000 Final Contract Amount: $2,150,000 Contract amount increased due to Owner initiated additions to original scope. Owner's Rep. Contact Information: Jack Rouse Associates 600 Vine Street, Suite 700, Cincinnati, OH 45202 Mike Meyer, mmever@iackrouse.com Phone: 513.381.0055 • fort (,'dhns DiscoveryMuseum All GI, d Inc '0 �ecti�n �-� Fn��ect �, ��+enence an� (�ua�i�icntiuns f _\kikit Fabric.ition rrujects liar Museum, an.i ,`7uencc Faaltties • I* • Ar* Guild Ins_ •Project Name: Owner: Designer: Floor Space: Museum Type: Fabrication Team is n U 11__?ection 3-L_: F'rolect F XFenence en�A (1UAllflCatIOn1 L\66it rahncation F'rolects for Museums an.i , aence F ,icilities Gettvsbura National Battlefield Museum & Visitor Center, Gettysbura, PA Gettysburg Foundation (contact) and the National Park Service Gallagher & Associates 18,000 square feet, not including theaters or cyclorama Military History Museum Art Guild Inc., Media Production by Donna Lawrence Productions and Second Story Description/Scope: The Gettysburg National Battlefield Museum and Visitor Center was a joint project of the Gettysburg Foundation and the National Park Service. The museum joins together artifacts, hands-on exhibits, multimedia technology, and archival materials for an interactive, enriching experience and brings to life the Battle of Gettysburg and the entire Civil War era. The 11 permanent galleries are based on phrases from Abraham Lincoln's Gettysburg Address. Art Guild's scope included the entire interior exhibit gallery fit -out; including interior walls, exhibit fabrication of permanent and temporary galleries, AV hardware procurement and integration of theaters, graphic production, casework fabrication and installation of the entire project. The Gettysburg Museum is located in a recently constructed complex. At the time, close coordination was required with the project architects, general contractor, exhibit designer, NPS and media producers. Due to Art Guild's competence in managing this project, we were asked to also complete the exhibit lighting which had been omitted. We did this with a $2M change order to the original contract. 'r �.ut c�.nlnu I)iscuv�ryMusei.urt Art GUIld Inc 13ection i-�.: Frolect ]_xpenence anj Qu.iI icitions r- xhikit ra6nc.ihon FrOICcts for Museums an.i ,3cience Facilities With thousands of Civil War artifacts, engineering and fabrication of cases required a close relationship between the NSP's conservators and our Belgian casework subcontractor, Meyvaert. Meyvaert completed the glass and framing of the cases, while Art Guild produced the exterior skins, interiors, graphics, artifact labels and mounts. The cases were unique in their integration with the surrounding walls, graphics and other exhibits. Graphic production for this project was completed in-house. Art Guild used its DuPont Chromaprint UV Inkjet Direct to Media printer extensively here. This relatively new printing technology allowed us to print directly on wood panels and other substrates, rather than paper or film. By printing directly on wood grain panels we were able to achieve a harmonious look between the building construction and exhibit design. Highly interactive touchscreen kiosks are located throughout the galleries. Art Guild worked closely with the media producer, Second Story, to insure seamless integration of this technology with the overall visitor experience. Art Guild's AV scope also included two large format theaters, audio and lighting for an iconic, reinstalled, cyclorama, as well as multiple smaller theaters scattered through the exhibit halls. All of these theaters relied on cutting edge digital projection technology and highly tuned acoustics, Art Guild ensured exceptional experiences in these theaters through the paring of our AV Integration subcontractor, Electrosonic Inc, with media producer Donna Lawrence Productions. Art Guild's extensive production capacity and disciplined approach to project management brought all of these elements together to produce a world -class military history museum. 0 11 `)echon i-r_: Frolect j_sFerience :in i `uAlll-icritions LXk1bit rt llncation Projects for Museums :inj Science facilities Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. The project manager is responsible on a daily basis, and project progress reports are reviewed by the director of project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client, In the case of this project, the client was so impressed with the quality of Art Guild's project management and production, that a large scope of work that had been omitted from the GC's scope, was awarded to Art Guild as a Change Order. This scope included interior construction and exhibit lighting. • Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication chedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a project such as this, that was being installed in new building construction, significant coordination was required with the GC and other trades on site. Art Guild merged their primary project milestones into our project schedule and adjusted our installation to the realities of their construction progress. Project Contract Duration: October 2006 to April 2008 Actual Duration: Project completed on time within contract time frame Contract Amount: $7,759,000 Final Contract Amount: $9,635,409.00 After original contract was signed, owner added significant new scope, including base building work that could not be completed by the General Contractor. Owner Contact Information: Gettysburg Battlefield Foundation 1 195 Baltimore Pike, Gettysburg, PA 17325 Elliot Gruber- recently resigned to pursue other opportunities. Phone: 866,889.1243 NPS Contact Information: Gettysburg National Military Park 1195 Baltimore Pike, Suite 100, Gettysburg, PA 17325 Greg Goodell Chief of Museum Services (717) 334-1124 x1291 Fort Collins UiscoverYMtJSeum I Art (;mk! hie ,'?ection i-L: Froject L_yerience an A Otialif ic.itions r;ihricahcyn Frolects for Njuseums aMll science F.icilities • Fort Collins DiscoveryMuseurn �ection i-�_: eruie ct �s�+e Hence an� Qu:ii ic.tions E_yk1k1t j a1irication Fro Ivcts I -or NJu6eums anj' 15cience {=aalitics *Project Name: Mt. Vernon Education Center, Mt. Vernon, VA Owner: Mt. Vernon Ladies Association Designer: Chadbourne Associates & Museum Design Associates Floor Space: 16,500 square foot Museum Type: History Museum Fabrication Team: Art Guild Inc. -all scope except Media Production. LL 0 Description/Scope: Visitor's will learn about President George Washington's exceptional life and accomplishments while exploring 23 galleries, theater spaces, interactive displays, a major movie, short films and high-tech immersive experiences designed to dispel the elder statesman icon and encourage people to think about Washington in a new way: as an incomparable American hero who evolved from a young man of modest means into this country's first and greatest president. Fort Collins DiscoveryMt,=.eum Art Guild, Inc t�; \ )CCtliln 7-F.: Frolect F XFCr1e11Ce :91114 QuAVI i.. bO11s \hl�It rdk1'IC.it1011 rrJleetS for museums Al)� _-�Uence rIaUllhctS • Art Guild's scope included the fabrication and installation of all archival cases, casework, graphic production, AV integration, and the creation of all scenic environments. To give visitors a more immersive sense of the man and the environment he lived in during key periods of his life, extensive use of dioramas and models were employed. In the process of creating these referencing. historical documents and archeological evidence, Art Guild's staff entering a closed room in the main house, called Martha's Garret, where she mourned George's death, in order to measure and reproduce the room for one of the dioramas. E Other environments included part of a full-size log cabin, full-scale outdoor scenes with figures of Washington in natural environments including a wooded scene with simulated trees and a scene on horseback in winter, and a recreation of his inauguration. Custom models included a highly detailed working interactive grist mill. Scenic recreations and lifeforms were managed by Art Guild, while the installation included components produced by multiple subcontractors as well as Art Guild. This process required a high degree of planning and coordination by both Art Guild's project management team, as well as our engineering and production staff. Art Gold. Inc �ection i-E-: Frolect [xFenence anc] QL1allflcatiO115 Lxhihit rakncation rrolects for NiLlseums ani jcience racilities In addition to the integration of media based components throughout the exhibit spaces, Art Guild also managed the installation of the 4D theater, including seating with bass shakers, AV, lighting, and snow effects. Custom artifact cases were jointly produced by both Art Guild and our subcontractor, Meyvaert. The most unique case was engineered and fabricated by Art Guild to house Washington's false teeth and included a dumbwaiter element to remove the artifact, The Meyvaert cases included microclimate systems. The extensive digital wall murals and exhibit graphics were all produced in-house by Art Guild using inkjet printers, dimensional letters, and silkscreening. All installation and subcontractor coordination was managed by Art Guild. Methodology for Controlling Project Cost and Schedule for each phase: We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts, and labor hours against the original estimate. Khe project manager is responsible on a daily basis, and project progress reports are reviewed by the director f project management on a weekly basis. Unless the scope is changed by our client, all materials have been accounted for in our itemized estimates, which are extremely detailed in a proprietary format for our internal use. Art Guild will never substitute any finish material without approval, and will never attempt to defer any additional material or labor costs without a corresponding approved and signed change order from our client. Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule and submit for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a project such as this, that was being installed in new building construction, significant coordination was required with the GC and other trades on site. Art Guild merged their primary project milestones into our project schedule and adjusted our installation to the realities of their construction progress. Project Contract Duration: Actual Duration: Contract Amount: Final Contract Amount: Owner Contact Information: • March 2005 to September 2006 Project completed on time within contract time frame $3,178,725 $3,558,812 Contract amount increased due to owner initiated additions to the original scope including significant additional AV scope. Mt. Vernon Ladies Association PO Box 110, Mt. Vernon, VA 22121 Ann Bay Phone: 703.799.8601 Fort Collins DiscoverAluseum ;ri _4r. I-1► illF'r- PEOPLE'S PRESIDENT ` h Section I-C: Statement Of C.lncierstanciing • sensitive as well. We always recommend NAUF and low VOC materials and finishes for artifact cases and vitrines. All wood case components will be completely engineered in CAD prior to approval for fabrication. We will work very closely with the museum and Gyroscope to ensure that artifact layouts and archival requirements are taken into account in the engineering of each case. All case components and finishing will be completed by Art Guild's highly skilled craftspeople, with the exception of the acrylic vitrines. Very few specialty plastics fabricators are able to meet our exacting standards for museum quality joints. For this project we have chosen our trusted supplier Capital Plastics. All display cases will be test fit in our shop and carefully packed for shipping and installation. Getting Wet As anyone who has ever had plumbing problems knows, working with water takes a special touch. Water based exhibits require more maintenance, cleaning, and supervision than any other type of interactive experience. Successfully creating a water -based exhibit that will not end up an operational nightmare takes dedication and experience. We will access this through our longstanding partnership with Boss Display Corp. We have collaborated with them on many water -based projects including Morgan's Wonderland, The World First Ultra Accessible Theme Park, Liberty Science Center, and Science Center of Iowa. The museum's operations staff will sleep more soundly knowing that Boss Display Corp.'s experience and expertise in the engineering, fabrication, and installation of these uniquely challenging exhibits is unmatched. • Smarter Shop Fabrication A technology -centric shop fabrication process enables us to produce exceptionally crafted casework that exactly matches design intent, and to do so with very little waste. Our exhibit detailers are unmatched in their knowledge of museum fabrication engineering. They work closely with our shop staff to engineer every detail of casework construction. Our shop drawings are hands down the most detailed in the industry. There is a good reason for this. With modern CNC production technology the detailer is building the exhibit component as much as the carpenter is. Every piece of wood, plastic or metal drawn generates the CNC code to control one of our CNC Routers or other devices. Every bolt, nut and other piece of hardware that is drawn goes into a bill of materials and streamlines purchasing. Any mounting holes required for the part are automatically made in the casework in advance. Because of the high degree of accuracy of our CNC machines, part batching, and panel layout optimization, we are able to significantly reduce material waste. By centralizing cutting operations both on our CNC machines and in our manual work cells, we are also able to control indoor air quality. Only when all of the parts are CNC cut and the hardware has been received does the carpenter build the exhibit. Using detailed assembly drawing and exploded views as a guide, the carpenter assembles the exhibit component with exacting detail. Completed components are subjected to a formal QC process and then moved to a prep area prior to finishing. All finishing is done in EPA certified spray booths utilizing low or no VOC finishes when possible. After painting, exhibit components are moved to a dedicated staging area for the project (we maintain a 40,000 sq. foot area for this purpose) and final assembly is completed. Another round of quality checks are done prior to a pre -shipping review by the client. Fort Collins DiscoveryMuseum Art Guild, Inc Section 5-E: Project Experience anti Qualifications Financial Capabilift • Financial Stability Founded in 1923, Art Guild Inc. has a long history of sound financial management, an attribute which has proven even more vital in these economic times. While many of our competitors struggle with obtaining performance bonds, we enjoy a $15M bonding capacity. (See attached Bonding Capacity Letter from Rosenberg & Parker) a. Bonding company. Provide the name, address and phone number of the firm's bonding agent. Provide a letter from the bonding agent indicating the firm's bonding capacity is adequate to undertake this work. Art Guild, Inc.'s Bonding Company is: Rosenberg & Parker, Inc. Surety Bonds (see attached Capacity Letter) Contact: Matthew J. Rosenberg, Principal 455 South Gulph Road, Suite 400 King of Prussia, PA 19406 Phone: 610.668.9100 Fax: 610.667.5200 b. Identify project financial arrangements. Art Guild, Inc. does not require any special project financial arrangements. AIA or • similar payment schedules are acceptable. c. Any pending or outstanding claims or judgments? Art Guild, Inc. has no pending or outstanding claims or judgments. d. References from banking and credit institutions with whom business has been conducted. Attached please find Art Guild, Inc.'s Banking and Credit References. e. Insurance Company. Provide the name, address and phone number of the firm's insurance agent(s). Provide certificate of insurance outlining coverage and policy limits. Can this coverage be extended for work on this project: Can coverage be increased? Can the City be listed as an additional insured? Are there any current claims that will affect coverage limits available to the city for this project? Art Guild, Inc. carries insurance coverage that is also carried onto our projects on a per project basis. A copy of our current policy is attached. Coverage is extended to our projects and can be increased as need be with the project "Owner" listed as an additional insured. • There are no current, past or outstanding claims against our policy. Fort Collins Discovery Museum Art Guild, Inc. 40 U 0 LJ Section 3-E. Project Experience and Qualifications Financial Capability Art Guild, Inc.'s Insurance Agent: The Martin Company Contact: Samuel P. Martin 500 Jessup Road West Deptford, NJ 08066 Phone: 856.845.3636 Fax: 856.845.9191 f. Banking reference. Provide the name, address and phone number of the firm's banking reference. Art Guild, Inc.'s Banking Reference: Wachovia Bank Contact: Barbara Martinelli 600 Cuthbert Boulevard Haddon Township, NJ 08108 Phone: 856.858.7688 Fax requests to: 704.427.2477 Fort Collins Discovery Museum Art Guild, Inc. 41 ART GUILD INC. 300 Wolf Drive West Deptford, NJ 08086 voice 856.853.7500 fax 856.686.4184 AFZTCa u 1 L0 www.artguildinc.com BANKING INFORMATION Wachovia Bank Fax requests to: (704)427-2477 600 Cuthbert Boulevard Haddon Township, NJ 08108 INDUSTRY REFERENCES Cadpro, Inc. 114 W. Atlantic Avenue Clementon, NJ 08021 Ph: (856)435-0050 Fx: (856)435-0060 Attn: Elaine Bartie Fessenden Hall Inc. • 1050 Sherman Ave. Pennsauken, NJ 08110 Ph: (856) 665-2210 Fx: (856) 665-65 18 Attn: Rich Lutz Montrose Molders Corp 230 St Nicholas Avenue South Plainfield, NJ 07080 Ph: (908) 754 3030 Fx: (908) 561-5989 Attn: Amy Martinez Nth Degree 2675 Breckinridge Blvd, Ste 200 Duluth, GA 30096 Ph: (800) 621-7233 Fx: (404)508-2983 Attn: Kathy Harlock PURCHASE ORDERS - required OUR FEDERAL I.D.0 23-1651753 -42- • Renaissance Management, Inc 2300 West Parkplace, Suite 146 Stone Mountain, GA 30087 Ph: (770)879-0485 Fx: (770)879-0721 Attn: Steve Johnson Russell Plywood, Inc 401 Old Wyomissing Rd. Reading, PA 19611 Ph: 800-787-7355 Fx: (610)374-9138 Attn: Sharon Greenberg ext. 1004 Salesmaster Corp 87 Towpath Road Fairless Hills PA, 19030 Ph: (215) 295-2300 Fx: (215) 295-6602 Attn: Barbara Northrop Sam Schwartz 932 E. Hunting Park Ave Philadelphia, PA 19124 Ph: (214)744-9996 Fx: (215)744-9960 Attn: Michael Schwartz Alanna R. Nelson CPA, CMA Controller 071610 R®SENB ERG & PARKER i 11 E S U R E T 'Y B O N D S November 17, 2010 City of Fort Collins 215 North Mason Street 2nd Floor Fort Collins, CO 80524 Re: Art Guild of Philadelphia, Inc. — Bonding Capacity Discovery Science Center / Fort Collins Museum To Whom It May Concern: Art Guild of Philadelphia, Inc. is a highly regarded and valued client of International Fidelity Insurance Company. International Fidelity Insurance Company has expressed its willingness for bonding support in the aggregate amount of $15,000,000. In accordance with the normal practice, International Fidelity Insurance Company's willingness to extend suretyship will be based on their underwriting of the account at the time the contractor requests bonds. In addition, we would expect that the execution of any final bonds would be subject to a review of the contract documents by Art Guild of Philadelphia, Inc. and International Fidelity Insurance Company as well as satisfactory evidence of financing for the project. Sincerely, MAhew 9 os�nber P MJR/mgh � pp n S\S' _43_ c o a 455 SOUTH GULPH ROAD SUITE 400 KING OF PRUSSIA, PENNSYLVANIA 19406 p 610.668.9100 p 800.394.9200 f 610.667.5200 info®suretybond.com surelybond.com section j-E Fro ject Lxperience and Qualifications Management j_,xF+erience and Capakility • For every project fabricated by Art Guild, our team utilizes a formalized Project Management Process. Later in this section you will find the specific projects for which the proposed project team has used the approach noted below. All aspects of this tried-and-true approach are outlined in our standard process manual provided to all of Art Guild's Museums + Environments staff, along with all standard forms. Our management approach is designed to track every aspect of the fabrication process to ensure an on time, on budget installation. For example, after the award of two permanent galleries at The Franklin Institute (TFI) last year the client learned renovation of the existing space by the General Contractor far exceeded their expected budget (due to the discovery of asbestos and other infrastructure problems). Unfortunately, their only revenue source for additional funds was the exhibit fabrication budget. Art Guild worked intimately with TFI designers and developers over 3-4 weeks to value engineer approximately one million dollars out of the fabrication budget while eliminating only one visitor experience. And once the contract amount was established, TFI realized soon afterwards due to their high level of confidence in Art Guild's process and team that the small contingency budget they had reserved was able to be tapped into to put back various elements that had been removed during value engineering. Even though this additional review step set back the project by at least 4 weeks, Art Guild still delivered on time and on budget with no premium for the condensed schedule. On every project Art Guild is prepared to bring its expertise and experience to the table, as needed, to respond to each client's unique needs. The following information details the key elements of our proven management approach to successful project completion. Proiect Management Plan Key Elements • Kick Off Meeting: We start every project with a kick off meeting to review project contacts, schedule, scope, approval processes and communication protocols to ensure that all partners start with the same understanding and expectations. This meeting typically requires a full review of the design development package to clarify the design intent. In attendance at this meeting will be Art Guild's VP of M&E Operations, Director of Project Management, and the Project Manager. In conjunction with the kick off meeting Art Guild conducts a comprehensive site survey or meeting with the building architect and GC. Complete meeting notes are distributed to the project team in a timely manner following the meeting. • Project Contact Sheet: Following the kick off meeting, the Project Manager distributes a Project Contact Sheet which identifies the primary and secondary contacts for each of the key suppliers and the client. This information is collected at the kick off meeting. Electronic Communications Form: Art Guild distributes the Electronic Communications Form which gives instructions regarding the suggested formats for email headings, instructions for FTP site access, and links to project related websites. Project Schedule: Based on the information collected during the kick off meeting, Art Guild will develop a detailed project schedule. All major subcontractors are integrated into this fully coordinated schedule. The schedule is distributed and revised, as needed, and re -submitted for approval. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings ensure that the project continues to meet or exceed the requirements of the schedule. Any changes must be approved by the museum's Project Director. Fort Collins Discovery Museum - 44 - Art Guild, Inc. Sechon 3-E- Froject r_ xf+erience and Qualifications Management r_xpericncc and Capability • On -Site Presence: The Project Manager will make regular site visits, increasing in frequency as installation commences. Other site visits are conducted by our drafting and engineering staff to collect site measurements and as -built drawing specifications. Project Management Website: Art Guild utilizes a custom designed, secure, online project management web application called "The Hub". Each active project has a dedicated area on the Hub to consolidate all internal communications and streamline the coordination of project documents and scheduling. Client access to project documents is provided via ftp. By centralizing our communications and project data we can insure an unparalleled degree of coordination. Since all project data is accessible via Web/VPN, our onsite team members have access to the same documents as our inside staff. Progress Meetings: Weekly progress meetings are held (via teleconference or in person, as needed) to discuss on -going issues and to monitor the rolling list of milestones and to measure the progress towards deadlines for the active elements of the project schedule. Detailed meeting notes are distributed to the project team members after each meeting. Meeting Agendas and Minutes: Prior to any meeting, Art Guild distributes a Meeting Agenda. Following all meetings, Art Guild distributes the Meeting Minutes to all project team members. Requests for Information: Any questions for the client are submitted by Art Guild in writing, on a standard format RFI form. This provides a clear, consistent format for all responses. Submittals and Approvals: Following the kick off meeting, Art Guild issues an Approval Process Form which outlines the process for each type of approval and identifies the turnaround times • established during the kick off meeting. All items needing client approval are clearly labeled and accompanied by a Submittal Form. Shop Drawings: Art Guild's engineers prepare highly detailed shop drawings and submit them for client review in programmed increments. As shop drawings are approved, fabrication begins at the Art Guild shop, as well as with any subcontractors, focusing on long -lead items first. Work Orders: Art Guild issues an internal Work Orders for all work that needs to be completed within the project scope. The WO contains all relevant details to the specific scope of work and references any drawings, CNC files, finish schedules or other attachments. Work Order Addendums: Art Guild issues an internal WOA for addendums to work assigned. Review of Work: At specific increments during the production process, Art Guild schedules an in - shop review of work in progress, as well as a review of completed components. Art Guild takes pride in our transparency and invites clients to visit our shop at any time. In addition, completed components can be photographed and delivered electronically for remote assessment. All exhibit components are preassembled in our fabrication facility for pre -shipping reviews by the client. Shipping: Art Guild generally ships completed sections of exhibits in logically divided areas for installation. This minimizes the construction impact onsite and maximizes efficiencies. Al shipments are coordinated on the master construction schedule. Individual components may be delivered separately, or out of sequence, if collaborative fabrication is required to coordinate with other specialties/trades outside of Art Guild's scope. This division of delivery and its • subsequent execution will be determined very early in the process in order to help all parties Fort Collins Discovery Museum - qg - Art Guild, Inc. Section 3-j_: Froject experience and Qualifications Management r xperience and Capability • function more effectively. All shipped components will be carefully packed, labeled, shipped via dedicated truck, and fully insured. Installation: Primary installation is led by our site supervisor and the project manager along with our shop foreman as necessary. Daily toolbox talks are held to review safety issues and the day's goals. Skilled labor will be provided by the Art Guild shop. As major sections of the installation are completed Art Guild's project manager will review with the client and ask for sign -off approval. Final handover includes site walkthrough, cleaning instructions & maintenance manual delivery, and an overall project review as part of Art Guild's internal quality assurance program. At the time of final completion the warranty period begins. Warranty covers all workmanship and material defects for one year. Job Tracking: Art Guild utilizes a computer based, time tracking and material purchasing management system to accurately track all project costs. This system allows project managers and others to access up to the minute job reports from a secure web portal at any time. This system allows us to track the project in real time and assure that we are on time and on budget. Acceptance of Work: Upon completion of a scope of work Art Guild may submit the work for client inspection and request sign -off on an Acceptance of Work Form. Upon final completion and client inspection the client will by asked to sign -off on a Final Acceptance of Work Form. Warranty Exceptions: There may be circumstances when the client directs Art Guild to perform work which Art Guild does not recommend. In this rare circumstance Art Guild will ask the client to sign an Exception to Warranty Form. This form will exempt this particular item from Art Guild's warranty and any other liability associated with the item. • Change Orders: Only if the client directs Art Guild to take on an additional scope of work, or requests a significant change in scope, will a Change Order Request Form be issued. The request may reflect a cost reduction, cost increase, or no change in cost. The client will be asked to sign the form even if there is no cost impact, so that there is a record of the request. If there is a cost impact and the Change Order Request is approved, Art Guild will submit a formal Change Order and adjust the contract sum accordingly. E Applications for Payment: Art Guild works with the client to determine the Schedule of Values for billing purposes. For each invoice, Art Guild will follow the procedures put in place by the client for this project. Project Manuals: We recognize the opening of your new exhibition is only the beginning of an exhibit's lifecycle. From the moment we begin cost estimating we document our work to insure that you have the information needed to keep the exhibits operating and looking as good in 10 years as they do on opening day. Because we start documenting your exhibit on the first day, our manuals are the best in the business. All are image based and hyperlinked to allow for easy paper, or online, viewing and updating. We include assembly/disassembly photos, callouts of all major components, parts lists with suppliers, maintenance schedules, troubleshooting matrixes, PLC code, electrical and AV schematics, backup copies of software, as well as complete as - built CAD drawings. Fort Collins Discovery Museum -46- An Guild, Inc. section 3-r : I rocct r xperienee anti Qualifications Management r xperience and Capability • Technical Services Art Guild's technical capabilities help strengthen our overall project approach by providing the foundation for accurate pricing and scheduling, building durable interactive and static exhibit components, providing effective communication and quality fabrication. The following provides a brief explanation of the technical services offered by Art Guild to ensure your project opens on time, and within budget. Estimating We firmly believe that a successful project must start with thorough and comprehensive estimating. At Art Guild we enjoy the unparalleled expertise of Senor Estimator Charlie Fieger and his team. Not satisfied that any commercial estimating software truly addresses the unique demands of museum projects, Charlie Fieger has created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. During the estimating phase all materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, and subcontractors are identified and included. When the bid is handed over to the project manager all of this critical information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. Engineering • Art Guild utilizes the latest in Computer Aided Drafting and is an engineering driven company. Our museum exhibit engineers and detailers work in AutoCad 2010 for static components and Autodesk Inventor 2010 and Solidworks for interactive and mechanical assemblies. Since our fabrication methodology is based on detailed up front engineering and CNC production, the quality and detail of our shop drawings is paramount. Simply put, you will not find higher quality, more detailed, shop drawings. Our detailers are also highly experienced craftspeople who understand the nuances of museum quality construction and collaborate with our production craftspeople on the approach to fabrication details. All drawings include multiple views, cross sections, 3D views, exploded views, CNC files, STL files, and even animated video clips as required. We recognize that in today's automation -driven fabrication process the engineer/detailer is building the exhibit as much as the craftsperson on the shop floor. Interactive and Media Based Exhibits Our interactive exhibits are unparalleled. No other fabricator can equal our track record in engineering and fabricating interactive exhibits. Our Interactive Technologies Department averages less than one warranty call for each major exhibition which includes interactive components. When the top science and children's museums want it built right, and want it to last, they come to us. Our approach to interactive exhibits is very well structured. We maintain a database of standard, proven, components amassed over a 30 year history. We supplement this with extensive prototyping, both physical and virtual, as well as by utilizing Rapid Prototyping and Manufacturing technologies. Once an interactive component is proven in the prototyping phase we utilize CNC manufacturing, 3D Printing, and Laser/Water Jet cutting extensively in our fabrication process. Once all interactive components are fabricated and assembled we run each exhibit through an extensive testing and quality control process. In order to insure the long isterm functioning of these components, we prepare exhaustive maintenance manuals and conduct comprehensive staff training. Fort Collins Discovery Museum - q7 _ Art Guild, Inc. jection 5-r : rrcject f-- xf+erience anti Qualifications Mana_Pement F xFerience and CaFal)ility • Commissioning Interactive exhibits by their very nature must be tested in a "hands-on" way. Interactive creation begins with prototyping. We build cost effective prototypes of particular components and then test them with people who represent a cross section of the typical visitors to the client's institution. For mechanical interactives, we "test to failure" to find weak points in a design. Electronic interactive components are left running for a period of at least 48 hours continuously and inspected for overheating, component malfunctions or any other problems. With the initial burn -in complete, the exhibit is available for testing and review. We first test the overall function of the exhibit and try to anticipate different usage scenarios. Once we feel the exhibit has been properly rung out we then test it with people representative of the client's institution's visitors. Any problems that are found can then be corrected in our shop and retested prior to shipping to site for installation. Shop Fabrication Art Guild is proud to offer the highest level of fabrication craftsmanship. Our production methodology is based on a combination of detailed shop drawings, CNC part production, and meticulous craftsmanship. Most parts are cut either on our CNC panel saw, or on one of our two multi -head CNC routers. Our shop is outfitted with a wide range of wood and plastic working machinery including; 7 table saws, 5 drill presses, 4 radial arm saws, 3 jointers, 5 band saws, 13 cut off saws, 2 shapers, 2 thickness planers, numerous sanders and grinders, 3 hinge routing stations, 2 edge banders, and a full complement of power, hand and pneumatic tools. Our • machinery is configured into central work cells with dedicated stations for different materials, which helps support our company wide LEED and sustainability efforts. • Graphic Production Our graphic production shop provides a full complement of outputs, substrates, and laminations. Capabilities in-house include direct -to -media -printing on our DuPont Chromaprint U.V., inkjet printing on our Soljet Eco-Solvent printer, inkjet prints on our 5 Roland hi-fi pigment ink printers, vinyl lettering on our 2 graphic cutters, silk screening and hot & cold laminating on our 2 roller presses. All machines are professionally calibrated regularly and we maintain a rigid sampling protocol. Specialty Services Art Guild focuses on our core competencies rather than diversifying too much into specialty services. Depending upon the specifics of a project, we have strategic partnerships with specialty metal, plastic and glass fabricators, artifact mount makers, lighting suppliers, AV hardware integrators and media producers. Finishing All spray finishing is performed in-house by our experienced finishing professionals. We maintain two EPA certified spray booths, one Carolina Virginia (30'1 x 16'w x 16'h) and a second Binks USA (201 x 14'w x Th). We are highly experienced in both solvent and water based finishes, and we maximize the use of low VOC finishes. Fort Collins Discovery Museum - 4g _ Art Guild, Inc. Sccbon j-j-: rrcjcct j=xpericnce anti Qualifications Management r xperience anti Capa6ility . Shipping and Logistics Art Guild has dedicated logistics specialists and warehouse staff who track all received goods and manage shipping of final exhibit components. We specialize in custom crating for traveling exhibits, blanket wrapping, and environmentally responsible packaging. Our logistics specialists work closely with our trucking and airfreight partners to ensure damage free and on schedule shipping. Installation Our clients tell us that our installation crews are the best they have ever worked with. We pride ourselves on orderly, clean, professional installations which minimize onsite work and facility interruptions. Our installation crews are typically lead by the shop foreman or leadman for the project to insure continuity from the shop work to completion. We maintain pre -stocked gang boxes and hardware kits exclusively for installation work. Since all exhibits are preassembled in the shop prior to shipping our on -site installation time can be minimized and we strive to avoid any modifications onsite. Safety, cleanliness, and organization are always a priority for us onsite. On LEED type projects we remove all waste from site for recycling. We offer both union and non- union installation services. Project Close Out When our work is complete, the museum's exhibit staff's work is just beginning. To insure that the exhibit galleries look as good in 10 years as they do on the first day, Art Guild will supply comprehensive exhibit manuals, as-builts, cleaning instructions, and staff training. • Warranty Support and Maintenance Contracts is Art Guild warrants that all exhibit components will be free of defects in materials and workmanship for a period of one year from final completion. At project completion we will supply an electronic warranty reporting form which will help us respond swiftly to any issues which may arise, and will help us track our performance. For clients without their own maintenance staff we are able to offer ongoing maintenance contracts. Value Engineering At Art Guild Inc., all of our projects begin with the preparation of a highly detailed estimate, which can either take place early in the project as a budget check, or as a competitive bid. We begin our estimating process with a thorough understanding of the project and our scope of the work to be completed. We utilize a custom designed estimating program, which is unparalleled in detail and flexibility. At this point any discrepancies or clarifications are identified and formally submitted to the design team. Each component of the exhibit is then broken out separately, by area and specialty (wood, plastic, glass, metal, AV, interactive, scenic, graphics, flooring, lighting, artifact mounting, etc.). At this time long lead items and facility impact items are identified in order to generate reports for the PM to utilize. Full graphics schedules are also created which will evolve throughout the project. Comprehensive parts lists for AV and Interactive components are also created. These will also evolve throughout the project. Finally, material costs and labor hours are estimated for each component, and pricing from subcontractors is entered in. Fort Collins Discovery Museum - qq - Art Guild, Inc. Section 1-C: Statement Of Understanding . Setting the Scene Creating realistic dioramas and scenic environments, such as the Bison Enclosure and Biodiversity Wall, takes a special blend of artistry and innovation. The scenic artist must work from photographs, diagrams, written descriptions and other research to recreate an environment or scene, and to do it with materials which will be durable and easy to clean. Nothing negatively impacts the visitor experience more than a poorly executed scenic element. Choosing the right qualified specialist can mean the difference between a world -class exhibit and something that more closely resembles a cheesy roadside attraction. Art Guild has found no scenic producer more capable of creating realistic environments then In -Depth Inc. In -Depth has worked with Art Guild on countless projects for the country's most discriminating museums, always with amazing results. In -Depth is also located just minutes from Art Guild's headquarters, allowing for seamless integration into the fabrication process. Warning- Graphic Content Graphics and murals add depth and meaning to all areas of the Fort Collins Discovery Museum. From simple instructional panels, to photographs, diagrams, and wall murals the graphics are a central component to the exhibits. No other fabricator has the breadth of in-house graphic production capabilities as Art Guild. All graphics are entered into our estimating software along with every relevant detail. If awarded the project, this Graphics Schedule is exported and used by a Graphic Coordinator dedicated to your project. They will use this sheet to track all samples produced, files received, graphics printed, mounted and quality checked. Art Guild maintains a • rigid sampling and approvals protocol, as well as stringent quality control guidelines for graphic production. Once a graphic is cleared for production, we have a choice of many printing technologies. We are able to print in house on S Inkjet printers, a Sol -Jet Eco Solvent Printer, 2 Vinyl Printers/Cutters, a DuPont Chromaprint U.V. Direct to Media printer and even traditional silk- screening. Mounting equipment includes 2 hot/cold roll laminators. All previous clients have rated our in-house printed Inkjets as superior to Lambda. We can provide either output at the quoted GMP. Our most unique capability comes from our DuPont Direct -to -Media printer. This printer allows us to print directly on substrates up to 2" thick and of unlimited length. Eliminating the printing film improves the sustainability of the printing process and allows for unique effects on wood, glass, plastic, and metal. It All Comes Together Art Guild is extremely well versed in coordinating exhibit fabrication with new building construction. As early as the bid stage we begin identifying exhibits which have a base building impact of any kind including electrical or mechanical systems, fire safety, ADA, or point loading. We will work with the project architect and general contractor from day one to ensure that the base building is properly prepared for the exhibits which will make their home there. Our detailers take comprehensive site measurements, and our project managers will closely monitor the building construction status. This helps avoid any surprises when installation begins. Art Guild also takes a slightly unorthodox, but beneficial approach, to exhibit installation. Rather than permanently locating an installation crew at the museum site, we use intensive pre -planning to phase the installation. The pre -staging of all exhibits in the staging area of our shop means for • less on -site work. Once a grouping of exhibits has been approved in the staging process, a special team of carpenters dissembles the components and carefully packs them for shipping. Our trucks are then loaded in a predetermined order so that the components which will be Fort Collins DiscoveryMuseum Art Guild, Inc rjection Frojcct E xpericnce anti Qualifications Management [xFnricnce anti Capability • Our goal with such attention to detail is to be able to easily create accurate summaries of the project and identify key cost drivers. Working with the client and design team, we can then check the impact of material substitutions, design changes, deletions, and additions in real time to order to see and evaluate the cost impact. The only area where we discourage value engineering is in interactive exhibits. In our experience, rarely can this be done without impacting their durability. • Most recently we used this value engineering process with the Franklin Institute Science Museum in Philadelphia for two new permanent exhibits, Electricity, and Changing Earth. We were awarded the projects with a competitive bid of $2.4M. After we won the project, the museum was faced with substantial cost overruns on the GC portion of the work, which was renovating the two gallery spaces. Working with their in-house designers we were able to reduce the exhibit cost to $1.3M without significantly impacting the visitor experience. Fort Collins Discovery Museum - 50 - Art Guild, Inc. jection j-L: Project Experience and Qualifications Management experience and Capability . Recent Project Examples (select projects completed in past 5 years) Fredericksburg Area Museum and Cultural Center, Fredericksburg, VA o The Fredericksburg Area Museum and Cultural Center serves to educate residents and visitors about the city's significant role in history as well as its contemporary role in the region. Most known for the significant "Battle of Fredericksburg", this fight is remembered as being one of the most one-sided battles of the American Civil War, with Union casualties more than twice as heavy as those suffered by the Confederates. Art Guild's task was to bring to life these war time events by building scenic elements, exhibit wall structures, as well as display cases and a number of wall size murals and other graphics. o Floor space: 4,000 square feet • USS Intrepid Sea, Air and Space Museum - "USS Growler Submarine", New York, NY o Re -opened to the public for Fleet Week in May 2009, The Intrepid Sea, Air & Space Museum in NYC offers a first-hand look at the World War II USS Growler SSG-577—a diesel -powered attack sub converted to carry nuclear guided missiles of the short-lived Regulus Program. The Growler is the sole survivor of the Navy's fleet of pioneering strategic missile submarines, and is the only American nuclear missile submarine on public display. An exhaustive on- board field survey accurately documented the Growler's 300+ feet of passageways. Art Guild produced shop drawings and full-size templates then fabricated and installed a custom corridor system composed of powder - coated steel tube frames with tempered glass side walls. Art Guild delivered • the entire system ahead of schedule —all fully coordinated within the constraints of the Intrepid Museum's scheduled activities and tight security. o Floor Space: 5,000 square feet "below deck" American Museum of Natural History "Spitzer Hall of Human Origins", NYC o Opened in February 2007 the Spitzer Hall of Human Origins offers the most comprehensive evidence of human evolution ever assembled with over 200 casts of the rarest hominid fossils and artifacts documenting how modern humans evolved over millions of years. New DNA evidence reveals how closely related we are to each other and to our primate ancestors. With the help of an exciting array of exhibition techniques and technology -from engaging interactive displays and video projections to breathtakingly realistic dioramas -the Spitzer Hall brings to life the latest research by Museum scientists and their colleagues around the world. Art Guild's work included shop drawings, fabrication and installation of exhibit structures and intensive coordination of multiple specialty subcontracts. o Floor Space: 10,000 square feet • Edison National Historic Site, West Orange, NJ o The Thomas Edison National Historical Park features the Laboratory Complex built by Edison in 1887. Edison continued to work on his inventions in these laboratories until his death in 1931. With all 3 floors open to the public for the first time in the history of the park, visitors encounter Edison's original machine shop, office, workshop and storage areas. Authentic furnishings and historical machinery bring the sights and sounds of Edison's original music recording . studio, private library and photography studio to life. Art Guild's project scope included fabrication of the custom metal railing system which guides visitors through the historic laboratory, produced the interactive kiosks designed to Fort Collins Discovery Museum _ 51 . Art Guild, Inc. section )-[: Project r xFcrience anti Qualifications Management experience and Capal)ility • bend an old -school Edison style with modern LCD screens and video technology, built the orientation theatre elements, as well as graphic production and installation. o Floor Space: 13,000 square feet • Ft. Mose Historical State Park, St. Augustine, Florida o Tucked away in the marshes of St. Augustine, Florida, one of the most important sites in American history honors the first free community of ex -slaves, founded in 1738 and called Grocio Real de Santa Teresa de Mose or Fort Mose (pronounced Moh-Say). Listed on the National Register of Historic Places in 1994 the archeological site operated by Florida State Parks features walking trails and a visitor center. A quarter mile of boardwalk with interpretive signage highlighted with cast bronze replica artifacts tells the story of the people and land now hidden by the changed landscape. Exhibits inside the visitor center and costumed interpreters expand the story in greater depth. Art Guild's work included shop drawings, cast bronze replicas, small- scale diorama, metalwork, exterior and interior graphics, specialty & theatrical lighting, AV hardware and software, casework and installation of all elements. o Floor Space: 8,000 square feet gallery and exterior trail signage • Museum of the African Diaspora, San Francisco, CA o Opening in December of 2005, the Museum of African Diaspora (MoAD) showcases the history, art and the cultural richness that resulted from the dispersal of Africans throughout the world. MoAD is uniquely positioned as • one of the only museums in the world focused exclusively on African Diaspora culture and on presenting the rich cultural products of the people of Africa and of African descendant cultures across the globe. Its location has allowed it to become a cornerstone in the cultural and economic revitalization of downtown San Francisco. Art Guild's work included shop drawings, fabrication and installation of exhibit structures, and the fabrication and installation of all graphic elements. o Floor Space: 4,500 square feet 11 PSEG Energy & Environmental Resource Center, Salem, NJ o The PSEG Energy & Environmental Resource Center opened in November 2009. The Energy & Environmental Resource Center is a multi -use facility with exhibits focused on building a greater understanding of energy, the environment and strategies for balancing energy demand with environmental stewardship. The new center includes interactive exhibits that describe the complexities of electrical generation, explore climate change and allow users to measure their own carbon footprint. All of Art Guild's work was performed in accordance with applicable permits, codes and LEED Gold certification requirements. Art Guild's scope included fabrication and installation of all exhibits, produced shop drawings, graphic production, interactive exhibit development, scenic elements and coordination with multiple stakeholders and contractors. o Floor Space: 6,000 square feet Fort Collins Discovery Museum - 52 - Art Guild, Inc. Section j-F: Project F xperience and Qualifications Management (_xpericnce and Capakility • • Philadelphia Zoo "Big Cat Falls", Philadelphia, PA o After entering Big Cat Falls, families and kids wind their way down an outdoor path to viewing areas where they come face to face with big cats and their fascinating natural behaviors. Along the way, visitors can experience Big Cat Theater and an inspiring wide-screen movie that high lights the wondrous behavior of big cats. Three educational pavilions - Africa, the Americas and Asia - connect each viewing area. They'll also travel around the world via video screens that feature in -the -field reports and local interviews by Channel 6 Action news reporters who traveled with Zoo staff to visit big cats in the wild at exotic locations. At computer stations kids can "be" a jaguar - navigating the challenges of hunting and being hunted as they make their way from northern Mexico to Arizona. Art Guild's scope included fabrication of all interpretive signage (interior and exterior), media hardware, scenic fabrication, and interactives. o Floor Space: Interior and Exterior spaces spread over many acres • Yale University Art Gallery "Kahn Lobby Media Lounge", New Haven, CT o The renovation back to its original form of the Louis Kahn building at the Yale University Art Gallery comprised the first phase of a 12 year revitalization program. The award winning NYC architectural firm of Joel Sanders chose Art Guild to create the custom casework and sophisticated AV systems for the new lobby and entrance to all of the museum's galleries. Art Guild produced black stained walnut furnishings, stainless steel donor panels, tempered glass projection screens, and a multi use media system designed to disappear into the space. A large glass projection screen noiselessly slides out of a cabinet • on a custom motorized track when needed for presentations. Speakers are hidden inside the origami like ceiling, and an RSS driven digital signage system was integrated with the projection screens. o Floor Space: 6,000 square feet • Martin Guitar Museum & Visitors Center, Nazareth, PA o C.F. Martin Company is the oldest American manufacturer of premium stringed instruments, primarily acoustic guitars. The recent renovation of their main entrance has been completely rebuilt to replicate the fagade of the old, circa 1859. The lobby of the Visitors Center houses the entrance to the museum, "1833" retail shop and a gallery wall of famous Martin owners. Guests are also invited to visit the Pickin' Parlor to play some of Martin's best known and top -selling guitars. The Martin Museum showcases Martin's impressive history with photomurals, timelines and unique instrument displays. The museum's collection features Martin guitars from the early 1800s to today's latest designs, including unusual and one -of -a kind instruments. Art Guild's scope included fabrication and installation of all exhibit casework and graphics for both the museum and retail store. o Floor Space: 6,000 square feet • Shangri-La Botanical Gardens & Nature Center, Orange, TX o It was critical to Shangri-La's mission that conservation and sustainable practices be utilized throughout the construction of their new visitor center. As one of the most earth -friendly projects in the world, it earned the U.S. Green Building Council's LEED Platinum certification and offers a glimpse of • how people can live in harmony with nature. The Nature Center includes a hands-on exhibit called the Nature Discover Center, a laboratory, and three Fort Collins Discovery Museum - 53 _ Art Guild, Inc. jection j-F : Project j_xF+erience and Qua i-icatidns Management rxF crience and (capability outdoor classrooms located deep in the cypress swamp. The Orientation Center includes an Exhibit Hall, Discovery Theater, Children's Garden, Exhibition Greenhouses, Caf6, and Garden Store. Art Guild's scope included the fabrication of interior and exterior exhibit structures, graphic production, multimedia hardware and integration, artifact mounting and installation. LEED specifications define strict guidelines that Art Guild followed for the management and disposal of waste materials on the project site. o Floor Space: Grounds cover multiple acres Spartanburg Science Center at Chapman Cultural Center, Spartanburg, SC o This three -building campus comprises 86,000 gross square feet, providing a variety of spaces for visual and performing arts, science and history. Art Guild fabricated the exhibits for The Spartanburg Science Center portion of the project. The Science Center includes a live animal room and 14 complex interactive exhibits, along with associated graphics and wall units. Art Guild was responsible for cabinetry, metal work, interactive devices (including prototyping), graphic printing, and coordination with AV hardware and software vendors. o Floor Space: 1,600 square feet • Detroit Institute of Art -Digital Books," Detroit, MI o Art Guild partnered with the digital design firm Pentagram of NYC to create series of custom multitouch kiosks as part of the DIA's strategy to increase the dynamism of their displays. The scope of this project for Art Guild's Interactive Department was prototyping, fabrication, programming and installation of three MUSE Technology, and SEGD Design Award winning kiosks. These kiosks enabled visitors to explore an Egyptian scroll that's fragments are scattered across museums all over the world, zoom in on the pages of a miniature illuminated manuscript, and explore the furnishing depicted in a Victorian era interior decorating book. All of these experiences were installed adjacent to the actual artifacts. o Floor Space: N/A, 3 kiosks located in 3 different galleries American Express Corporate Archives, NYC o Located on the ground floor of American Express' world headquarters adjacent to Ground Zero, the display windows designed by world -renown Morris Sato Studio, feature the company's entire history from the original Charter to Shawn White TV ads. Each exhibit combines artifacts, reproductions, original media, touch controls and localized sound to highlight iconic American Express images such as the original dog on strongbox logo, the Gold Card Dress, vintage travel guides, and magazine and television ads. All touch elements were activated through 1 yz" thick bulletproof glass. Art Guild's scope included casework, graphics, reproductions, artifact mounting, AV hardware integration, lighting installation and AV control systems. o Floor Space: 1,200 square feet • Mercy Corp "Action Center to End World Hunger", NYC o The Action Center to End World Hunger offers visitors an opportunity to learn about global hunger and poverty, the efforts being made to combat these challenges and what role they can play in accomplishing these efforts. The • 4,000 square foot Center in Lower Manhattan is a Platinum LEED rated space featuring interactive exhibits, content and exercises to inspire visitors to join in Fort Collins Discovery Museum - 54 - Art Guild, Inc. `j' ection j-(=: Fro ject F xF+erience and Qualifications Management [xperience and Capakilit�) efforts to end hunger and poverty. The Center features interactive training towers that features live news bureau feeds from various countries where Mercy Corps is offering assistance and action stations with immediate and long term opportunities to make a difference. o Floor Space: 4,000 square feet • Maimonides Infants and Children's Hospital, NY o Maimonides, like many hospitals, understands that environment is an important factor in creating successful patient outcomes. So when Maimonides built a new pediatric wing, we got the job of helping make it as comfortable and functional as possible for patients and their families. Art Guild's work included installation of donor recognition walls, a family lounge and play area, colorful graphic murals and art glass with a relaxing water and constellation theme. Art Guild also built and programmed multi -language, LED directional signs, an internet resource room, and even setup a live camera feed from the Coney Island Aquarium to the family lounge. o Floor Space: Multiple areas spread throughout • NYU Stern School of Business, NYC o NYU Stern School of Business' branding project included large-scale, high - resolution, stylized graphics and custom exhibit elements, including multistory banners, stainless steel posting structures in student areas, unique benches with laptop docks and specialty AV walls. Art Guild supplied materials and finish samples, fabricated prototypes and delivered graphic proofs for all major project components prior to final production and installation. • Development of a clear process and timeline in conjunction with close coordination with the general contractor was critical to meet oil design expectations and the project's expedited timeline. o Floor Space: Multiple high traffic areas • Morgan's Wonderland, the World's First Ultra Accessible Theme Park, San Antonio, TX o Located in San Antonio, TX, Morgan's Wonderland opened in March 2010 as the world's first large-scale theme park designed specifically for visitors with special needs. Inspired by Morgan Hartman and created under the concept of universal access, the exhibits challenged Art Guild's Interactive technologies Department to engineer stimulating experiences that offered interactive opportunities for persons with a broad range of physical, cognitive and emotional skills. Our team responded enthusiastically by developing and fabricating a simulated driving challenge, a pneumatic tool symphony, a weather -broadcasting studio, and playful water cannons at lakeside, among several others. Art Guild's scope included interactive exhibit development, AV hardware, media content, engineering, shop drawings, fabrication and some installation in both interior and exterior environments at the Sensory Village, Pirate Island & Fishing Warf and Off -Road Adventure. o Floor Space: Select interactive exhibits in the 100-acre park Fort Collins Discovery Museum - 55 - Art Guild, Inc. Section 3-17.: Protect Experience anti Qualifications Management [xperience anci C.apa6ilitq • International Civil Rights Center & Museum, Greensboro, INC o The International Civil Rights Center & Museum, housed in the original 1929 F.W. Woolworth retail store in Greensboro, N.C., opened in February 2010. The exhibit space spans two floors and covers 30,000 square feet. The museum features sixteen major exhibits and hundreds of graphics produced and installed by Art Guild. At the heart of these exhibits is the original lunch counter and stools where four students sat and ignited the Sit-in Movement. Art Guild's scope included the restoration and re -installation of the historic lunch counter, casework, graphics, scenic elements, specialty glass and specialty lighting. Due to the compressed fabrication and installation schedule, extensive coordination with the building architects and base building contractors was necessary for a successful project completion. The coordination with the GC and Exhibit Designer on this type of compressed schedule, and fixed budget, was only successful because of Art Guild's application of our standardized project management process and ability to supplement the core project team with additional staff resources. o Floor Space: 30,000 square feet • • Fort Collins Discovery Museum - 56 - Art Guild, Inc. Section j-r_: rroject experience and Qualifications Team f5uilclinpg • The Projects Art Guild fabricates all involve various team building scenarios. Our projects range from design -build partnerships to pre -qualified bid work. Art Guild does not pursue lowest price open bid projects. The exhibit designer is an integral member of every project team. Typically they will work hand in hand with our Project Manager working through construction details, submittals, approvals, and reviews of prototypes and completed work. If the client does not possess the necessary internal resources to be directly involved in the fabrication and installation process, often the exhibit designer will also take on the role of owner's rep, or an outside firm will be retained in this capacity. In all of these permutations of the owner/design/rep team, Art Guild's highly developed communications and documentation protocols ensure a harmonious and productive team environment. On design -build projects we only build teams with the most qualified parties for a particular project. Depending on the type of museum or exhibit, we choose the best fit from the many design firms, media producers, and subcontractors which we maintain close relationships. We do not maintain any exclusive arrangements; we find that this is not in the best interest of museum projects, each of which is unique. On bid projects we are typically short-listed through an RFQ process, and once we have reviewed the RFP, and ideally met with the client -designer team, we will build our core team of subcontractors. Once again, this is done based on the best fit for a particular project. In other cases a design firm may have already involved a specialty supplier in the project, or might have a preference in suppliers. In this case we would rarely have an issue with pursing this vendor as a • member of the team, and we are likely to have a preexisting relationship with them. On any project we view our relationships with other trades and contractors involved in the project to be as important as those with our own vendors. On any project which includes base building work, or is new construction, we will seek to establish good communications with the other contractors as soon as possible. Our team building process is led by Art Guild's Lath Carlson, VP -Operations, Museums+ Environments Division along with David Egner, Director of Project Management, Museums+ Environments Division. Both of these museum professionals have over 19 years experience as part of exceptional museum exhibit teams, both as museum staff, and working for fabrication firms. One of Art Guild's greatest strengths is the depths of our relationships with other vendors, which have been forged over a long history of significant projects. The most relevant projects which were executed on a negotiated contract basis include Electricity and Changing Earth galleries at The Franklin Institute and Liberty Science Center. For the renovation of Liberty Science Center, outlined in Section 1, Art Guild was selected early on in the project based on our qualifications. Our team of estimators, project managers, interactive engineers and technical production staff worked very closely with LSC's internal design team to finalize all construction details. This process was done in an open book fashion with the help of our highly detailed proprietary estimating software. We were able to make adjustments in the cost estimates on the fly as designs evolved which streamlined the value engineering process. Because of our involvement in the final design process, construction drawings did not need to be produced by LSC, eliminated what is often a redundant scope of • work. Instead Art Guild provided our own shop drawings to be used in this capacity, and also for permitting. The final estimates created in collaboration with LSC became the initial contract sum, and was only increased when LSC asked Art Guild to take on additional scope, which was Fort Collins Discovery Museum - g7 - Art Guild, Inc. jection 3-E: Project [rFcriencc anti Qualifications Team building • handled in the same manner. David Egner, Charlie Fieger, Lath Carlson, Bill Furr, George Black, and Bobby Kidd were all key participates in the team building and contracting associated with this project. • The contracting process for the two new galleries at The Franklin Institute evolved differently. The project was originally released to a prequalified group of fabricators as a bid project. Art Guild submitted the highest bid, but demonstrated an unparalleled understanding of the museum's requirements, and was awarded the project on this basis. Post project award, it was discovered that the GC's cost for the base building renovations for exceeded the projections. Art Guild was then asked to partner with the museum to cut the exhibit cost from S2.41M to $1.3M. This was achieved in much the same way as we had successfully done for Liberty Science Center. We leveraged the flexibility of our estimating system and our staff's knowledge to cut the budget without adversely affecting the visitor experience. David Egner, Charlie Fieger, Lath Carlson, Bill Furr, Jim Guarino, and Bobby Kidd were all key participates in the team building and contracting associated with this project. Fort Collins Discovery Museum - 58 - Art Guild, Inc. jection iT : Froject (=xpericnce and Qualifications Unique Capabilities • Museum Professionals No other museum exhibit fabricator employs as many former museum staff members as Art Guild. Our President, VP of Museum Operations, Director of Project Management and Senior Project Manager all have extensive professional experience working behind -the - scenes in some of the nation's leading museums. This intimate knowledge gives Art Guild unique insight into the design, fabrication, installation and operation of museum exhibits. Other members of our project team are craftspeople who specialize in shop production and installation. Our technical and production staff is trained in museum fabrication. All have between 15 and 20 years experience in the field. We employ some of the most qualified engineers and drafts people in the industry who produce shop drawings of exceptional detail. Our shop production craffspeople are members of New Jersey Regional Council of Carpenters Local 2098, which supplies highly -trained personnel exclusively to the exhibit industry. Leaders in Sustainable Exhibit Fabrication and LEED Art Guild has been at the forefront of sustainable exhibit fabrication practices and has completed LEED certified projects at every level. We are prepared to support the Discovery Museum's sustainability goals, by offering sustainable practices for the exhibit fabrication through material selection, "green" fabrication methods and recycling of construction waste. We have been pioneering sustainable fabrication practices for more than five years and many of our projects have earned LEED certifications. For • example, at the Liberty Science Center we: • Used low-VOC paints Recycled or salvaged wood in the form of repurposed support posts to build framing for structures Incorporated Plyboo (an eco-friendly alternative to plywood into a gallery) Incorporated a recycled rubber product, EcoSurface, as an alternative cabinet surface and flooring. Other LEED Certified projects include: • The Mercy Corps Action Center to End World Hunger (NYC), LEED Platinum Certified • Gettysburg National Battlefield Museum & Visitor Center, LEED Silver Certified • PSEG Energy & Environmental Resource Center (NJ), a LEED Gold Certified • McQuay International Showroom (Jersey City), a LEED Silver Certified We are currently building the exhibits for the new Children's Museum of Naples, Florida, which has been designed to meet or exceed Platinum Level LEED requirements Unmatched Capabilities and Resources Art Guild has the largest and most modern fabrication facilities in the industry. Our 315,000 sq, foot corporate headquarters in West Deptford New Jersey, minutes from Philadelphia, serves as our primary fabrication facility. We also maintain an 80,000 sq. foot production facility in Las Vegas, NV. Each facility has been designed with the latest in communication, design, electronic, production systems and software to ensure both speed and production efficiencies. • Our fabrication capabilities include wood, metals, plastics, laminates, graphic production, large and small format digital printing, painting and finishing, scenic Fort Collins Discovery Museum -59- Art Guild, Inc. Section I-C: Statement Of Understanding • needed first come off the truck first. Once the trucks arrive on site the Project Manager or Site Foreman supervises local labor in the unpacking and positioning of exhibits within the building. The some special team of carpenters who disassembled the exhibits in our shop then arrives and efficiently reassembles and installs them. When complete they return to Art Guild to repeat this process with the next batch. When all exhibits are installed, this team remains on site to complete any punch -list items. This phased installation approach has proven to be very effective in creating orderly installations with minimal on -site work, lower installation expenses and fewer punch list items. • Motivation The Art Guild team's professional backgrounds make us as eclectic and varied as the Fort Collins Discovery Museum's diverse array of themes and exhibits. Team members have backgrounds (and in some cases degrees) in art, history, science, technology, sustainability, even professional cycling. This gives us valuable understanding. It also gives us unrestrained enthusiasm for the project, and not just for the brewing exhibit. It may sound frivolous to say, but if we could design our ideal project, it would look a lot like the Fort Collins Discovery Museum. This project is truly 'right up our alley' in every way. We think that matters. Fort Collins DiscoveryMuseum Art Guild, Inc Section j-E: Project F Xperience and Qualifications Unique Capabilities • production, lighting, integration of Audio Visual hardware, electronic and electro- mechanical Interactives, installation and training. Our in-house tooling includes a CNC panel saw, 2 multi -head CNC Routers, 2 EPA certified spray booths, a DuPont DTM Printer, 6 inkjet printers, 2 laminators, and a full complement of conventional fabrication equipment and tools. In addition to a 60 person shop fabrication space, we also have a 40,000 sq. foot setup space for previewing exhibits prior to shipping and installation. Over 100,000 sq. feet of storage space is also available to store completed components, allowing for 'just in time delivery, which is particularly important for exhibits being installed in new construction. Art Guild typically employs a staff of about 150 people in its two facilities. This number varies based on the number of Union Carpenters employed in our production facilities at any given time. Administrative / Sales Production Management 14 Production Manager 1 Accounting 5 Shop Foremen 3 Purchasing 3 Graphics Foreman 1 Account Management 8 Paint Foreman 1 Business Development 4 Interactives 2 Fabrication 30-60 Pre -Production and Management Services Paint 5 Project Management 15 Graphics Production 8 Drafting/Engineering 10 Helpers 6 • Graphics Coordination 5 Warehousemen 6 Tradeshow Design 4 Proven Project Dedication and On -time Completion As fellow museum professionals, you will find Art Guild's team as enthusiastic and dedicated to your projects success as you are. Our dedicated team approach ensures that those working with you on the project are singularly focused and available. No other fabricator can show you as detailed a history of immaculate project communications and transparency. With Art Guild on your project team, you will find a partner eager to share information, knowledge, progress, and questions. We maintain on open shop policy, inviting client's to visit at any time. In Art Guild's long history, we have never missed an opening date. Every project has been completed on, or before schedule. This is true even in the most challenging circumstances. For example, Art Guild started fabrication of the International Civil Rights Center and Museum in 2004. The project was put on hold until May 2009. To finish by the February 1, 2010 opening date celebrating the 50m anniversary of the sit-in movement, the GC worked up to three shifts, and Art Guild fabricated and installed 30,000 sq feet of exhibits, finishing days in advance. Our work for the Growler Submarine at the Intrepid Museum faced similar pressure. Al work needed to be completed on a floating submarine in time for Fleet Week. Confident in our team, led by Project Manager Jim Guarino, Art Guild negotiated a bonus clause in addition to the liquidated damages clause. The project was completed more than a week early. Fort Collins Discovery Museum -60-Art Guild, Inc. No Text beca-M (gaze 82.40 �tolnlnotthltttitij of3enn�plbunia 3-1-65.8 3epartment of Aptnte r ®ffite of the teretorp of the Comrnrmwealtb .go ftff to WDOM ttjeoe VMMO 9bdii tolne, Greeting: WHEREAS, Under the provisions of the Business Corporation Law, approved the 5th day of May, Anno Domini, one thousand nine hundred and thirty-three, P. L. 364, as amended, the Department of State is authorized and required to issue a CERTIFICATE OF INCORPORATION evidencing the incorporation of a business corporation organized under the terms of that law. AND WHEREAS, The stipulations and conditions of that law have been fully complied with by the persons desiring to incorporate as ART GUILD OF PHILADELPHIA, INC. THEREFORE, KNOW YE, That subject to the Constitution of thin Commonwealth and under the authority of the Business Corporation Law, I do by these presents, which I have caused to be sealed with the Great Seal of the Commonwealth, create, erect, and incorporate the incorporators of and the subscribers to the shares of the proposed corporation named above, their associates and successors, and also those who may thereafter become subscribers or holders of the shares of such corporation, into a body politic and corporate in deed and in law by the name chosen and hereinbefore specified, which shall mint perpetually and sball be invested with and have and enjoy all the powers, privileges, and franchises incident to a business corporation and be subject to all the duties, requirements, and restrictions specified and enjoyned in and by the Business Corporation Law and all other applicable laws of this Commonwealth. LIVEN under my [land and the Great Seat of the Commonwealth, at till, City of Harrisburg, this 25th I day of February in the year of our Lord one thousand nine hundred and sixty-eivei and of the Commonwealth the one hundred and eiah t.�y-n�i/nt�Jh Serre ary of the Commonweal4h 9h 62 • E • ARTICLEa OF INGORPORATiOAI. TO T11E flEPAXTACENT OF STATE: 0OAIMUNWEALTH OF PENNSt LVANIA: Ill compliance frith the requirements of the "BUSINESS CORPORATION LAW," approved the 5th Lilly of May, A. D. 1033, P. L. 304, us amended, Ihu undersigned, desiring that they may be incorpo- rated as a business corporation, do bereby certify: lot. The name of the corporation ...... ..._......... _-_.__ 2nd. The lovatioa and post odiw address of its initial registered allies in this Commonwealth is 134_North,.,22nd-_Street_. _ Phil.ade_lphiaPhiladelphia (...be,) Utmt)•-. ^._-.^--lou>) of I, 3rd. The purpose or purposes of the corporation era! For manufacturing, purchasing, selling and erecting of visual displays, exhibits and kindred products, and storing same. 4th. The term of its existence is perpetual. - 5th. The aggregate number of shares which the corporation shell have authority to issue is:" 100 shares of common stock having no par value. Stated capital of corporation is $3,750.00 .More: ao not r.dm Pevrete It, forth In god. 801 of the AIL .11.1.E ITere .hold fn vet bah Its numGr old mr '-fee of no l eta having v.r value, the n her of earm dve theut r vote, and the .mmA enMUl . nlleehl. Iterate. If the Ibarn an to han e dlvldedn.( uto Lia. doe auen ch Ilea end o udoo ,, the mane- ln •..unllaao!%nn. IhnIUllon.. Wean. •nd de a.1.1 .r miser. dahu meted h or Imved don. the he. .1 a eh le.. Rare E..n. T,o. et the nu of 1/6 of 1% (110 eat Qdda.oa ant be de. snd�.rahlo at Ihv nm. at altar of A. ArtIV o, romvu4d a 1- gUlvinenthvT,,ador f o.re lead ahem hnvinr aer veas br Uelr D., ro. or If Foe W n. wr .took . e . Ihodray then a the ,.led trial .p Lhle threw no dr 63 FI61nn eeE-10.0 H L 8th, The aemm and eddream of the fint dieaoton are: 3-1-65A Now ndsrorr lyamadmr reran red aamaar. a rnn John L. Ricciuti - O'Donnell Lane, Cinnaminson, New Jersey William J. Donnelly 4239 110" Street, Philadelphia, Pennsylvania Adolph J. Dimter - 230 Cooper Avenue, Woodlynne, New Jersey 7th. The names and addreesea of each of the incorporntore and the uumber and claw o£ sbaws dub scribed by each ire: Noma a4dnu No. cad Clew of ahrrrr, (tadadlra st.1 sad aamWr, N anr) John L. Ricciuti - O'Donnell Lane, Cinnaminsoe, New Jersey I share common William J. Donnelly - 4239 110" Street, Philadelphia, Pa. 1 share common Adolph J. Dimter - 230 Cooper Avenue, Woodlynne, New Jersey 1 share ccmalon RICUMrT�f���� ..... _...__.__............... T ..... ..DO (SEAL) ...(�.pcdLl�_ .....(SEAL) ADOLPH MTER Commonwualth of Pennsylvania as. County L'ounty of.....P.h1.1.dSlelRhld.,..... ...... ...__..._........____.._.... Before me, a..__.._IdO,Caxy...P.1.lbliC__............ .._..._...._... in and for the county aforesaid, personally tame the above named, ---John.-L.--Ricciuti.,._William._J.....D.onnElly...altd_Pdolph Jt Dimter, who, in dne form of law, acknowledged the foregoing instrument to be their act and deed for the Purposen ,thlirein ie�iAnifled. Sworn ;to before me this .-_._A�4._......._ day of ...... A. D. 19_..6 . 6 ,rP • l Yy Pub'I3 c r :'; ,Philadelphia,_ Phflnde�hin. Countya,_P&.._. (9UL) tM arl ASBMOM NTIRY NRI., P11"MIPAI4, HIIABFIPRIA OEM t:•._.,f:::Ua "tPIP.Ff ROYEMLER 1P, 1968 Approved and Sled by the Department of 8tate,_.._.Z5t1.l_....._.. day ofA. D. 111-65- Ran._..__.._._._.._.._..._..__. Film ....... __.._....._...._.__.._... ' 4% n�nry of thr C`ewwusvrrleD /""i .lb 64 Nora i Aratna dbdi W eQnad by emb of as lawrParalafa 906 drhnavled50d by at Ieart lwo at them. s COMMONWEALTH OF PENNSYLVANIA DEPARTMENT OF STATE NOVEMBER 2, 2007 TO ALL WHOM THESE PRESENTS SHALL COME, GREETING: ART GUILD OF PHILADELPHIA, INC. I, Pedro A. Cortes, Secretary of the Commonwealth of Pennsylvania do hereby certify that the foregoing and annexed is a true and correct photocopy of Articles of Incorporation which appear of record in this department. IN TESTIMONY WHEREOF, I have hereunto set my hand and caused the Seal of the Secretary's Office to be affixed, the day and year above written. a Secretary of the Commonwealth 65 rn o 0 0 0 N N - O O (h • • y O C N O C N O) N � N E N N p O U C O N C o Y v A T E mo dUw ono O).Ufr m m m C! L U0 z a m C C OC o U YL U `.'- O C E E 0 0 0 N N ,mp � w \ ^ V m 0 VJ C +-� u 't E a W w U E L L LO O M� 1 U O [ m _ w L CM r. J O 0t a a 0 C r w _0 U C O o U) co 4-A _ O O C O O O D ? rn Ea W M O N U O O Q N > N Y Cn O c c N N O Z N Q y E U o m a E m `o N J - a O O m t0 o O a m N 7 V N O VX\ -O m 66 p p n LJ • • Certification 45602 CERTIFICATE OF EMPLOYEE INFORMATION REPORT INITIAL �, =•,� RYl i t I e= This is io certify that the contractor listed below has submitted en'Employee Information Report pursuant to N.J.A.C. 17:27-1.1 et. seq. and the State;Tr'easurer has;approved''sAi report. This approval will remain in effect for the period of 15 IOCT' 2010 ``: {e;:1510CT-2013 ART GUILD OF PHILADELPHIA, 300 WOLF DR. J- W. DEPTFORD NJ 0 08r6 1` • "---^...M_..---� '`' : Andrew P. Sidamon-Enstoff State Treasurer 67 10 0 ,sfnfP of &Iv 3Prsq Cf IRIS CI IRISTIE DEPARTMENT OF THE TREASURY Governor DIVISION OF PUBLIC CONTRACTS EQUAL EMPLOYMENT OPPORTUNITY COMPLIANCE KIM GUADAGNO P.O. BOX 209 ANDREW 1'. SIDAMON-ERISTOFF U. Governor TRENTON, N1 08625-0209 Slate Treasurer • ISSUANCE OF CERTIFICATE OF ENIPLOYEE INFORMATION REPORT Enclosed is your Certificate of Employee information Report (hereinafter referred to as the "Certificate" and issued based on the Employee Information Report (AA-302) form completed by a representative of your company or firm. Immediately upon receipt, this certificate should be forwarded to the person in your company or firm responsible for ensuring equal employment opportunity and/or overseeing the company or firm's contracts with public agencies. Typically, this person may be your company or firm's Human Resources Manager, Equal Employment Opportunity Officer or Contract Administrator. If you do not know to whom the certificate should be forward, kindly forward it to the head of your company or film. Copies of the certificate should also be distributed to all facilities of your company or firm who engage in bidding on public contracts in New Jersey and who use the same federal identification number and company name. The certificate should be retained in your records until the date it expires. This is very important since a request for a duplicate/replacement certificate will result in a $75.00 fee. On future successful bids on public contracts, your company or firm must present a photocopy of the certificate to the public agency awarding the contract after notification of the award but prior to execution of a goods and services or professional services contract. Failure to present the certificate within the time limits prescribed may result in the awarded contract being rescinded in accordance with N.J.A.C. 17:27-4.3b. Please be advised that this certificate has been approved only for the time periods stated on the certificate. As early as ninety (90) clays prior to its expiration, the Division will forward a renewal notification. Upon the Division's receipt of a properly completed renewal application and $150.00 application fee, it will issue a renewal certificate. In addition, representatives from the Division may conduct periodic visits and/or request additional information to monitor and evaluate the continued equal employment opportunity compliance of your company or firm. Moreover, the Division may provide your company or firm with technical assistance, as required. Please be sure to notify the Division immediately if your company's federal identification number, name or address changes. If you have any questions, please call (609) 292-5473 and a representative will be available to assist you. Enclosure(s) (AA-01 Rev. 4/10) 68 Nam lem-v Is an Equal Opporooiity Employer • Primed on Recycled and Recyclable Paper' LJ JOHN F. GUNNING Work Experience Vice President - Museum Services, Art Guild, Inc. (June 2009-present) Responsible for new museum business sales and maintaining relationships with design firms, museums, visitor centers, aquariums, and zoos. Vice President Sales - Eastern Division, Design Craftsmen, Midland MI. (2004-2009) Responsible for new museum business sales and maintaining relationships with design firms, museums, visitor centers, aquariums, and zoos. Director of Museums and Special Projects, Sparks Exhibits, Philadelphia Pa. (2002-2004) Reestablished museum and special projects program for Sparks Exhibits in the Northeast Region. MUSE Division Account Executive, Exhibitgroup/Giltspur, NY (2000-2002) Developed contacts and relationships with Northeast design firms and museums, including the Smithsonian in Washington DC. Owner and Partner, Event -Design and Production (1995-2000) Responsible for new local and national account development of museum, special projects, and trade show exhibit business. Co-authored business plan and trade show exhibit business. Led the sales team in preparing and presenting major presentations to key target accounts. Senior Account Executive, Exhibitgroup, Inc. Las Angeles and San Francisco Ca. (1983-1995) Responsible for new business and management of house accounts. Responsible for organizing Asian project • management group. Primarily responsible for presentations of credentials from initial contact through final proposal presentation. Vice President of Communications and Marketing, Byte and Boyd, San Francisco CA. (1980-1983) Responsible for supervision of major accounts and all account executives in this full service Advertising and Public Relations Company. Projects included point -of -purchase, four color ads, press kits, trade show exhibits, and multi- media presentations. Sales Manager, Giltspur Exhibits, Burlingame CA. (1976-1980) Responsible for new business development, account executive direction, and development of trade show programs including design of new exhibits and re -design of existing exhibits. Managed 12 person salesforce. Sales Manager, Exhibits of California, Palo Alto CA. (1975-1976) Responsible for new business development and 5 person sales- staff. Supervised the day to day sales operations for the company as well as servicing house accounts. Account Executive, Stevens Exhibits, Chicago I1. (1974-1975) Responsible for developing, and the management of, new accounts as well as servicing house accounts. Education Kendall College and Northwestern University (1970-1974) Military Service • US Marine Corp, Vietnam, Honorable Discharge and Purple Heart Recipient Section 2: Team Organization and Management Plan • • • TEAM ORGANIZATION AND MANAGEMENT PLAN Art Guild's Museum + Environments (M+E) Division is dedicated exclusively to museum exhibit and environment fabrication. The M+E Division is permanently staffed by an experienced group of museum professionals. Every project is assigned an exclusive project team from the kick-off meeting through installation and warranty. This structure provides our clients with a cohesive group of seasoned professionals who will actively execute all aspects of the project. Fort Collins Discovery Museum Project Team Structure I VP- Museum Operations Lath Carlson Senior Estimator I I Director- Project Management Charlie Fieger David Egner Manager- Lead Project Manager Interactive Tech. Paul Haney Mark Webber Interactive Electronics I I Graphic I I I LEED/ Sustainability Specialist Coordinator Specialist Andrew Tomasulo Denise Cucurello Bill Furr Interactive Director- AV Integrator Suppliers. Graphic CEAVCO Subcontractors Exploratonum Production In -Depth Creative Machines Matt Stark Boss Display Global Imagination Cadpro Ideum Media Producer Capitol Plastic Readable Boston Productions A True Team Approach VP- Museum Services I John Gunning Museum Division Manager Carolann Bartolino George Black Meredith Pedersen Don Saunders Production and Installation Project Manager Jim Guarino Shop Foreman Bobby Kidd Many fabricators give a single project manager sole responsibility for managing a large complex project, or even multiple projects simultaneously. This approach can be a disastrous management mistake. We assign project responsibility to a project manager and to an entire supporting team. Communication channels and the chain of command between members are well-defined. Roles are clearly assigned allowing each team member to focus on what they do best. The team is supported by centralized data storage, an online project management website, and regular coordination meetings so all project information is effectively shared within the team. This proven team approach ensures that the project's success is ensured by far more than the performance of any one person. Fort Collins DiscoveryMuseum Art Guild, Inc LATH B.CARLSON Work Experience Vice President- Operations, Museum Division, Art Guild, Inc. (March 2009-present) Responsible for the overall operations of the Museum Division and the successful completion of all museum projects. Establishes the processes and procedures for this division. Coordinates Estimating, Project Management, Production, Installation, and Project Close Out. Implements and oversees a systematic approach to museum fabrication utilizing online project management, databases, 3D CAD engineering, rapid prototyping and manufacturing, CNC machining, standardized components, quality interactives, and cutting edge media. Senior Lecturer, The University of the Arts, Museum Exhibition Planning and Design Masters Program Teaches the required course "MSEM 616 - Exhibition Materials and Methods" as well as acts as a Graduate Thesis advisor. Director of Interactive Technology, Art Guild, Inc. (2005-2009) Established the Interactive Technologies Department within Art Guild Inc., fulfilling the interactive needs of the Museum, Trade Show and POP Divisions. Oversaw design, engineering and fabrication of interactive components and media based experiences. Developed hands-on mechanical interactives, complex electronic exhibits and produce original media. Managed AV hardware integration, utilizing both in-house and subcontracted resources. Developed a systematic approach to interactive fabrication utilizing parts databases, 3D CAD engineering, rapid prototyping and manufacturing, CNC machining, standardized electrical components, program and media libraries, • and in-house assembly and testing. Manager of Interactive Exhibits/Technologies, Folio/Lynch Exhibits (2001-2005) Managed the final design, engineering and fabrication of all interactive exhibits built by the Folio Museums and Environments group, which was later acquired by Lynch Exhibits. Worked with designers and clients to transform their concepts into functioning, engaging interactive exhibits. Led in-house engineering efforts using 2- and 3-D design software, managed outside contractors, oversaw production of exhibits and created exhibit documentation, including manuals. Exhibit Designer/Prototyper/ Project Manager, The Franklin Institute, Philadelphia, PA (1999-2001) Worked with exhibit developers during all stages of project design to create unique exhibits focusing on science and technology. Designed and built conceptual and engineering prototypes. Designed and detailed all interactive elements. Managed fabrication and installation of all interactive exhibit components. Exhibit Designer/Project Manager, The Please Touch Museum (The Children's Museum of Philadelphia), Philadelphia, PA (1998-1999) Worked collaboratively with other members of the museum staff to design age appropriate exhibits. Completed all construction documents and material requirements. Managed budgets and contracts with outside fabricators. Managed the construction process and assisted in fabrication of complex interactive components. Director of Design and Manufacturing, Chestnut Display Systems, Philadelphia, PA (1996-1998) Designed retail, point -of -purchase and trade show displays for major corporations. Managed projects from customer contact through design, protoryping, and manufacturing to delivery. Prepared manufacturing estimates and monitored job costs for all projects. Oversaw purchasing, tooling, outsourcing and production. Exhibit Designer and Fabricator, Maxwell Museum of Anthropology, Albuquerque, NM (1991-1993) Assisted in the design, fabrication and installation of temporary exhibits. Crafted display cases, artifact mounts and • scenic props. Also designed and produced graphics and murals. Designed displays and fixtures for museum store renovation. Me • Education University of New Mexico (1995), Bachelor of Arts (Cum Laude), Anthropology Profession Association Speaking Engagements 2010 • Association of Science and Technology Centers, 2010 Conference co -presenter for two sessions, "Learning by Trying: Rapid, Iterative Prototyping for Exhibits" and "Using Science to Help Design Exhibits: insights from scientific research." 2009 • Association of Science and Technology Centers, 2009 Conference "Does Design Matter II" co -presenter of a follow up to our successful session from 2008. • Association of Children's Museums, 2009 Conference "Pecha Kucha Evening," presenter of a Pecha Kucha style presentation. 2007-2008 • Association of Science and Technology Centers, 2008 Conference "Does Design Matter?" co -presenter of the first ASTC session on design. • Mid Atlantic Association of Museums, 2008 Conference "Prototyping 101," co -presenter of a session where I • focused on 3D virtual prototyping and 3D printing. • Event Design Conference 2007 "Trends in Museum Technology," solo one hour presentation. 0 FAI DAVID M. EGNER Work Experience Director of Project Management, Art Guild, Inc. (May 2009-present) Responsible for managing projects and staff for museums division. Help to standardize processes and procedures, including adherence and improvement to these systems. Review contracts. Plan division resources. Supervise project managers directly. Maintain relationships with suppliers and subcontractors. Coordinate with other internal resources and company ownership. Liaison with clients and stakeholders. Project Manager, Jack Rouse Associates (May 2008-May 2009) Responsible for managing scenic fabrication at Ferrari World, Yas Island, Abu Dhabi, United Arab E_'mirates—overall approx. $50M scenic budget out of total $113+ theme park project. Primary point of contact with fabrication companies in the Middle East, Europe and North America. Coordinated scenic elements with media, fighting, rides, life safety, architecture, structural and all other necessary disciplines, as required. Senior Project Manager (June 2007-May 2008), Project Manager, Art Gulld, Inc. (March 2004 June 2007) Since beginning at Art Guild worked on 12 museum projects totaling almost $25 million (ranging in size from $5M to $30K). Managed all aspects of exhibit fabrication and installation, including budget, schedule, design integrity and on -site supervision. Work with vendors and subcontractors of all types including, but not limited to, carpenters, artists, scenic fabricators, multimedia producers, metalworkers, interactive fabricators, and numerous other skilled trades and specialty fabricators. Independent Contractor in Exhibitions Development, Collections Management and Preservation, Philadelphia, PA (June 2003-March 2004) Completed projects in exhibition development, collections management and preservation, and interpretation. Director of Interpretive Programming, Atwater Kent Museum, Philadelphia, PA (May 2002-May 2003); Director of Exhibits & Visitor Services, Atwater Kent Museum, Philadelphia, PA (August 2001-May 2002); Exhibitions Director, Atwater Kent Museum, Philadelphia, PA (January 2000July 2001) Worked in a team environment to create exhibitions and programs on a limited budget, staff and schedule. Developed 9 exhibits of various sizes in 3 years, including designing, curating and fabricating a major exhibit (with catalog) showcasing 200 years of U.S. Presidential campaign memorabilia at the time of the 2000 Republican National Convention in Philadelphia. Completely remodeled museum store, initiated revamping of visitor services, helped redesign new museum website, and worked closely with Board to create fast -ever employee handbook. Exhibitions Developer & Accessibility Coordinator, Charles 1-1. Wright Museum of African American History, Detroit, MI (December 1996-September 1999); Volunteer (August 1995-November 1996) Helped develop team environment to install 17 exhibits over 3 years as well as assist with the opening of a new world -class facility in 1997 that received international recognition. Responsible for maintaining exhibit budgets and schedules, and for creating and supervising an in-house fabrication studio. Also, created a first-time accessiblity program to educate staff about different ways to devise and implement accessibility standards into their everyday work. Independent Contractor in Exhibitions Development, Collections Management and Preservation, Cooperstown, NY and Detroit, MI (Mav 1994-December 1996) Major clients: New fork State Historical Association and Detroit Historical Museums Completed projects in exhibition development, collections management and preservation, and interpretation. Museum Teacher, Fenimore Art Museum and The Farmers' Museum, New York State Historical Association, Cooperstown, NY (March 1995-August 1995) Led school group tours in both living history- museum and art museum settings. • 72 Assistant Program Manager and Interpreter, "An Evening at the Tavern," The Farmers' Museum, Cooperstown, NY (December 1993-March 1995) • Provided support for evening dinner program in historic tavern setting, acted as interpreter in roles of tavemkeeper and assistant, and substituted as program manager on several evenings. Apprentice Blacksmith, The Farmers' Museum, Cooperstown, NY (September 1993-Jule 1995) • Apprenticed to master blacksmith Paul Spaulding to learn traditional blacksmithing techniques. Interpreted smithing skills to groups and individuals. Fabricated edge tools and hardware for living history museum. Project Manager, Regional Arts Partnership, Delhi, NY (play 1994 Jule 1994) Independent Contractor in Collections Management and Preservation, Gainesville, FL, Sarasota, FL, and Carrboro, NC (January 1990-December 1992) Target clients: families and collectors Assistant to the Keeper, North Carolina Collection Gallery, University of North Carolina, Chapel Hill, NC (January 1988 July 1991) Project Manager & Research Associate, Department of Medicine, University of North Carolina School of Medicine, Chapel Hill, NC (January -August 1993) Executive Assistant & Bookkeeper, Children's Miracle Network, Shands Hospital, University of Florida, Gainesville, FL (February 1991 June 1992) Research Assistant & Research Associate, Department of Medicine, University of North Carolina School of Medicine, Chapel Hill, NC Quly 1986-January 1991) Computer Consultant, Chapel Hill, NC Qune-December 1989) Residential Construction Supervisor, Chapel Hill, NC (1987-88) and Raleigh, NC (1990-91) Administrative Assistant, Department of Medicine, University of North Carolina School of Medicine, Chapel Hill, NC (December 1984-September 1987) Miscellaneous clerical and support positions, Mease Hospital, Dunedin, FL (April 1978-August 1983) Education Cooperstown Graduate Program, co -sponsored by SUNY-Oneonta and the New York State Historical Association (1993-1995)—completed coursework for 1'v1A in museum studies University of North Carolina at Chapel Hill (1988-1990)—completed MA in American history with concentration in history of 19th-century American South University of Florida, Gainesville (1987)—completed BA in American history with concentrations in chemistry and mathematics Cambridge University, England (1984)—completed summer semester on F-.lizabethan F_ngland in joint program with University of Florida at St. Catherine's College Professional Association Memberships and Service Peer Reviewer, The Philadelphia Cultural Fund, City of Philadelphia (2002-2004) Steering Committee, National Endowment for the Humanities challenge grant, Cooperstown Graduation Program, (2002-2004) Second Vice President for Membership (2003-2004), Corresponding Secretary (2001-2003), The Museum Council of Philadelphia and the Delaware Valley Advisory Committee, Philadelphia History Exhibitions Initiative, Pew Charitable Trusts (2000-2002) Member, AAM Standing Professional Committees (NAME, COMM', EDCOM) Member, AASLI-1 Board of Directors, Cooperstown Graduate Association (1993-2001 73 PAUL HANEY Experience Senior Project Manager, Art Guild, Inc. (2011-present) Responsible for overseeing the fabrication and installation of museum exhibits and specialized environments. This includes responsibility for design engineering drawings, graphic design production and installation, exhibit construction and installation, budget management, and project coordination with client and all other project contractors. Fabrication/Installation & Technical Operations Mgr, Senior Estimator, BRC Imagination Arts (2009-2011) Worked on the ICP Pavilion Shanghai World Expo 2010 in China. Responsibilities on this project during the initial phase included the planning, development and management of the fabrication and installation phase of the I.C.P. Pavilion project according to a strict time frame with a concrete completion date and within agreed budgets. Onsite responsibilities included the day to day planning of resources in close coordination with the client and his senior staff as well as the principals of the local and overseas vendors whilst at the same time liaising with our project based team located in the USA. Once project was handed over to client, role changed to Technical Operations Manager for the BRC scope of works. Duties included the oversight and planning of the day to day operations of our technical support team at the ICP Pavilion. Project Manager Manager, Jack Rouse Associates (2007-2009) Responsible for the Ferrari World Theme Park in Abu Dhabi, UAE where my duties included planning, development and management of the Ferrari World project according to strict deadlines and within budget. In this project management role, Paul led the overall planning of resources, project organization, scheduling, contract administration and day-to-day coordination of the project. This included acquiring resources and coordinating the efforts of team members and third -party- contractors or consultants in order to deliver according to plan. fabrication Manager / Assistant Technical Director, Think -well Design (2006-2006) At Thinkwell Design, Paul researched, generated and prepared Technical documentation for these projects through the Design Development phase. He generated various schedules and sets of R.O.M. documentation and preliminary R.F.P documentation and worked closely with the Project Manager, Production Designer and Creative Director in an effort to determine the impact, feasibility and cost of the proposed designs upon the various working. Projects included the Reagan Library; Simi Valley, CA; F_verland Rotating Ride; Korea; and Port Aventura, Roller Coaster; Spain Fabrication Manager, BRC Imagination Arts, (2004-2005) As Fabrication Manager, Paul managed all aspects of fabrication including: bidding, outsourcing, construction/crew management, quality control, installation and shipping. He managed installation of all components of the Main Show Area whilst supervising the construction of additional themed areas. Paul managed installation crew members and outside vendors and interfaced with U.S. Pavilion personnel and various U.S. Pavilion sub -contractors regarding scheduling and on -site labor. Major projects included the U.S. Pavilion Aichi World Expo in Japan; Images of Singapore in Sentosa Island, Singapore and the BJB (Bond, James Bond) U.S. Traveling Exhibition. Project Manager, Installation Manager, Construction Manager, Scenario Design (2002-2006) Paul Project Managed the Red Rock Casino in Las Vegas, NV where responsibilities included managing numerous technically challenging sculptural elements as well as over sized custom fireplaces, main features in the Porte Cashier and restaurants/dinning areas. He maintained scheduling, cost projections, bidding and client interface. As the Installation Manager for the Disnev's tower of Terror in Anaheim, CA, Paul managed the installation of large mechanical props and Kodak's Camera Jib Arms on the exterior of the building; 116 feet of elevation, managed the installation crew and outside vendors whilst installing the oversized props in the `Boiler Room" area and interfaced with Disney and various Disney sub- contractors regarding scheduling and on -site labor. Other projects included the Ford Heritage Centre in Dearborn, MI; Disney's "A Bugs Life" in Orlando, FL, City of Santa Monica, CA and Power Rangers stunt motor bikes. roject Manager, Scenery West, Los Angeles, CA (January —April 2004, November 2000 — April 2001, 1998-1999) bnstruction Manager/Coordinator, Various Freelance Projects (April 2001-March 2002) Construction Supervisor / Lead Carpenter, Pelon Productions/Spy Games, London, England (July -November 2000) Project Manager, Architectural Details, Los Angels, CA (March 1999 June 2000) 74- • MARK WEBBER Wont Experience Manager of Interactive Technologies, Art Guild, Inc. (2009-present) Manage interactive engineering and fabrication, and prepare all interactive estimates. Create engineering documents (in Inventor, ACAD or Solid\Y%orks, as appropriate) for interactive pans and assemble prototypes and final components for client review and durability testing. Manage interactive component suppliers. Produce maintenance manuals. Provide warranty support, if needed. Significant recent projects include the Elea riaCr and Changing Eanh galleries at "Ilse Franklin Institute in Philadelphia where Art Guild designed all mechanical components as well as managed and directed all associated in-house and sub -contracted fabrication work. Sixteen new interactive exhibits were engineered for visitor experiences on subjects of electricity and environmental change, and the emphasis on how personal life-style choices can positively or negatively affect a visitor's impact on resources and the environment. Design Director, Universal Services Associates (1993-2009) Responsible for preparing information for contract preparation or clarification. Analyze projects to prepare for efficient fabrication processes and durable solutions of appropriate quality to the contract requirements. I-ed design team to prepare information to guide fabricators, in-house or subcontracted. Support sales to prepare estimates. Troubleshoot computer network or workstation problems. Assist in long-term planning of infrastructure, both physical plant and IT. Consult on organizational and HR policy issues. Completed projects included: (2009) 1/irginiaAqumium Marine Science Center. Design development of 40 interactive exhibits; (2008) Pleafe Touch Museum.. Design development of the Flight Fantasy 43-foot high Rocket Ship Interactive exhibit (2007) Conoco -Philips Museums, Oklahoma. Design development of 50 interactive exhibits; (2006) UCO V V Barron Family Football Center. Engineered 30-foot high Media Wall Interactive; (2005) Franklin lnrktute Science Museum. Design development of the Newton's Loft, 22 Interactive exhibits; (2004) • NakonalArchimx, II'/arhington, DC: Developed and installed 6 interactives in 6 weeks; (2003) Nalional Cr ut Rime Museum, Allon: IL Design development of 25 interactive exhibits; (2002) Detroit Saence Center. Project Leader and chief designer for 27 unteractive exhibits and related items; (2001) Children sRlureum o(Manbattan Design and project management; (1998) Porl Diana, Muretor. Design development and fabrication drawings for 24 interactive exhibits; (1997) Adler Planetarium Engineering Design for Crater Maker, 7oetrope, and I-O "Transporter Exhibits; (1995) Smitbsommn Institute NalionalAirand Space Museum Built exhibits still in use today; (1994) Cali. forniadluseum o_%Science e; lndujlp: Developed and fabricated 1-Ivdrolvsis Interactive Chemistry Exhibit. Project Manager & Model Shop Foreman�SCALI- Models & Specialty Fabrication (1988-1993) As chief model maker and shop foreman worked with a small team to create high -caliber architectural models. Worked on the creation of exhibition booths, advertising props, displays for photography, television and point -of -purchase locations, and forensic models. Completed projects include: Penmylvunia Convention Center Complex- Interactive trade - show model highlighting convention center facilities. Michael Cram Architects: 2121 Pennsylvania Avenue, Washington D.C. full -detail presentation model. I/entun, Rausah aril Scntt-Brown, Arehitectr, Planners: Presentation model of new Staten Island Ferry Terminal Development. Education Tyler School of Art, Elkins Park, Pa. (1986), Masters of Fine Arts, Graduated "Outstanding", with high honors in Art Fhstory Tyler School of Art, Rome Campus, Rome, Ital •., Intensive studies of Art FLstory and Fine Arts Dalhousie University, Halifax, Nova Scotia, Canada, (1984), Bachelor of Arts, Major. Philosophy, Minor. Classics • Nova Scotia College of Art and Design, Flalifax, Nova Scotia, Canada, (1983), Bachelor of Func Arts, Major. Printmaking, Minor. An History -75- • JAMES N. GUARINO Work Experience Project Manager, Museums Division, Art Guild, Inc. (November 2005-present) Jim provides the point of contact for communication between the client and Art Guild and is responsible for translating concept into hard form. He collaborate with engineering and drafting to produce construction and installation drawings in a timely- fashion. Fie issue purchase orders and acquire materials and services in accordance with job requirements as well as monitor purchases and production hours to keep project on time and on budget. Jim also schedules manpower and project fabrication into our production department, and manages all aspects of on site installation and field operations. Project Manager, Display/Point of Purchase Division, Sparks Exhibits (December 2003-November 2005) At Sparks, Jim managed the development and manufacture of Point of Purchase Display requirements. He developed initial cost budgets, sourcing, qualifications of new vendors and the implementation of manufacturing plans. He issued purchase orders to vendors as required and monitored the vendors and all project activities to ensure a timely delivery at appropriate quality levels. Chief of Purchasing & Resource Management, Showtime Enterprises, Inc. (November 2000-December 2003) Jim took over a troubled purchasing department, and worked at organizing and standardizing the positions tasks and responsibilities. He was responsible for all purchasing and resource management related to production as well as all other company requirements for 3 company locations. He assisted in implementing • the new IT based accounting / purchasing system (Great Plains). Production Manager, Showtime Enterprises, Inc. (December 1996-November 2000) In the Lithia Springs, Georgia office, Jim designed and installed a new production shop for their new facility in the Atlanta metro area. He was responsible for all production as well as all purchasing activities. He set production time fines for the exhibit & museum construction shop and graphics departments; as well as coordinated the shipping of client properties through the traffic manager. Fie was responsible for all the staffing and procedures entailed in maintaining all of the production personnel staff. Shop Foreman / Production Management, Art Guild, Inc. (September 1983-December 1996) At his first tenure at Art Guild, Jim was responsible for the coordination of projects between engineering and union work force. He planned the work flow through the shop to meet completion dates and strip dates. He supervised an in house work forge as well as field operations. He assisted in the research and development of specialty projects, the facility expansion and reorganization. Owner / Sole Proprietor, Space Kraft, Co. (October 1978-September 1983) As the Owner and Sole Proprietor of Space Kraft, Jim managed and coordinated all phases of this small wood working / cabinet making business. He was responsible for estimates, drawings, purchasing, production and all of the company's administrative duties. He successfully learned to manage a small work force in a eabi iet shop environment, built the business from start-up and turned it into a profitable company which he sold in 1983. Certifications: . Journeyman Cabinetmaker / Carpenter, NJ Carpenters Local Union 2098 (1984) -76- E • • DENISE M. CUCURELLO Work Experience Graphic Design Coordinator, Art Guild, Inc. (2007-Present) Primary contact to clients for all graphic -related subject matter. Routinely negotiate pricing with various vendors and prepare all paperwork and Purchase Orders. Present a daily status report to upper management for all current projects. Manage work flow for division designers as well as all freelance personnel. Responsible for tracking thousands of graphcs from beginning of project until final installation. Meet frequently with project managers, production staff, and vendors to assure production efficiency and that deadlines will be met Periodically travel to job site to assure accuracy of installation and meet directly with clients. Have successfully coordinated the layout and production process from inception until grand opening for: Liberty Science Center, Jersey City, NJ; the Gettysburg Museum and Visitors Center, Gettysburg, PA; Franklin Pathways at The Franklin Institute, Philadelphia, PA; Mercy Corps Action Center to End World Hunger, New York, NY; Tampa Bay History Center, Tampa Bay, FL; and Denver Museum of Nature and Science, Denver, CO. Design Technician / Production Assistant, The STAR Group (2003-2007) Interacted with various vendors and art directors to ensure accuracy and prompt delivery of marketing materials. Frequently engaged in client meetings to determine correct layout, timely delivery, and satisfaction with production. Monitored production on six separate accounts. Technical design lead, providing direct support to members of senior managmenet. Maintained the organization and archiving of files for over 15 accounts. Applications: Microsoft Excel, Word, and PowerPoint. Adobe Acrobat, Photoshop, Illustrator, and InDesign. QuarkXpress, Fetch and Transmit. Education: Rowan University, Glassboro, NJ, BA in Arts, Achieved Dean's List Honors _77_ E MATTHEW STARK Work Experience Director of Graphic Design and Production, Art Guild Inc. (2003-Present) Directly responsible for all graphic production support, operation and personnel supervision in order to ensure the successful management of this critical department. These responsibilities are directed to internal and external management functions: External: Primary point of contact with all the sales and design staff. Sole responsibihty for ensuring their 'complete' satisfaction with all work performed by graphic design and production departments. Internal: Personally oversee 'every' aspect of the graphic management for all jobs that run through the departments, Ensure all client requirements arc met and that project quality and critical deadlines are achieved. Provide guidance and counsel to the sales staff, along with project management to ensure that adequate and maximum efficiencies are exceeded for all'large' and 'complex' programs/projects to include: ,Jewish Heritage Museum NY, NY, Museum of Natural History Rose Center NY, NY, National Watch and Clock Museum, PA, National Civil War Museum, PA, Niketown, NY, NY, National Pro Football Hall of Fame, 01-1. Responsible and directly accountable for all graphic budgetary work, which includes estimating and overseeing the production of each project under the budgetary guidelines. Strictly adhere to time management in order to ensure project hours are met and continually updated. Director of Graphic Production, Exhibitgroup/Giltspur NY Region (1976-2003) 33 years of award -winning graphic design, production and management experience, coupled with extensive • exhibition and permanent installation knowledge, in all facets of creation, development, layout, production and flawless execution. Graphic Mechanic, ECOFA Displays (1980-1985) Experience Proficient in the following Computer Programs: Illustrator, Photoshop, Poster Shop, Flexisign, Onyx Experienced in production and applications of the following mediums: Large format Printing which includes the knowledge of the production and application of a wide variety of materials such as jet Tex, Artist Papers, Mesh, Tyvek/Vinyls, Day-Glo , Magnetic, Fleet Graphics, One Way, Floor Graphics-, Drop Screen, Flat Light, Fabrics, Canvas, Silk, Cotton, Translucent, Polvester/Spandex, Papers, Lenticular and 3D Graphics, Laminating and Encapsulating, Vinyl Die Cutting and Application, Silk -Screening, 1-land-Lettering Leadership, Coaching and Supervision, Provide leadership and administrative direction for the Graphic Design, Paint and Production Departments. Daily leadership and coaching with all personnel working in graphic departments, which included as many as 9 graphic designers, 16 graphic mechanics. Strong interpersonal skills enable a cooperative and supportive environment with all team members that work under my direct supervision in dealing with a very demanding client base. Communicated corporate and departmental goals, strategies and performance initiatives to effectively direct and coach each member of my team. Production, Operations and Quality Management, Responsibilities include all graphic design and production functions that support a fluctuating multimillion dollar client base. Ensured 100% quality and production efficiency for some of the largest exhibition company, worldwide. Managed and directed scheduling of graphic design jobs, which covered multiple and complex layout and production avenues, with an average output of 5 to 10 project completions 0 daily. Further responsibilities included supervision of paint and finishing departments and coordination of a minimum quantity of out -sourced graphics. Initiatives made and met of 98% in house graphic production. Defined and monitored . ever -changing graphic applications, and production quality systems. Knowledgeable in all state-of-the-art methods and processes. Careful, periodic reviews and initiatives ensure highest level of maximum efficiencies for a less than 1% error rate. Daily interface with project management, operations, graphic design, and sales staff for continued end quality review to attain flawless production of graphic mediums. Participation in client meetings and personal interface on unique, complex and/or permanent installation projects. • 11 Research and Development, Initiated, researched and implemented new techniques and materials to provide value while enabling my department to remain on the cutting edge of a profitable fine of business. Broke ground and expanded graphic production business within the exhibit industry by internally producing unique graphic alternatives for new and existing client base. This research and development was created and then implemented throughout a network of facilities. Logistics and Distribution, Accountable for graphic logistical planning and distribution management. This includes all phases of graphic production scheduling, raw material receipt and consumption, material management, inventory, safe packaging, proofing and storage, and ultimate end -product shipment. Provide direction and ultimate recommendation in material research, development and order placement. Education Graduated from Thomas A Edison "Technical High School 1975 1975 to present: Completed numerous continuing education courses in disciplines for Graphic Production, Graphic Layout, Management, Leadership, and project and Time Management M Section 2: Team Organization and Management Plan • Team Assignments, Roles and Responsibilities • Project Chief Executive -John Gunning Vice -President, M+E Division John will consult daily with the project team leader and project manager on the progress of the project. He will be in weekly contact and available anytime to the FCDM liaison regarding company performance, project progress, and other needs. Project Team Leader- Lath Carlson Vice President, Operations - M+E Division Lath will be responsible for administrative control of the project and ensuring that there is rapid and complete communications among all team members during the estimating, prototyping, engineering , construction and installation phases. He will work closely with the project team to insure that the clients goals and expectation are met, and he will attend all meetings where pricing and process are concerned. He will be responsible for all contractual obligations undertaken by Art Guild and have ultimate responsibility for insuring that the technical performance of the contract meets the goals established for its financial conclusion. Production Director - David M. Egner Director, Project Management - M+E Division David will oversee the efforts of the Project Managers in their management of the FCDM project. David's responsibilities will include confirmation that all materials, processes, methodology, and procurements match the pricing program established in the preconstruction phase - and that they continue to do so throughout the project's execution. He will schedule and attend weekly project meetings of the design and technical management team. He will establish the project schedule and ensure that daily milestones are being met, including being responsible for correcting any disparities, and have direct involvement with all technical and engineering personnel and project partner firms. Project Manager- Paul Haney Senior Project Management - M+E Division Paul will be the primary point of contact on the FCDM project. Paul will be responsible for the day to day execution of the fabrication and installation phases, reporting to the Production Director and Project Team Leader on the projects progress. He will oversee the fabrication and installation related activity, coordinating with the Production PM, and the project subcontract firms. In addition, he will be responsible for coordinating all of the technical activities related to the production of the exhibits including close coordination with other on site contractors outside of the fabricators scope of work. Fort Collins DiscoveryMuseum Art Guild, Inc VAIN ll/_1t§OR111V Work Experience Senior Engineer/ Special Projects Manager, Museums + Environments, Art Guild, Inc. (2009-present) Current responsibilities include developing engineered shop drawings for Interactives Department, coordinating interactive equipment needs with other departments, and assisting management staff in various project management duties including, but not limited to: working with vendors and subcontractors, coordinating direcdv with clients, developing project schedules, overseeing development of shop drawings, and coordinating project needs with client and base building A/F_ teams. Also responsible for leading Art Guild's LEED initiative within the IDI+13 division, which includes materials and process research and implementation. Recently managed Electricity and Changing Earth galleries for the Franklin Institute, and with no significant loss to visitor experiences helped client value -engineer project from project award $2.4M down to $1.3M after unexpected GC overnms incurred by the client reduced exhibits budget significantly. Project Manager- Scenic, Jack Rouse Associates (2008-2009) Responsibilities included direct management over scenic contractors to provide themed scenic elements for a new amusement park, Ferran 117orld. located in Abu Dhabi, United Arab Emirates. Was responsible for managing 6 individual scenic contractors located on 3 continents whose scope spread over 14+ galleries to ensure all base - building architectural services were fully coordinated, and all budgets and schedules were strictly adhered to. Lead Detailer / Special Projects Manager, Museums Division, Art Guild, Inc. (2002-2008) Responsibilities included developing of shop drawings for client approval and ultimate fabrication of custom museum exhibits. During exhibit development, duties included, but were not limited to, coordination of exhibits with architectural and MEP base -building works, selection of fabrication techniques, coordinating with outside sub- contractors, and reviewing work directly with fabrication personnel. Also assisted with RFP responses, value engineering reviews, and managed small projects, as requested. Carpenter/ Production Manager/ Project Manager, Exhibit A (1997-2002) Starting as a carpenter, and eventually rising to project manager, was responsible for ultimate execution of finished Trade Show Exhibits. Responsibilities included budget management, development of fabrication techniques, and direct supervision of shop personnel. Was also responsible for sourcing and purchasing of shop materials and subcontracted works. Prototvpe Fabricator, Design Experience (1993-1999) Operated own business specializing in producing one -of -a -kind furniture prototypes. Responsibilities included analyzing client's design, developing fabrication methodologies and strategies, production of shop construction drawings, fabrication of actual prototype assemblies and final one -of a -kind furniture items. Design Intern, Chesapeake Display and Manufacturing (Summer 1991 & Summer 1992) Responsible for producing prototypes for Point of Purchase Displaym s, developed CAD programing for production of corrugated displays, and assisted in development of presentation renderings. Education Rhode Island School of Design, BA in Fine Arts in Industrial Design (1995), and 13A in Industrial Design (1996) ®i GEORGE D. BLACK, III Work Experience Senior Draftsman, Art Guild, Inc. (2004-present) Current responsibilities include drafting museum projects using CAD software, coordinating with fabrication shop, coordinating with on site contractors and vendors, writing CNC code, specifying materials and construction techniques, integrating AV and interactive hardware into exhibits, performing on site surveys, publishing drawing packages, developing schedules, and tracking and documenting drawing histories. Senior Draftsman, Showtime Enterprises (1999-2004) Responsibilities included drafting trade show exhibits using CAD software, coordinating with fabrication shop, rendering trade show exhibits for presentations, and writing CNC code. Senior Draftsman, Maltbic Associates (1994-1999) Responsibilities included drafting museum projects using CAD software, coordinating with fabrication shop, on site contractors and vendors, specifying materials and construction techniques, integrating AV and interactive hardware into exhibits, performing on site surveys, publishing drawing packages, developing schedules, tracking and documenting drawing histories. Draftsman, Lynch Industries (1987-1994) Responsibilities included drafting trade show exhibits and museums, coordinating with fabrication shop, designing and installing TV camera sets and lighting for annual NAB convention, and designing lighting for museum projects. Lead Carpenter and Draftsman, Quinlan Scenic Studios (1984-1987) • Responsibilities included drafting and fabrication of theater, museum, and toy show scenery, directing the carpentry shop, and coordinating with the paint shop. Freelance Lighting Designer, (1980-1983) Responsibilities included designing lighting for theater, concert and dance productions. Education Gettysburg College, BA in Biology Temple University, BFA in'I'heater Lighting Design and Technology NIS DONOVAN R. SAUNDERS Work Experience Senior Draftsman, Art Guild, Inc. (2009-present) Current responsibilities include creating drawing sets for design approval and fabrication, site survey and verification of field conditions, maintaining code compliance in all drawings, and design build engineering. Projects include: Franklin Institute, Soar, Denver Museum of Science, Martin Guitar, University of Penn Silk Road, Drafting Manager, Malbie (2001-2009) At Maltbie, Don's duties included managing drafting recourses, schedules, budgets, spec all hardware and software for the department. Create drawing sets for design approval and fabrication, create CNC code for construction and was involved with site surveys and verification of field conditions, and code compliance. Projects included the National Constitution Center, Clinton Library, Griffith Observatory, and Harley Davidson Musuem. Draftsperson, Jack Morton (1998-2001) Responsibilities included creating drawings sets for design approval and fabrication, problem solve complex details, generate CNC codes, and coordinate fabrication details with the shop. Projects included large trade show booths, sets for television studios and National Geographic. Draftsperson, Spencer Gifts Corporate Office (1997-1998) • At Spencer Gifts, Don created drawing sets for store front construction, electrical and mechanical plans for engineering approval in compliance with NEC, Fire, and local building codes nation wide. He also participated in the site surveys, construction and demolition permits. Applications AutoCad 2011, Solidworks, A1phaCam, Artpath, Routercim, and Rino Education • Gloucester County College, Sewell, NJ. Drafting Design Program: Auto Cad Architectural, Mechanical, 3D modeling and Advanced CAD. Atlantic County College, Mayslanding, NJ. General studies in Videotape and Production, and Small Business. IN • MEREDITH J PEDERSEN Work Experience Museum Detailer, Art Guild, Inc. (March 2007-present) Current responsibilities include drafting museum projects using CAD software, coordinating with fabrication shop, writing CNC code, specifying materials and construction techniques, integrating AV and interactive hardware into exhibits, performing on site surveys, publishing drawing packages and schedules. Projects include International Civil Rights Center and Museum, Denver Museum of Nature and Science, Edison National Historic Site, and Chapman Science Center. Exhibit Detailer, Sparks Exhibits and Environments (2005-2007) Responsibilities included drafting trade show exhibits, coordinating with fabrication shop, writing CNC code, specifying materials and construction techniques. Exhibit Detailer, Showtime Enterprises, Inc (2000-2005) Responsibilities included drafting trade show exhibits, coordinating with fabrication shop, writing CNC code, specifying materials and construction techniques. Intern Architect, Various architecture Finns in PA, DE, and GA (1998-2000) Assisting architects with detailing and design development for commercial buildings, performing on site surveys, • coordinating construction drawing sets, and establishing company drafting standards. Education Lehigh University, B.A. Architecture and Theatre M • ANDREW TOMASULO Work Experience Electronics Specialist, Special Projects Manager, Museums + Environments, Art Guild, Inc. (2009-present) Current responsibilities include design of electronic control systems for interactive exhibits, as well as project management of select projects with technology focus. Typical activities include specification of equipment, schematic design and wiring, PLC or other programming, custom PCB design and fabrication, as well as understanding safety concerns unique to the museum environment. Recently, designed the electronics and managed the interactive portion of Eleartao and Changing Earth galleries for the Franklin Institute. These galleries contained a wide variety exhibits, including two high voltage exhibits, as well as other exhibits that were required to handshake directly with AV contractors equipment. Other projects include exhibits at Morgans Wonderland, PSEG, Longwood Gardens, and McQuav International. Project Manager, Museums + Environments, Art Guild, Inc. (2007-2009) Responsibilities included overseeing the development of the shop drawing process, coordination of vendors and subcontractors, interdepartmental coordination with Interactive, Graphics, and Production Departments, coordination with client, and developing of schedules. Key projects included the Thomas Edison Museum, Chapman Cultural Center, Fredericksburg Area Museum and Cultural Center, Expedition Health at the Denver Museum of Nature and Science, Pafhwajr at the Franklin Institute. Prototyper and Electronics Designer, Custom Black Box. (2005-2007) Operated own business as prototype designer and electronics technician. Responsibilities included design, project management, prototyping, client relations. Clients included the Franklin Institute, Perfect Prototype, Phase • Technologies, and Exhibit Engineering. Electronics Technician, Peter Associates (2005) Worked as electronics technician designing hardware and installing exhibits at the National Children's Museum in Amman, Jordan. • Restoration and General Contractor, New World Masters (2001-2005) Co-owner of business specializing in general contracting and complete historic restoration of Philadelphia homes. Responsibilities included sales, marketing, graphic design, project management, hiring, customer relations, quality control and scheduling. Physically worked on jobs also. job size ranged from S5k - $300K. Employed up to 15. Painting Contractor, Artist's Touch Custom Painters (1997-1999) Owner of house painting contracting business. Business was sold for $25,000 to attend graduate school. Education Dartmouth College, MA in Electroacoustic Music (2001). Received full tuition fellowship. Tyler School of Art at Temple University, BEA in Painting (1997). Received full tuition scholarship. Temple University, study abroad in Rome Italy (1995). -84- • CHARLES R. FIEGER, SR. Work Experience Senior Estimator, Art Guild, Inc. (May 2004-present) Current responsibilities include developing estimates and preliminary budget estimates, coordination of estimate with subcontractors, clients, developing project schedules and value engineering with client and designers. Project Manager, Shoatime Exhibit Builders (2001-2004) Responsibilities included estimating and direct management of specialty projects including museums and interior millwork for Atlantic City casinos. International Sales Representative, Real Brick Products. (1989-2001) Responsibilities included developing new client base for U.S. firm seeking to expand their business on an international level. Successfully managed to elevate the sales internationally to 70% of their existing business. Production Manager / Estimator, Precision Millwork (1985-1989) Responsibilities included estimating and direct management of specialty projects including museums and interior millwork for Atlantic City casinos. • Production Manager / Estimator, i lercon Industries (1979-1989) Responsibilities included management of shop fabrication to an 85 man fabrication facility, estimating of several divisions including exhibit, museums and POP. • Maltbie Associates, (1974 -1989) Started as Apprentice Carpenter rising to Journeyman. Mangaged numerous projects including National Park Service, Conway Twitty Museum, National Baseball Hall of Fame, Corning Glass Museum. Education Trenton State College — Industrial Arts, Camden County College — Sublimental courses. M • CAROLANN S. BARTOLINO Work Experience Division Manager / Museums t Environments Division, Art Guild, Inc.(2005-Present) Current responsibilmes include supporting the Sales and Marketing efforts to include Trade Show presence, prepare advertising budgets and ad campaigns. Manage show schedule, secure exhibit space, make all necessary planning arrangements, logistics, refurbishment/refresh of corporate booth components, research and purchase premium items, prepare travel arrangements and research sponsorship opportunities. Prepare, write, organize all responses to Proposals and RFQ's; oversee that final Bid packets are accurate, complete and all bid requirements have been met. Account Managed Museum Division jobs/projects by preparing Purchase Orders, placing orders for specialty items, reconciling division credit card statements, prepare and maintaine each job's billing schedule via invoice and/or Applications for Payments, prepare contracts thin individual specific contracts as well as with the AiA Contracting Document program, prepare Release Leans for final payments. Also involved with each museum project from receipt of Bid, Response to Proposal and RFQ's, to award, kick-off meeting and weekly / update meetings with client till job completion. Prepare all internal documentation for final job close out and archive purposes. Also acted as an Account Manager for the Exhibits Division (2005 to 2009) where she established pharmaceutical account relations, demonstrated exceptional business development with PMRB approval and ISI visibility within exhibit space and in accordance with Pharma guidelines ensuring adherence to deadlines. Participated in marketing presentations and client meetings to analyze ROI pertaining to each show and cumulative throughout the year. Coordinated all phases of event operation from start to finish (national and international accounts) including • design, estimating, production, onsite support, pearly budgets and financial management. Oversee project operations for all outside subcontractors and suppliers for clients' events. Define, deliver and manage new exhibits and show programs for both island exhibits and inline booth programs. Responsible for all aspects of account management including preparing event budgets on a per show basis and for yearly budgetary purposes, evaluating profitability, overseeing new construction, managing trade show programs, managing graphic production and coordinating show logistics. Build long-term, successful customer relationships with such clients as Endo Pharmaceuticals, Dupont, Princeton Financial, NSG America, CoreOpfics and David's Bridal. Lead and support special projects as required. Special Events Coordinator / Shipping Manager, Showtime Exhibit Builders (2001 '2005) Project management for museum division on airport and museum projects. Coordinate all phases of shipping/receiving, purchasing, storage, maintenance, inventory control and tradeshow management. 'Track and provide necessary paperwork for overseas airfreight clearance adhering to "TSA regulations, budging freight for stringent delivery deadlines and estimating purposes. Process shipping and show services invoices, log all invoices for payment and planning purposes working hand -in -hand with controller; handled claims for any damaged/lost freight. Account N[anagcd client accounts to include Show Service needs as well as orchestrating labor setup and tsar down within time sensitive delivery deadlines. Reconcile all Show Service and Shipping invoices. Develop strategic approaches and creative solutions to cost effectively ship client properties. Sales Assistant, The Mansion on Main Street (1993-1996) Provide high-level sales support such as conducting research, preparing statistical reports, handling information requests, and performing clerical functions such as preparing correspondence, receiving visitors, arranging conference calls, design promotional flyers, scheduling meetings. Dealt with clients on a daily basis with upcoming functions. • Meeting and Events Coordinator, CoreStates Financial Corp (1990-1993) Implemented new policies and procedures to a newly formed department. Coordinated all details of off -site meetings, seminars, workshops and trade show events which included projecting budgets, researching locations, implementing event programs and finalizing post show costing reports. Nlaintained accurate database of MAC M employees and VIP clients. Handled all aspects of invitee lists, maintain replies and all aspects of travel for each • attendee to include room reservations, airport transfers, registrations payments and scheduled activities and extracurricular spousal activities. Acted as on -site supervisor to events to maintain a smooth take off from beginning to end of each event. • r � Sales Assistant, Hyatt Cherry Hill (1986-1989) Provide full administrative support in areas of client relations, calendar management, travel arrangements and coordination on -site and off -site meetings, conference calls and special events. Handled sales inquiry calls Took on managerial responsibilities with Private Line Program. Update group status reports. Contribute to advertising and promotional campaigns; nominated for Hyatt's All Star Team. Education: Camden County College: Blackwood, NJ Taylor Business Institute: blt. Laurel, NJ Professional Association: Healthcare Education Association: Currently participating in the CME program 87 jection 5-6: Froyct Cost, cjckedule, and Quality Control • Art Guild is a company obsessed with data, project tracking and quality control. As in all other aspects of our Museum Exhibit Fabrication Process, these efforts are highly organized and follow a documented and proven management plan. Regardless of the contract we are operating under, these measures are employed on every project, ensuring that our staff is well versed in this methodology. Project Costing and Budget Control We firmly believe that a successful project must start with thorough and comprehensive estimating. We have created the most innovative estimating system in the industry. In combination with our estimators' years of experience in the industry, this estimating tool not only helps us give our clients the best value, it also provides the backbone of our project management process. All materials, graphic schedules, structures, interactive components, long lead items, facilities impacts, subcontractors and other exhibit development parties are identified and included. In consideration of the open -book nature of the FCDM contract, the estimate in its entirety will be available to the owner for review. Having completed this process for the current Design Drawing Set, the comprehensive and automated nature of our estimate means Art Guild is well positioned to make any adjustments required by budget or final design considerations. We can make these in real time, in coordination with the museum and designer, to give us immediate understanding of the budgetary repercussions. We have successfully used this approach with clients including Liberty Science Center and The Franklin Institute to reduce project costs by up to 40%, with minimal impact on the visitor experience. The final contract estimate is used not only as the control • document for the Project Team, but as the cost tracking reference. When the bid is handed over to the project manager all of the critical project information is exported in easy to utilize formats, eliminating redundant effort and giving the PM the benefit of the estimator's experience and forethought. The Project Manager tracks all material purchases, subcontracts and labor hours against the original estimate using a number of proprietary software tools. The data collected by these tools is then aggregated in a single interface call JobLog. All material purchases and stock material usage data is available in real-time in this application. Labor hours for all project staff are logged via an application called Kronos. Hours are logged by project phase and task category. This lets us track exactly how many hours were spent on any component of the project such as painting a particular exhibit area. The actual labor hours are then imported into the JobLog application and can be viewed in complete detail or in a summary form which corresponds to the project estimate. The Project Manager is responsible for tracking the project budget on a daily basis, and project progress reports are reviewed by the Director of Project Management on a weekly basis. Project status reports are available to you at any interval you desire. With information being collected in real-time, and aggregated in such a way as to provide a meaningful comparison to the estimate, areas of potential concern are identified early. Generally our material estimates do not deviate more then 2-3% from the actual expenses. Labor costs tend to be more variable at the detail level, but show a similar degree of confluence overall. What happens most often is that a decision will be made to apply additional labor in one area to improve the project performance that saves labor in another area. For example we might: • Spend additional time in the engineering process in order to be able to produce a part with an automated process, improving accuracy and decreasing shop labor • Spend additional labor in the shop to save on -site installation time Fort Collins Discovery Museum - gg - Art Guild, Inc Section 5-6: Project cost, Schedule, and Quality Control • By reviewing the labor posted to the project regularly, the Project Team can identify whether this is the case, or whether an operation is simply taking more time than anticipated. If the latter looks to be the case, the Project Manager, Shop Forman, Engineers, and Craffspeople will meet to review the situation and plan for corrective action. Once a corrective plan is put in place, the PM will continue to monitor the situation to ensure that the task is back in line. If no corrective action is possible, the nature of the overage will be documented and becomes part of the project record. Project Schedule Art Guild will consult with all project partners to complete a fully -coordinated, comprehensive fabrication schedule that will then be submitted for approval. The schedule provided with this proposal represents only the beginning. Once the museums schedule is available in more detail, and we have a chance to coordinate with the other contractors, a comprehensive and more detailed version will be created. All client or designer deliverables will be clearly identified on the schedule. We will work diligently to ensure that these are met. In addition, all project submittals and review points will be clearly identified. The Project Manager will be responsible for the project schedule, in consultation with the Director of Project Management. The schedule will be created in Microsoft Project and is considered a living document. Art Guild will issue weekly updates, including all major coordination elements. Weekly progress meetings will ensure that the project continues to meet or exceed the requirements of the schedule. Any changes to the schedule must be approved by the client's project director. With a project being installed in new building construction, • significant coordination will be required with the GC and other trades on site. Art Guild will merge the GC's primary project milestones into our project schedule and adjust our installation schedule as needed to the realities of the building construction process. • Quality Control Art Guild has proven quality control systems in place for museum fit, finish, and durability. It is routine in our experience to schedule review points at specific stages of completion (typically 25% complete, 50%, 75% and 100%). We will gladly set other points as determined. Our quality controls include inspection regimens and error recovery processes. They ensure that every item produced is as perfect as it can be. All interactive exhibits that are built by Art Guild are thoroughly tested before installation. Once we complete an interactive exhibit it is checked for quality by the Project Manager, the Interactives Manager, and the Museum Shop Foreman. At this point it is moved to the staging area in our shop for testing and client review. We test first for overall function then try to anticipate different usage scenarios. Once we feel the exhibit has been properly wrung out we then test it with people representative of the museum's intended visitors. Any problems that are found are corrected in our shop and retested prior to shipping to site for installation. This process is then repeated during the soft opening period. We also strongly encourage the client to be present for shop review and testing sessions. Our QC processes continue forward through both the installation phase and extensive post -project reviews. Every aspect of every project is scrutinized, with the goal to continuously improve our processes and systems. The Fort Collins Discovery Museum will benefit from both our processes and the knowledge we have gained from years of successful project completions. Fort Collins Discovery Museum - 89 - Ad Guild, Inc Section 2: Team Organization and Management Plan • Interactive Manager- Mark Webber Manager, Interactive Technology Department Mark will take the lead in managing the engineering, production, and installation of all Interactive exhibits. He will coordinate the efforts of the various interactive subcontractors as well as in-house resources. Mark will personally be involved in all custom interactive engineering and fabrication. He will work very closely with the Project Managers to insure coordination of the interactive components with the other fabricated structures. Mark will supervise extensive prototyping and testing of final exhibits as well as preparing the comprehensive maintenance manuals. Production and Installation Project Manager- Jim Guarino Project Manager- M+E Division Jim will be responsible for managing the fabrication of exhibits in Art Guild's shop. He will be responsible for coordinating, and supervising, the efforts of our installers, subcontractors and other contractors on site. Jim will work very closely with both Paul and Mark to ensure that all fabrication is on schedule and meets the standards set forth in the shop drawings and project specifications. He will also work closely with our LEED and Sustainability Specialist, Bill Furr, to minimize the environmental impact of the exhibit fabrication and installation. Fabrication Foreman- Robert Kidd Shop Foreman- M+E Division • Bob will oversee all of the technical operations and production for FCDM that occur in Art Guild's shop. He will work closely with David Egner, the Project Manager, and the Production PM on a daily basis throughout the duration of the project. Graphic Coordinator- Denise Cucurello Graphic Design Coordinator- M+E Division Working with the Project Manager, Denise will be responsible for coordinating the flow of graphics information from Gyroscope to our in-house production facility, and to subcontract graphics production houses. She will track receipt of all graphics information; both exhibit specific and architectural, and will coordinate the processing of those materials through to production. Denise's responsibilities will also include coordination with the shop for the production of all substrate materials for the mounting and screening of all graphics. Graphic Production Manager- Matthew Stark Director, Graphic Design and Production In his role as Director of Graphic Design and Production for the FCDM project, Matt will oversee the flow of graphics production from design through final production, with responsibility for ensuring strict adherence to timelines and production quality standards and specifications. LEED/ Sustainability Specialist- Bill Furr Sr. Engineer / Special Projects Manager Bill is well versed in materials selection, waste minimization, and air quality management. He has . established Art Guild's LEED and CARB protocols for the purchasing, chain of custody, usage, and recycling of materials. Bill will work closely with the Project Managers and Engineers to ensure that the sustainability goals for the project are met. Fort Collins DiscoveryMuseum Art Guild, Inc • ARTGUILD Fort Collins Discovery Museum Exhibits Bid Template Exhibit line items should include ALL associated costs. Number Zone Exhibit Cost 1 1 Music and Sound Giant Piano Lever $ 66,969 1 2 Music and Sound Sound Spots $ 64 1 3 Music and Sound Jam-O-Drum $ 64 1 4 Music and Sound Trio Stations (2) $ 191 1 5 Music and Sound Media Enclosure $ 103,923 1 6 Music and Sound Edison to iPods Case, Radio Case $ 64,991 1 7 Music and Sound Sound Spectrogram $ 35,744 1 8 Music and Sound Styrene Waveforms $ 9,888 1 9 Music and Sound Bubbling Ripple Tank $ 29,329 1 10 Music and Sound Impact on Hearing $ 21,662 1 11 Music and Sound Media Theater $ 20,046 1 12 Music and Sound Drums, Strings, and Horns $ 18,026 1 13 Music and Sound Hole Saw Rhythms/Buzz Saw Beats $ 17,259 1 14 Music and Sound Wash Tub Base $ 2,902 1 15 Music and Sound OscylinderScope $ 20,252 1 16 Music and Sound Pitch Slider $ 20,426 1 17 Music and Sound Find the Highest Note $ 20,479 1 18 Music and Sound Horn Instrument Interactives $ 27,587 1 19 Music and Sound Reactable $ 35,628 • 1 20 Music and Sound The Garage $ 79,484 1 21 Music and Sound Mash -Up Station (N.I.S) By Owner $ 1 22 Music and Sound DJ Scratch Table $ 2,504 1 23 Music and Sound Listening Lounge $ 50,874 1 24 Music and Sound Fort Collins Music Story $ 64,314 1 25 Music and Sound Melodic Percussion Booth $ 65,243 1 26 Music and Sound Music Innovation Wall $ 63,754 1 27 Music and Sound Sound Bite $ 16,223 1 28 Music and Sound Match the Tone $ 20,376 1 29 Music and Sound Juke Box Doorway $ 110 1 30 Music and Sound Bass Interactive $ 1,508 Zone Subtotal $ 879,823 2 1 Early Childhood EC Divider $ 21,052 2 2 Early Childhood Musical Water Cube $ 41,816 2 3 Early Childhood Crawl -able Floor Treatments $ 6,535 2 4 Early Childhood Crawl -Through Tree $ 96,526 2 5 Early Childhood Train Table $ 38,139 2 6 Early Childhood Water Play $ 78,354 2 7 Early Childhood Dress -Up Area $ 4,154 2 8 Early Childhood Art Station $ 12,133 2 9 Early Childhood Portraits of Me $ 10,917 2 10 Early Childhood Building Play $ 7,927 2 11 Early Childhood Wind Chime Babies $ 45,247 Zone Subtotal $ 362,802 3 1 Live Animals Bee Wall $ 66,598 3 2 Live Animals Animal Habitats $ 84,950 3 3 Live Animals Supply Closet $ 13,921 • 3 4 Live Animals Animal Study Station $ 39,014 Zone Subtotal $ 204,483 -90- 4 1 Wildlife & Wildlands Pangaea Story: Projection Globe $ 67,125 4 2 Wildlife & Wildlands Fossil Wall $ 71,171 4 3 Wildlife & Wildlands Regional Biodiversity Wall $ 156,026 4 4 Wildlife & Wildlands Bison Enclosure $ 55,003 4 5 Wildlife & Wildlands Spotting Scopes & Field Guides $ 2,760 • Zone Subtotal $ 352,085 5 1 First Peoples Archaeology and Stratification $ 57,724 5 2 First Peoples Lithic Tools Table $ 23,971 5 3 First Peoples American Indian Perspectives $ 69,348 Zone Subtotal $ 151,042 6 1 Food, Forage & Farm Linear Irrigator $ 5,546 6 2 Food, Forage & Farm Agriculture $ 37,465 6 3 Food, Forage & Farm Irrigation $ 21,055 6 4 Food, Forage & Farm Sheep Farming $ 34,226 6 5 Food, Forage & Farm Beet Farming $ 33,501 6 6 Food, Forage & Farm Home & Hearth $ 82,400 6 7 Food, Forage & Farm Ranching, Windmill Water Pump $ 17,474 6 8 Food, Forage & Farm Local Brewing $ 17,137 6 9 Food, Forage & Farm Fort Collins Dairy $ 7,883 Zone Subtotal $ 256,686 7 1 People on the Move Shadow Compass Projection $ 2,632 7 2 People on the Move Arrival of Europeans $ 10,652 7 3 People on the Move Map of Population Movements $ 44,661 7 4 People on the Move American Indian Culture $ 17,355 7 5 People on the Move Camp Collins $ 24,098 7 6 People on the Move Westward Expansion $ 41,791 7 7 People on the Move Trains through Fort Collins $ 20,863 7 8 People on the Move Growth of the City $ 39,461 7 9 People on the Move City Building Case $ 13,609 7 10 People on the Move Mythology of the West $ 11,495 • 7 11 People on the Move Climb -on Penny Farthing $ 10,768 7 12 People on the Move Historic & Contemporary Bikes $ 38,507 7 13 People on the Move Bike Resources $ 5,564 7 14 People on the Move Spokin' Stories $ 3,950 7 15 People on the Move Mr. Bones Interactive $ 16,004 7 16 People on the Move Bike Innovation Display $ 20,556 7 17 People on the Move Gear Interactive $ 2,890 Zone Subtotal $ 324,858 8 1 Water Water Story Table $ 165,340 8 2 Water Water Recreation $ 6,116 8 3 Water Where Our Water Comes From $ 8,211 8 4 Water Flood Experience $ 118,153 8_ 5 Water Extreme Weather Station $ 2,386 Zone Subtotal $ 300,206 9 1 Energy & Sustainability Energy Exhibits Structure $ 45,301 9 2 Energy & Sustainability Historic Bulbs $ 12,700 9 3 Energy & Sustainability Energy Timeline $ 9,952 9 4 Energy & Sustainability Plasma Discharge $ 110 9 5 Energy & Sustainability Jacob's Ladder $ 3,694 9 6 Energy & Sustainability Electricity and Magnetism $ 8,734 9 7 Energy & Sustainability Wind Power $ 1,597 9 8 Energy & Sustainability Heat Detective $ 17,323 9 9 Energy & Sustainability Watts the Cost $ 18,461 9 10 Energy & Sustainability Green Materials Workbench $ 4,905 9 11 Energy & Sustainability Power from the Sun $ 68,511 . 9 9 12 13 Energy & Sustainability Energy & Sustainability Sustainable Fort Collins Media Solatube Skylight (N.I.S.) $ $ 6,228 Zone Subtotal $ 197,516 -91- r , LA • • 10 1 Schatz Science Experience Intro Wall $ 44,469 10 2 Schatz Science Experience Media Enclosure $ 78,423 10 3 Schatz Science Experience Ball Run Wall $ 27,856 10 4 Schatz Science Experience Media Wall $ 49,779 10 5 Schatz Science Experience Magnification Station $ 26,362 10 6 Schatz Science Experience Information Station $ 18,792 10 7 Schatz Science Experience Moire Interactive Wall $ 30,751 10 8 Schatz Science Experience Laser and Fiber Optics $ 313 10 9 Schatz Science Experience Color Mixing: Aurora $ 24,447 10 10 Schatz Science Experience Color Room $ 17,289 10 11 Schatz Science Experience Shadow Wall $ 8,560 10 12 Schatz Science Experience Funky Forest $ 108,260 10 13 Schatz Science Experience Wind Wall with Wind Rail $ 33,506 10 14 Schatz Science Experience Bernoulli Table $ 27,191 10 15 Schatz Science Experience P.I.E. Wind Tube $ 20,331 10 16 Schatz Science Experience Tornado Simulator $ 51,140 10 17 Schatz Science Experience Innovation Lab $ 21,720 10 18 Schatz Science Experience Project Display Wall $ 12,948 10 19 Schatz Science Experience Local Project Spotlight $ 20,153 10 20 Schatz Science Experience Tennis Ball Race $ 1,592 Zone Subtotal $ 623,882 11 1 Natural Areas Welcome Panel $ 3,294 11 2 Natural Areas Zone Title Lettering $ 1,321 11 3 Natural Areas 7 Values Wall with Kiosk $ 22,171 11 4 Natural Areas Prairie Habitat with Ferret Enclosures $ 73,233 11 5 Natural Areas Interactive Map $ 62,729 11 6 Natural Areas Seasonal Graphic $ 2,053 11 7 Natural Areas Seating Area $ 9,008 11 8 Natural Areas Ripple Tank Table $ 19,763 11 9 Natural Areas Flying Creatures Sculpture $ 4,187 Zone Subtotal $ 197,759 12 1 Free Zone Experiences Elks' PIano $ 13,885 12 2 Free Zone Experiences Atomic Clock $ 13,710 Zone Subtotal $ 27,595 13 1 Outdoor Ground Level Outdoor Graphic System $ 24,334 13 2 Outdoor Ground Level Musical Glen $ 54,772 13 3 Outdoor Ground Level Log Scramble (N.I.C.) $ - 13 4 Outdoor Ground Level Vestas Wind Blade $ 23,197 Zone Subtotal $ 102,304 14 1 Outdoor Rooftop Rooftop Outdoor Signage System $ 7,105 Zone Subtotal $ 7,105 TOTAL FOR ALL EXHIBITS $ 3,988,146 LEED Process Management & Documentation $ 3,827 Shipping $ 29,269 Installation $ 699,779 TOTAL INSTALLED $ 4,721,021 -92- E • 0 E'5 'aa 8 z e o o i o o a o a c a m a 8 8 8 o$ 8 c En v♦ S O C O �1 O T 1° (/1 VI ri p li ri 0 w 2j a nn O c e a o w 8 N 3 aj U 'O i.E Q J _a $ 5 L Y Y m Q n m c LL G L� S V u a 0 J N j ° n n 3 E 'Nry 't LIELON V cn cn OO OL N'�N�• ••.�LL NNN I > > > > > fI > > (v° > > > > > > > > > > > > > > > > bw° > > > o° °o °o o o °o o° o° o o o o o° o° D° 0 0 (o°. �D° E H o co 0 Nv o 0 c o� D o U o o ° f- O g 'U nc v OIo v m m'^ F F S'T n vo o p ° m u'2 an6ur�4� l�l olac°��mi nnn n's i,c c�a'��` -0 O O i a` L E 11 0 Q f N N N ? o e e o a y - � 0 ® n a P O$¢ Lp y 2 Q V p�— co a —a e_f �' � • O � IL . � 0 C? o O ° Y Ed a a u a p1 o ii S n 8 -}°. X O O N' N j N Q w$ li LL m a N °> f o O > V O T u 9 a E' m _ o m " a a X W O ^ z y _ O 33 m 'o ry tl Io G C `� is N _� f it F zz in° f 3 3 > > r,'s - 3 �D .a ! w° �o a a a a a a a 'a° a !a h a _$ ;a v° v° o° o° o° o° �° v° �a° o° o° o° �° a° •o° ° O 'c ° 0 m I m o U o b a d a o o m d = y - o 0 0 vo `v Q Q 3? 3, Uo E m m cO- N'? E U °> o c m o c n m° 3 3 0 `o `o p H O 1 O D OI o U d N u# o G D E_ N 3 0 3$ rc o..o N V N i- 0 n$ v ° o i ° °' o 0 0 0' ° E E E q Gp p pU m S p°O d 00 pNp¢a 2V VNN;N; i v' tUaz -jo 22 >a U Id y y y� ° OO O �a �i 0 s �s =,�rnmc � obi mE E r n m E c� m g B a c¢ EE - c F' m> i$ O m= O O F m b c E a c m � c {p m N a pC U N E E E - o m m < Q 3 a E F C ^_I _ �A LL 3 3 LL - - - - c c C�ilr �ry Io r r LL o�i o LL o o o v� F i E f f F n F F f LL F 3 > 5. S. S > o o' > „ „ a° o o° o° a a n° n° n° o° a o a° �v° o° o° o° a° oU i I z o b 0 `o v n � E v p v 5 v b `a LL = v_ ,y u q.a m 5 c o v -m N E, u d u c ° a a d O v p o 0 ? ° n w ° c E ° i - 'o o - o - o �'E c mar E o E° 6 E _o a U 3 c i O z • • AV ARTc GOLD City of Fort Collins Discovery Science Center / Fort Collins Museum BSO Bid Number: 7184 Contact Information: Team Name and Address: Art Guild, Inc. 300 Wolf Drive West Deptford, NJ 08086 Phone: 865.853.7500 Fax: 856.853.0916 Email: igunning@artguildinc.com Name and Title of signing Douglas Zegel team member: President Signature: C� Date: The Guaranteed Maximum Price to the City: $ 4,721,021.00 Addendum 1 Received: December 1, 2010 Addendum 2 Received: December 1, 2010 Addendum 3 Received: January 26, 2011 Addendum 4 Received: February 8, 2011 Addendum 5 Received: February 14, 2011 2. Bid Bond: SECTION 00410 KNOW ALL MEN BY THESE PRESENTS: that we, the undersigned AFT GUILD OF PHILADELPHIA, INC. as Principal, and INTERNATIONAL FIDELITY INSURANCE COMPANY as Surety, are hereby held and firmly bound unto the City of Fort Collins, Colorado. as OWNER in the sum of FIVE PERCENT OF THE BASE BID PLUS THE TOTAL AMOUNT OF ALL ADDITIVE ALTERNATES W ______5�_________� for the payment of which, well and truly to be made,'we hereby jointly and severally bind ourselves, successors, and assigns. THE CONDITION of this obligation is such that whereas the Principal has submitted to the City of Fort Collins. Colorado the accompanying Bid and hereby made a part hereof to enter into a Construction Agreement for the construction of Fort Collins Project, RFP 7184 DISCOVERY MUSEUM EXHIBIT FABRICATION NOW THEREFORE, (a) If said Bid shall be rejected, or • (b) If said Bid shall be accepted and the Principal shall execute and deliver a Contract in the form of Contract attached hereto (properly completed in accordance with said Bid) and shall furnish a BOND for his faithful performance of said Contract, and for payment of all persons performing labor or furnishing materials in connection therewith, and shall in all other respects perform the Agreement created by the acceptance of said Bid, then this obligation shall be void; otherwise the same shall remain in force and effect, it being expressly understood and agreed that the liability of the Surety for any and all claims hereunder shall, in no event, exceed the penal amount of this obligation as herein stated. The Surety, for value received, hereby stipulates and agrees that the obligations of said Surety and its BOND shall be in no way impaired or affected by any extension of the time within which the OWNER may accept such Bid; and said Surety does hereby waive notice of any such extension. Surety Companies executing bonds must be authorized to transact business in the State of Colorado and be accepted by the OWNER. 0 10 IN WITNESS WHEREOF, the Principal and the Surety have hereunto set their hands and seals this zsth day of February 2011 and such of them as are corporations have caused their corporate seals to be hereto affixed and these presents to be signed by their proper officers, the day and year first set forth above. PRINCIPAL SURETY Name: ART GUILD OF PHILADELPHIA, INC. INTERNATIONAL FIDELITY INSURANCE COMPANY Address:300 wolf Drive Thorofare, NJ 08086 • (SEAL) Bernadette M Sandone My commission expires July 26, 2013 • Address: one Newark Center ,P-� NJ 0710 My; AfV No A. Dunn Title: Attorney - In - Fact (SEAL) ALL corporation organized and. existing and appoint'- .: DENISE M. BRUNO, LINDA S. PILLION, MATTHEW J. ROSENBERG, SHERRI L. FEENEY, DAVID Ac JOHNSON, CHRISTINE A. DUNN, MICHELLE G. HIGGINS, DAVID C. ROSENBERG, HARRY C. ROSENBERG, JOYCE M. HOFFMAN, JULIA RAURNET; KIMBERLY G. RIVELY King of Prussia, PA. its true and lawful atmrney(s) in fact to execute, seal and deliver for and on its behalf as surety, any and all bonds and undertakings, contracts of indemnity and other writingsobligatory in the nature thereof, which are or may be allowed, required or rmitte byy law, stature, rule, regulation, contract or otherwise, and the execution of such".instrument(s)in pursuance of these presents, shall be as bindpuig upon die said INTERNATIONAL FIDELITY INSURANCE - COMPANY, as fully and amply, to all intents and: purposes, as if the same had been duly executed and acknowledged by its regularly elected officers at its principal office. This Power of Attorney is executed, and mayy be revoked, pursuant to and by authority of Article 3-Section 3, of the By -Laws ado red by the Board of Directors of INTERNATIONAL`FIDELITY INSURANCECOMPANY at ameeting called and: held on the 7th day of February, I974. The President or any Vice President, Executive, Vice President, Secretary or Assistant Secretary, shall have power and authority (1) To appoint Attorneys -in -Pact, and to authorize them to execute on behalf of the Company, and attach the Seal of the Company thereto, bonds and undertakings, contracts of indemnity and other writings obligatory in the nature thereof and, (2) To remove, at any time, any such attorney -in -fact and revoke the authority given. Further, this Power of Attorney is signed and sealed by facsimile pursuant to resolution of the Board of Directors of said Company adopted at a meeting duly called and held on the 29th day of April, 1982 of which the following is a true excerpt Now therefore the signatures of such officers and the seal of the Company may be affixed to any such power of attorney or any certificate relating thereto by facsimile, and any such power of attorney or certificate bearing such facsimile signatures or facsimile seal shall be valid and bmdmg upon the Company and any such power so executed and certified by facsimile signatures and facsimile seal shall be valid and binding upon the Company in the future with respect to any bond or undertaking to which it is attached. • IN TESTIMONY WHEREOF, INTERNATIONAL FIDELITY INSURANCE COMPANY has caused this instrument to be signed and its corporate seal to be affixed by its authorized officer, this 16th day of October, A.D. 2007. SEAL " m t 9� STATE OF NEW JERSEY _�' County of Essex INTERNATIONAL FIDELITY INSURANCE COMPANY Secretary On this 16th day of October 2007, before me came the individual who executed the precedingg instrument, to me ppeersonally known, and, being by me duly sworn, said: the he is the therein described and authorized officer of the INTERNATIONAL FIDELITYINSURANCE COMPANY; that the seal affixed to said instrument is the Corporate Seal of said Company; that the said Corporate Seal and his signature were duly affixed by order of the Board of Directors of said'Company. - - \YNYHit.lrlllrr 01,VAZ ." IN TESTIMONY WHEREOF, I have hereunto. set my hand affixed my Official Seal, ` P OL ' �� ' at the City of Newark, New Jersey the day and. year first above written. 3 3 'g4\G A4' 06 ptiterrNEI011 +. ie undeisigned officer"of INTERNATIONAL FIDELITY of Attorney and afftdavn, and the copy, of the Section of 0 E HOME OFFICE OF SAID COMPANY, and that the sat rnev has not been revoked and is now in full force and eff NOTARY PUBLIC OF NEW JERSEY y Commission Expires March. 27;. 2014 y certify! that I have compared the foregoing copy of the rth irl. mid Power of Attorney, with the ORIGINALS ON of the whole of the said originals, and that the said Power rtetraTinw- _. zy