Workbook for Planning Interpretive Projects

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Developed by

Mary A. HelmichInterpretation SectionPark Services Division

1997

Workbook for

Planning Interpretive ProjectsinCalifornia State Parks


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____________________________________________________________________________________________

WORKBOOK FOR PLANNING INTERPRETIVE PROJECTS IN CALIFORNIA STATE PARKS

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

Additional copies may be obtained from:

California State ParksPark Services DivisionInterpretation Section

(916) 654-2249


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ACKNOWLEDGEMENTS

ACKNOWLEDGEMENTS

When a committee, composed of DonnaPozzi, Pauline Spear, Robin Holmes,Philip Carey, Richard Clark, and MaryHelmich, began formulating a trainingworkshop for preparing interpretiveplans within California State Parks, itbecame clear that a reference bookwould be needed. As no currentguidelines were available within the

Department, the committee decided toutilize the workshop participants'previous interpretive experience tocreate a planning "workbook." Theconceptual format for the trainingprogram was devised by Mary Helmichand it became the basis for thisWorkbook.

In September 1996, class participants inthe California State Parks' InterpretivePlanning Workshop, brought togethermore than 500 years of interpretiveplanning experience. Many of the ideasthey shared are represented in thisWorkbook. Their names are listedbelow, along with other contributors whohave helped in its preparation.

Appreciation is given to Robert Hare forhis earlier guidelines for General PlanInterpretive Elements. Also, specialthanks are extended to Rob Wood, JohnWerminski, Sharon Mallory, Bob Dunn,and particularly to Patricia Morris for herfine editorial skills.

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

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

Nancy MendezBill MennellDarci MooreEdra MoorePatricia MorrisDiana NewingtonDonna PozziKris QuistSteve RadosevichPauline Spear

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


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WORKBOOK FOR PLANNING INTERPRETIVE PROJECTS IN CALIFORNIA STATE PARKS

ii

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

HOW TO USE THIS WORKBOOK..........................................................................4THE ROLE OF PLANNING IN INTERPRETATION.................................................5WHY IS THIS PROJECT NEEDED?........................................................................7

ASSEMBLING A TEAM...........................................................................................9ASSESSING THE EXISTING SITUATION.............................................................11REQUIREMENTS and...........................................................................................17SPECIAL CONCERNS..........................................................................................17PLANNING STRATEGIES..................................................................................... 36

OUTLINE FOR WRITING AN INTERPRETIVE PLAN ..............................................52BRIEF OVERVIEW OF THE PROJECT. 52SUMMARY OF EXISTING CONDITIONS AND SPECIAL CONCERNS................53GOALS AND OBJECTIVES................................................................................... 53THEMES................................................................................................................ 54OVERALL INTERPRETIVE DIRECTION...............................................................56

VISITOR FLOW PLAN(S) ...................................................................................... 58INTERPRETIVE STATIONS.................................................................................. 59

AND MEDIA ........................................................................................................... 59SPACE FOR OTHER ACTIVITIES........................................................................63SAFETY AND SECURITY...................................................................................... 63PRELIMINARY COST ESTIMATES.......................................................................64POTENTIAL PROJECT PHASING ........................................................................64REFERENCES.......................................................................................................64

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

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


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BEFORE YOU BEGIN: How to Use This Workbook

BEFORE YOU BEGIN

HOW TO USE THIS WORKBOOK

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

them.

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

use the blank pages at the back of thebook.

The workbook is organized into sevenmain sections. The BEFORE YOUBEGIN section takes you step-by-stepthrough the research and analyses thatmust precede any well-conceivedinterpretive plan. Record your park'sspecial requirements, concerns,concepts, and ideas, along with other

pertinent notes in the spaces provided,to begin focusing your plan. After thisevaluation is complete, decisions can bemade that will be reflected in the writteninterpretive plan.

Use the OUTLINE FOR WRITING AN

INTERPRETIVE PLAN to organize theessential elements that will comprise

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

Most plans require SUPPORT

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

organize or develop these materials.

The APPROVAL PROCESS drawsattention to the procedures necessary togain project approval. FOLLOWTHROUGH picks up the process fromworking drawings, finished text, etc.,through contracting, installation, andmaintenance---the steps that transformyour vision into reality.The last section, EVALUATING and

MEASURING SUCCESS, takes a closelook at the final, completed interpretiveproject to help you assess your project'sachievement. Did it meet the goals andobjectives outlined at the plan's outset?Were all the participants content withthe final product? Was the public


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______________________________________________________________________________BEFORE YOU BEGIN: The Role of Planning in Interpretation

supportive?

Terms often used in the interpretiveplanning process have been included inan Interpretive Glossary in the

APPENDIX. Definitions are offered toaid communication among interpretiveplanners. Also in the Appendix are a listof Selected Research Institutions inCalifornia and a Bibliography forInterpretive Planning.

Adapt this workbook to meet your ownparticular interpretive planningrequirements. Although every projectwill be unique, there should be sufficient

flexibility in the workbook toaccommodate nearly every interpretiveplan. This is a "living" document. Anysuggestions you may have for improvingthe Workbook should be addressed tothe Interpretation Section of ParkServices Division, whose staff willproduce new editions as needed.

THE ROLE OF PLANNING ININTERPRETATION

The main purpose for any interpretiveproject in California State Parks is tocommunicate with visitors.Interpretation can relate newinformation, stimulate the senses,challenge the imagination, as well asincite new perspectives. Interpretationenhances the public's understandingand enjoyment of the natural, cultural,and recreational resources in theCalifornia State Parks System by

encouraging appreciation of their values.Interpretation not only enables visitors

to better understand their relationship tothe environment, but also helps topromote the preservation andsustainable use of resources within andbeyond State Park boundaries.

Interpretation is founded on the premisethat knowledge deepens the parkexperience, providing lasting benefitsnot only to individuals, but also to

society in general. The formalstandards for interpretation, establishedby Freeman Tilden in 1957, remainrelevant today. His approach tocommunicating with the public stressedsix interpretiveprinciples:

I. Any interpretation that does notsomehow relate what is being displayedor described to something within the

personality or experience of the visitorwill be sterile.

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

III. Interpretation is an art,

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

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

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

man rather than any phase.

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


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______________________________________________________________________________BEFORE YOU BEGIN: The Role of Planning in Interpretation

be at its best it will require a separateprogram.Tilden's principles have stood the test oftime. In more recent years, Sam H.Ham in his book, Environmental

Interpretation, has distilled theinterpretive approach to four main ideas:

1. Interpretation is pleasurable.

2. Interpretation is relevant.

3. Interpretation is organized.

4. Interpretation has a theme.

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

The place of interpretationremains unclear in part because manyinstitutions have only a vague notion ofwhat "interpreting" means. For many it

seems to mean merely doing descriptivehistory or narrating stories. Stories canbe important but to truly interpretsomething, to truly interpret that story,we have to dare to suggest what itmeans. To interpret something meansultimately to evaluate it, thoughtfully andcritically. This means museums have tostep outside their own culture and itsprevailing wisdom to discover andevaluate the ramifications of whatever

topics they study. It means they have totake an informed stand based onresponsible and extensive analysis.Putting it in different terms, interpretingmeans demonstrating why somethingmatters, how it has made a difference.Ideally, interpretation helps us gain not

just knowledge but that rarer and moreprecious commodity, wisdom.Interpretation does not just inform us butpushes us to a deeper and more subtleunderstanding of some aspect of the

world around us. Really interpreting is adifficult and challenging business. Onlya few museums really grasp this. Onlya few grasp it because most historymuseums still bear traces of theirunreflective, celebratory origins. Andregardless of their public posture, manymuseums still adhere to---or are trappedin---old ways, old assumptions, oldvalues.

California State Parks' interpretivefacilities provide visitors with the mosttangible evidence of the work theDepartment performs and its worth.These places, that are so critical for thecommunication of our messages,require a substantial commitment oftime and energy directed towardplanning, to insure we properlycommunicate with the visiting public.Too frequently interpretive facilities

prove not only to be very expensive toproduce, but also fail to meet theplanners' original vision or the public'sexpectations.


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______________________________________________________________________________BEFORE YOU BEGIN: Why is This Project Needed?

What went wrong?

The process of interpretive planningchallenges us to learn from pastmistakes, to understand our audience,

the resources at hand, and the ideasthat must be communicated. It can belike walking a tight rope, balancingpublic use and access with resourceprotection, weighing design conceptsagainst project funding, or steadyinglabor-intensive historic accuracy withavailable maintenance resources.Properly analyzing your situation, settinggoals and objectives, establishingthemes, researching content, creating

workable design concepts, preciselybudgeting the project, and evaluating itsstrengths and weaknesses, before andafter implementation, are key to thesuccess of a project.

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

money wisely spent.

Useful References:

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

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

Ham, Sam H.Environmental Interpretation: A

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

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

Interpretation of Cultural andNatural Resources. Venture Publishing,

Inc. State College, Penn., 1995.

Sharpe, Grant W.Interpreting the Environment.

John Wiley & Sons. New York, 1982.

Tilden, FreemanInterpreting Our Heritage. The

University of North Carolina Press,Chapel Hill, 1977.

WHY IS THIS PROJECT NEEDED?

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

Questions should also be asked aboutthe project's feasibility:

Are there sufficient resourcesavailable---funding, staff, existingcollections, etc.?

Does the interpretive significanceto the park warrant the anticipatedexpenditures of money and resources?

Are staff available to work on theplanning team?

Is this the right time to begin theproject?

Will this project duplicate existinginterpretation elsewhere in CaliforniaState Parks?


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______________________________________________________________________________BEFORE YOU BEGIN: Why is This Project Needed?

Consider the value of the following tothe park:

no interpretation available

preservation of park resources principal park themes not met

orientation to new areas needed

out-of-date interpretation

worn-out facilities

old technologies

visitors aren't interested

new information available

facilities improved/expanded

new funding available

visitation/visitors have changed

long-term priority for park growing interest in subject

recently donated collections

recently donated property,building, or site

traveling exhibit to highlight park

exhibition to complementtraveling exhibit

project will attract new visitors

safety concerns

park resources not accessible

new technology available project to complement staff

activities

staff availability

anniversary date of an event

political priority

STOP!! Are you ready to proceed? Isthe project feasible? If there is no staff

time available or funding/support in theforeseeable future, consider postponingthe project's planning for a time orreconsider the project altogether.

Example for a project's justification:

Information for visitors at_____________ State Park isinadequate. Orientation to the park's

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

months.

Now, justify your project:


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______________________________________________________________________________BEFORE YOU BEGIN: Assessing the Existing Situation

audio-visual production

teachers' guides & packets

brochures, exhibit catalogs

fund raising

public relations

promotional events follow-up evaluation

warranty work

revisions to the project

Planning may proceed more rapidlyduring the off-season, when there areless demands upon staff. In someinstances, the planning workload mayfall to one or two people. They mustmake sure that the lines of

communication remain open to the restof the park staff and any interestedpublic. Involving staff at all levels isimportant.

Be sure to discuss the project with thefollowing individuals:

park superintendent

visitor services staff

park visitors cooperating association

all staff

park interpreters

curator, collections manager

special interest groups

organizations providing funding

historians

biologists

archeologists

recreation specialists

maintenance staff ethnic/cultural group representatives

media experts

landscape architects

disabled community representatives

conservators

designers/artists

educators

docents/volunteers

adjacent landholders

interested public

staff in related agencies

Chamber of Commerce

Identify the individuals who will worktogether as the project planning team

and their respective roles.

Develop a plan for communicating(information received and delivered)with the above people in public

meetings, informal gatherings, one-on-one, newsletters, workshops, etc.


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ASSESSING THE EXISTINGSITUATION

Planning interpretive projects begins

with the evaluation of existingconditions. The opportunities andconstraints that they present must beunderstood fully before your project canadvance.

Planning Documents

Be aware of planning that has precededthis project, and how it may influencethe project's direction. What planning

documents have been developed for thepark over the years? Is there a GeneralPlan for the park, and what directiondoes it set for the park? Is this projectone of the objectives consideredessential for meeting those aims? Whatconcepts should be incorporated intoyour interpretive plan?

Review:

general plan

interpretive prospectus general plan amendment(s)

management goals and practices

Department Administrative Manual

Department Operations Manual

scope of collections statement

previous interpretive plans

old furnishing plans

earlier exhibit plans

feasibility studies

historic structures reports

resource inventory(ies) unit files, unit histories

inventories

cooperating association planscity/county general plans

Note any relevant documents and any

key concepts they may contain:


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The Interpretive Project.

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

uniqueness.

Highlight any of the following factors thatmay apply:

significance of the resources

location of the project

new facility

existing facility adapted for project

remodeling existing facilities

temporary installation permanent installation

part of 5, 10, or 20 year plan

adapting structure for new use

no facilities extant

Indicate the general opportunitiesand direction that interpretive effortsshould take:

References and Resources

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

sources. One reference may lead youto other pertinent materials.

Checklist:

department resource inventories

historic structures reports

special studies

archeological reports photographic albums

archival materials

museum collections

recreational opportunities

natural histories

patterns, cycles, processes

adaptations, interactions, behaviors

cultural histories

landscape features

historic structures

books, publications diaries

historic graphics

recent photographs

existing exhibits

field notes

controversial issues

institutions with pertinent collections

resource people

oral histories

correspondence files

Internet previous land owners

WPA reports

unit files

long-time park users includes knowledgeable park staff

and retired employees.


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Once you have determined the kinds ofresources that could be available foryour project, investigate where theymight be housed. Consider state parkslibraries, museums, archives, the

department's central files, localgovernment offices, universities, privatecollections, etc. Use the referencesbelow to help you compile a list of thelocations possibly holding relevantresources for your project. For moreinformation on research refer toPlanning Strategies: Research Design(page 38).

Useful References:

APPENDIX B: Selected ResearchInstitutions in California

Guide to California State ParksPhotographic Archives.

California State Parks.Sacramento, June, 1996.

Morris, Patricia, ed.California State Parks Museum

Directory. California State Parks.

Sacramento, May, 1995.

The Official Museum Products andServices Directory.

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

California Library Directory, 1996.Library Development Services

Bureau,

California State Library.Sacramento, 1996.Identify relevant resource materials

and where they can be found:

Related Resources and Interpretation

Parks, and the interpretive programsthey offer, do not exist in a vacuum.There may be existing interpretive

facilities and programs outside the parkof a similar nature to those beingplanned. Be sure to investigate them. Itmay not be worthwhile or appropriate tocopy existing interpretation handledsatisfactorily at other nearby facilitiesand programs. Contact and seek advicefrom other nearby interpretiveprofessionals. Ask them aboutprograms, facilities, budgets, audiences,and funding sources. Inquire if there is

a need for the type of facility beingproposed.

Check with:

existing museums local historical societies local, government operated parks commercial parks national forests

zoos commercial tours concessions national parks other state parks other community

programs/events city government county government other state agencies colleges/universities

non-profit groups botanical gardens science centers resource centers


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

in the community.

Useful References:

Morris, PatriciaCalifornia State Parks Museum

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

The Official Museum Directory.The American Association of

Museums. Washington, D.C., publishedannually.

Smith, Betty PeaseDirectory: Historical Agencies in

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

Note nearby interpretive facilities andtheir focuses:

Park Visitors' Profiles

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

How long do they plan to stay? What dothey gain from their visits?

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

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

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

interests resource familiarity general ages time availability social context of their visit

mobility patterns socio-economic background income male/female ratio proximity of residence to park access to the park motivation for coming use of leisure time relationship to subject matter school use education levels

educational needs language skills disabilities ethnic/cultural identities groups using the park* foreign visitors fee resistance

*Organized groups may include:families, bus tour companies, day

camps, scouting organizations, clubs,churches, fraternal organizations,historical societies, etc.

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


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Increasing awareness of youraudience's needs can take severalforms. Ask questions. Involve peoplefrom within a culture that will be thesubject of your interpretation. Use focus

groups. Try surveying your visitors.From your analysis, what do you believeare your visitors' requirements andexpectations (beyond their immediateneed to use the restroom, desire to shopfor gifts, or to sit in an air conditionedspace)? Understanding what motivatesvisitors to come to parks and to seek outinterpretation will enable you to use thebest strategies and methodologies forreaching your audience.

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

staff, but also in terms of a site orbuilding's management andpreservation.

Useful References:

Ambrose, Timothy and Crispin PaineMuseum Basics. International

Council of Museums (ICOM). NewYork, 1993.


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

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

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

Corvallis, Ore., 1992.

McLean, KathleenPlanning for People in Museum

Exhibitions. Association of Science-Technology Centers. 1993.

Who is your present audience:


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Who is your potential audience?

Who is your target audience?


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______________________________________________________________________________BEFORE YOU BEGIN: Requirements, Special Concerns

REQUIREMENTS andSPECIAL CONCERNS

Interpretive Objects

Interpretive collections comprise objectsthat contribute to the sense of place.These may include items that areoriginal to a site, period antiques ormodern reproductions, or objects thatotherwise support various interpretivethemes. When planning an interpretiveproject, consider the park's interpretivecollections. Their records, and anyproposed major acquisitions need to be

analyzed. In consultation with the park'scollections manager, assess thecollection's strengths, weaknesses,omissions, conservation needs, andsecurity. (Reproduced objects,including those intended for use in livinghistory programs, demonstrations, andenvironmental living programs, areusually not considered part of the park'sformal collections.)

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

Be aware of potential sources for

objects in your park. Collections mayhave been kept in storage---long heldfor future exhibits and changing exhibits.Also, libraries or archives may be

treated as a collection when they areintrinsically valuable to the park projector are of research importance.

Consider: Why, how, when, and by whomwere collections developed; be aware ofany legal restrictions relating to acollection or individual objects;

The types of objects in thecollections, for example: "The SmithFamily furnishings---a complete set of1890 tinsmith tools and equipment";

Check the presence or absenceof museum management records(catalog cards, gifts and loandocuments, etc.), specifically notingrecord types; and

Note other pertinent backgroundinformation pertaining to the collection.

Acquisitions for the interpretive projectshould be in agreement with your unit'smission and policies, as stated in thepark's general plan (if available).Generally, acquiring collections, otherthan reproductions for hands-on use bystaff or docents, should be guided by awritten scope of collections statement(approved by the DistrictSuperintendent), or specific approved

furnishing (or exhibit) plans as they ariseout of the development process.Because storage, registration, andmaintenance is expensive, acquisitionshould concentrate on immediate ratherthan on future needs. Before acquiringany new objects, consider the adequacyof available facilities and the staff timerequired to protect and preserve them.Again, any acquisitions should be madein consultation with the park's collection

manager.


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How will objects be used:

hands-on, discovery areas visible storage living history programs

travelling exhibits outreach programs computer displays formal exhibit cases "suitcase exhibits" for schools research replica sales indoors outdoors house museums historic setting exhibits

photographic displays demonstrations---scouts, schools environmental living programs guided tours exhibit van/trailer illustrations in publications

Facility or program use will dictate thekind of objects that are gathered for aninterpretive project, whether original,typical of the period, reproduction, or

replica. Individual objects vary indurability and significance. Theirselection must conform with theirexpected use. Each must be evaluatedby a museum curator on a case-by-casebasis before they can be authorized foruse in a project.

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

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

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

An image may be the best means

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

Interactive interpretive methods---touch tables, living history, andenvironmental living programs---all

involve intensive "hands-on" use ofobjects. Although potentially meaningfulto the user and visitor, thesedemonstrations accelerate wear andmay result in the total loss of objects.Extended hands-on use is inappropriatefor most museum objects, and modernsubstitutions should be sought. Hands-on use of artifacts requires thecompletion of an "Authorization forExtended Hands-On Use" form (DPR

934).

Interpretive objects in a unit's collectionare subject to the same policies andprocedures that affect all museumcollections under the care or custody ofthe Department of Parks andRecreation. These are outlined in theDepartment Operations Manual and inthe Museum Collections ManagementHandbook. Objects acquired as an

interpretive asset and maintained as aresource are a continuing responsibility.They require research, curatorial care,

conservation and preservation. It isimportant to carefully consider andreview the Department's needs whenconsidering collections acquisitions.


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Ongoing collections management tasksare required of every park withcollections. Objects on exhibit and instorage must have a completed

housekeeping/maintenance schedule(DPR-473 form) on file to ensure theirproper maintenance. Staff should betrained in curatorial methodology toproperly preserve and interpret thecollections.

Museum collections security involvesprotecting exhibited and stored objectsfrom environmental damage, naturaldisasters, and from intentional or

unintentional human interaction. Youshould discuss with the collectionsmanager the security measures in placeat your park and those securitymeasures that will be needed for yourproject. Emergency plans that addresstheft, vandalism, flood, earthquake andfire dangers should be developed bystaff and incorporated into the overallsecurity for new and existing exhibitsand storage areas.

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

Useful References:

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

Department of Parks andRecreation. Sacramento, 1986.

Notes on Collections being

considered for the InterpretiveProject:


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Graphics

Graphics are critical to nearly everyinterpretive project, whether used asperiod objects for living history activities,

depicting lifeways or events in an exhibitat a visitor center, or illustrating anorientation video. Graphics can be:petroglyphs and pictographs, historic ormodern photographs---black and whiteor color---sketches, woodblock prints,etchings, lithographs, paintings, maps,charts, architectural drawings, films,video tapes, computer-generatedimages, and works created specificallyfor a project. They may represent a

time period, a culture, spacial distances,a landscape, or an emotion---oftencapturing the imagination and explainingwithout words.

Graphics can be located through anumber of sources. When going to aninstitution to research images, be sureto bring along an outline of ideas andconcepts that may be incorporated intothe project. During early planning

stages, photocopies of an image may beall that is needed. Create a GraphicsInventory, referencing the images beingconsidered for the project (seeSUPPORT MATERIALS FORINTERPRETIVE PROJECTS). Later,when more definite decisions are madeabout the project, better quality imagescan be obtained.

Explore the following sources for

graphics:

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

California State Library college & university libraries

1

Library of Congress California State Parks' libraries

2

public libraries3

private libraries and archives

4

California State Archives National Archives California Historical Society historical societies

5

The Oakland Museum historical museums

6

natural history museums government agencies college & university departments private collections

Smithsonian Institution National Park Service United States Geological Survey National Geographic Society American Film Institute commercial archives/collections

7

business & corporate archives8

publishers newspapers churches art museums & galleries

Internet

Examples:

1 UC Davis Shields Library,Stanford University Special Collections,Beinecke Rare Book and ManuscriptLibrary at Yale University2 California State Railroad MuseumLibrary & Archives, Marshall GoldDiscovery SHP library

3 San Francisco Public Library,Denver Public Library, New York PublicLibrary4 Society of California Pioneers5 American Antiquarian Society,Worcester, Mass.; Chicago HistoricalSociety; New York Historical Society;


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Oregon Historical Society; San DiegoHistorical Society6 Amon Carter Museum, FortWorth, Texas; Buffalo Bill HistoricalCenter, Cody, Wyoming; Henry Francis

duPont Winterthur Museum, Wilmington,Delaware; Los Angeles County Museumof Natural History; Mystic Seaport; TheThomas Gilcrease Institute of AmericanHistory & Art; Shelburne Museum;Southwest Museum; The Museums ofStonybrook7 Bettmann Archives, Culver Pictures, Pat Hathaway Collection,Solotype, Time-Life8 Wells Fargo Bank History Room,

Sunkist Growers

Images selected for any interpretiveproject should:

Engage the visitor;

Convey a message, as well or betterthan words;

Fit thematically;

Not overwhelm the story or object;

and Have the proper copyright

clearances.

It is very important when seekinggraphics for an interpretive project, thatyou obtain an understanding of theircopyright status. Using an image for anexhibition, publication, or film is a formof reproduction that may violatecopyright law, if the work being

duplicated is copyright protected. Besure to investigate its status. Drawings,paintings, prints, etc. older than 75years may be in the public domain andmay not require permission to utilizethem. However, whenever usingimages from another institution, always

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

Useful References:

APPENDIX B: Selected ResearchInstitutions in CaliforniaApplegate, Brenda

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

Notes on Graphics:


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Culturally Sensitive Subjects

California State Parks serves diverseaudiences. Visitors represent manyethnic/cultural groups, as well as foreign

countries. When developing a project,you may be confronted with somepotentially controversial issues. Theteam must decide if and how thismaterial will be presented or addressed.For instance, a question of "voice"

arises when the staff developing aproject is of a different culture than theaudience or the subject of the project.Whose voice will be represented?Whose voice will dominate the project?

Will there be multiple voices expressed?Everyone's perspective or "truth" is not

the same.

Exhibits and interpretive programs arepowerful media. Your programs canaffect how visitors view certain ethnicgroups---not only how they existed inthe past, but also how they areperceived today. The comments heremostly relate to exhibits and programs

illuminating Native American cultures.However, they can apply to anyinterpretive exhibit or program thatpromotes an understanding of beliefsystems and historical points-of-viewdifferent from those held by mostvisitors.

The traditional anthropological approachmay not be the best way to interpretNative American cultures. That

conventional method compartmentalizesvarious aspects of a culture intosubjects: language, settlement patterns,religion, subsistence, clothing andadornment, etc. These divisions areseen as artificial to most Indian people,who view life as a seamless,

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

At the beginning of the planning effort, itis important to involve the elders andspiritual leaders of the Native Americangroup being interpreted, as advisors.Interpretive plans and objects for displayshould be reviewed by them to ensurethe messages are accurate and theobjects designated for display are notsacred or sensitive. Do not assume thatbecause an object is a contemporaryreproduction, it will not be viewed as

sacred or sensitive, even if it is made bya non-Indian. An object may havemeaning to Native Americans becauseof what it symbolizes.

Another important reason to involveNative Americans in an interpretiveproject is to insure the project is incompliance with the Department'spolicies related to the Native AmericanGraves Protection and Repatriation Act

of 1990 (NAGPRA). NAGPRA is alegislated attempt to redress historicinjustices to Native Americans. The lawrequires the repatriation of NativeAmerican human remains and funeraryobjects, including those made toaccompany burials, as well as sacredobjects and objects of cultural patrimony(as defined by the law).

Most materials within the Department's

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


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NAGPRA compliance is beingcoordinated by that division. Havingconsulted extensively with NativeAmerican individuals and groups, thecoordinator may be able to provide you

with the names of Native Americanadvisors in your area.

If the culturally affiliated tribal elders andreligious practitioners feel that certainobjects should not be displayed, it isbest to follow their wishes.Furthermore, if local tribal membersbelieve that an object might be subjectto NAGPRA, California State Parks'Park Services Division should be

notified immediately.The portrayal of Native Americans orother groups should be done withrespect and objectivity. It requires anopenness to new ideas, multiple pointsof view, and diverse cultures. It alsoinvolves proactivity and tolerance. Whatconnotes "respect" among one group ofpeople may not be the same or obviouswhen dealing with unfamiliar cultures.

The following checklist may be helpful:

Identify and involve culturallyaffiliated groups in the planning process.

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

Native American cultures in the

exhibit should be interpreted as "livingcultures," not just existing in the past.Avoid the use of past tense.

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

Avoid stereotypes.

Interpret objects fully andaccurately.

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

Represent objects as being partof a whole cultural system.

Use the culture's language in the

interpretive project. This is an importantelement that demonstrates respect,however be certain translations arecorrect.

Use art produced by NativeAmericans, when possible.

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

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

Useful References:

Five Views: An Ethnic Historic Site


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Survey for California.California Department of Parks

and Recreation. Sacramento, 1988.

Karp, Ivan and Steven D. Lavine, eds.

Exhibiting Cultures: The Poeticsand Politics of Museum Display.Smithsonian Institution Press.Washington, 1991.

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

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

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


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Limitations to Access

There may be a number of seriousaccess issues to be discussed as part ofthe project's planning. Admission to

facilities or activities may be limited byseveral situations, some of which maybe modified.

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

weather architectural barriers

floor loading ceiling heights power supply environmental conditions historic structure natural barriers visitor disabilities subject matter ongoing construction ongoing archeologicalexcavations

habitat sensitivity environmental concerns language barriers lack of staff transportation communication methods nearby parking restrooms entrance fee physical risk equipment

lack of outreach remoteness staff uninformed security periodic flooding

See next section: Barrier-Free Access

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

Note any barriers to access that maybe a problem for your project and

how they might be overcome:


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Barrier-Free Access or OtherAlternatives

There are all kinds of barriers to access.Our state's growing population is

becoming more culturally diverse. Inaddition, more and more foreign visitorsare coming to California. Languagebarriers present an increasing problemfor communication within State Parks.Knowing your audience and their needscan help you to devise solutions forovercoming these barriers.

Parks that offer visitors good physicalpassage to interpretive facilities and

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

Remember, people's personalities arenot consumed by their disabilities. Adisability is but one aspect, and usuallynot the dominant one, of each individual.Everyone likes to be considered a

person with unique feelings, thoughts,experiences, and abilities. Treat each ofyour park visitors as an individual.Many physical barriers are caused byattitudinal barriers which are often theresult of misconceptions and

unfamiliarity.

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

against, or treated separately, becauseof their disabilities. In compliance withthis law, California State Parks may notrefuse to allow a person to participate ina service, program, or activity simply

because that individual has a disability.Programs and services must be given inan integrated setting, unless separate ordifferent measures are necessary toensure equal opportunity. Even if aseparate program is offered, individualsmay choose to participate in thestandard program. State Parks mustensure that communications withindividuals having disabilities are aseffective as communications with others.

When necessary, State Parks mustfurnish auxiliary aids and services toensure effective communication, unlessit would result in an undue burden tostaff or a fundamental alteration of thefacility or program.

Consider how each of the followingmight impact your audience:

signs walkways, ramps, stairs, rails light levels counter and exhibit heights type style and size captioning Braille text assistive listening devices andother aids accessibility levels posted surfaces---flooring, paths, trails

printed scripts of A-V programs large print publications alternative media* parking for disabled visitors easy access to publictransportation seating meeting ADA standards


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talking maps text telephones (TDDs) drinking fountains, restrooms shade-covered areas staff sensitive to hidden

disabilities outreach to disabled communities exhibit text in other languages brochures/booklets in otherlanguages

* Alternative media developedspecifically for disabled visitors:interpretive walks, talks,demonstrations, Braille publications,large print publications, captioning,

assistive listening devices, audio tours

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

Good interpretation always relates themessage to the audience,communicating in a way that is bothunderstandable and provocative to theindividual listener. This requires the

interpretive planner to be sensitive tothe interests and special needs of theentire audience. A range of interactive,touchable, and sensory interpretivefacilities and programs can help toreinforce written or audible informationfor many visitors. Refer toAll VisitorsWelcome: Accessibility in State ParkInterpretive Programs and Facilities forideas, from personal services to thealteration or development of accessible

facilities.

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

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

your project can be made more inclusiveand accessible.

Useful References:

American Association of Museums.The Accessible Museum: Model

Programs of Accessibility for Disabledand Older People. American

Association of Museums. Washington,D.C., 1992.

Porter, ErikaAll Visitors Welcome:

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

Note alternate forms of access that

could be integrated into yourplanning efforts:


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Related Use of the Space/Facility

Parks may develop and promote theircredibility by offering activities andfacilities to complement and support

their interpretive project(s). These mightinclude a laboratory or research space;an auditorium for special events andinterpretive activities; a classroom foronsite school programs; or ademonstration area; to name just a fewexamples. More in-depth or specializedinformation often can be provided inthese facilities that will be of interest tomany people. They can help to createcommunity involvement, pride,

increased park attendance, greaterrevenues, and media exposure.

Special programming can also bedirected toward specific segments ofthat audience, such as school childrenor people with disabilities. Setting asidean area for temporary or travelingexhibitions, for example, can beparticularly useful for showing aspectsof the park that change with the

seasons, or for reflecting upon the site'sspecial relevance to topical issues.Introducing an element of change canencourage return visitation.

Food and drink may be required forspecial occasions like receptions,exhibition previews, eveningentertainment, or cooperatingassociation or corporate/sponsorhospitality events. These uses may

bring in new audiences to thespace/facility, serving people who maynot have previously come to the park.

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

have a cost that can affect budgets,timetables, and daily operations(security, scheduling, supervision ofstaff, etc.). Planning for these activitiesshould be considered well in advance of

the project's final development stages.

Checklist:

contact station security area guest book/register suggestion box temporary exhibits traveling/changing exhibitions

collections storage storage for sales area volunteer storage space restrooms research area library and archives auditorium lounge for staff and volunteers audio-visual area scientific laboratory insect zoo

discovery room planetarium interpretive garden nature trail boardwalk/overlook art gallery aquarium staff offices conference room/staff training

room classroom

conservation laboratory living history programs demonstration area(s) historic re-enactments workroom exhibit design and construction

shop


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period craft work areas Chautauqua stage food service kitchen/catering facilities interpretive sales/gift shop

cooperating association office cooperating association storage janitorial office janitorial storage area and sink picnic area special events activities area rest area for visitors baby changing facilities laundry facilities living history storage space Junior Rangers storage

Junior Lifeguard storage

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

Note proposed adjacent uses andtheir relationships to the interpretiveproject:


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Revenue Generation and AlternativeUses

Give attention to the interpretiveproject's revenue generation potential

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

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

Consider the following revenue sourcesor alternate uses:

entrance fee collection performance venues concession-operated store cooperating association sales receptions banquets, dinners, potlucks

concerts music festivals athletic events folklife festivals competitions demonstrations film festivals

art festivals carnivals handcraft fairs farmer's market orange festival

bird watching/whale festivals parades old-timers day ethnic programs holiday festivals fandangos antique machinery

demonstrations storytelling activities bird watching events eagle tours

fall flyway festivals bat flight breakfast geology walks cemetery tours flower festivals horse-drawn vehicle activities holiday special events harvest fairs jazz festivals staged plays and programs fishing derbies

food festivals commercial tours training programs candle-light tours astronomy/star talks Native American big times weddings radio or television events dramatic presentations special exhibitions fee-based interpretation*

souvenir replicas audio-video tapes audio tapes publications, postcards posters, maps movie location site mail order catalog


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interpretive concession convention site organizational meetings fund raising events film locations

host for conference/workshops exhibition previews informal education programs craft exhibitions dance performances demonstrations of museum skills training events for park

professionals cook-offs rental space

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

Retail sales deserve an entire book

directed toward that subject alone. Tryto reflect the theme and the identity ofyour park project in the range of itemsoffered for sale. People generally likemementos clearly linked to the sitesthey visit. Develop an understanding ofyour audience/customer, their interests,and needs. Let people have access tothe goods. They may be more likely tobuy items they can inspect. Also,remember to budget for a certain

amount of theft and shrinkage(breakage, out-of-date stock, etc.). Tryto meet customer requests, but not atthe expense of your overall objectives.

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

(electricity, counters, storage space,special lighting, sound systems, audio-visual equipment, kitchen facilities, salesarea, etc.) to accommodate proposedalternative uses. Are your planned

activities compatible activities with thestructure(s) and setting(s) of the park?Be sure they are accessible to allvisitors.

Useful Reference:

Porter, Erika R.All Visitors Welcome:

Accessibility in State Park Interpretive

Programs and Facilities. CaliforniaState Parks. Sacramento, 1994.


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

Notes on the project's revenue

generation potential:


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Modifications to the Building orSetting

If this project will be in a natural/culturalsetting, how will it impact the site?

Public Resources Code 5024 requiresthat any building over 50 years of agemust be evaluated for its historicalsignificance. When a building isconsidered significant, 5024.1 requiresconsultation with the State Office ofHistoric Preservation in the earlydevelopment stages of a project.Mitigation of the project's impacts maybe a condition of its advancement.Some aspects of this consultation and

review have been delegated toCalifornia State Parks. Contact yourdistrict historian or the department'sService Centers for advice.

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

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

Checklist: Provide access with the least

impact to the resources andstructures.

Offer alternative methods ofaccess for inaccessible areas.

Limit structural changes.

Document modifications. Be aware of safety

considerations and healthhazards.

Assign and adhere to load limits

in buildings. Preserve the viewshed. Preserve the historic landscape. Complete California

Environmental Quality Act(CEQA) review.

Complete 5024 review.

Notes on possible building or sitealterations:


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Staffing Considerations

The staff of an interpretive facility shouldreflect its nature and purpose.Determine the work that needs to be

performed and ensure that it is clearlysomeone's responsibility. By notidentifying the workload at the outset ofthe planning process, vital operations---administration, maintenance, security,curation of collections, guided tours,etc.---may be left undone. Whenplanning a new project or modifying anexisting facility, consider who will staffand sustain it. Will the development betruly feasible if there is insufficient staff

to maintain it? Will special knowledge orskills be required for the project? Whattraining will employees and volunteersneed?

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

Consider these personnel, their roles,and responsibilities:

cashier/fee collector housekeeper maintenance staff guide custodian grounds keeper archeologist paleontologist

historian on-site conservator park ranger museum director curator interpreter museum technician

archivist/librarian restoration specialist volunteer coordinator docents/volunteers bookstore management staff

security guard public relations/marketing staff park aid trainers/teachers audio-visual specialist

Useful Reference:

Ambrose, Timothy and Crispin Paine

Museum Basics. InternationalCouncil of Museums (ICOM). NewYork, 1993.

Notes:


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Safety and Security

Concern for visitor safety and thesecurity of objects on display shouldbegin with the planning and design

phases for each interpretive facility. Aswith any public or private establishment,your park may be liable for an injuryreceived there. Loss or damage canoccur, whether intentional or accidental,through floods, fires, earthquakes, orother disasters, as well as through theftand vandalism. Develop the project inways that will minimize or manage risks.Security is not only vested in the

physical methods for safe guardingobjects and buildings, but also in thepeople who oversee them and their dailypractices. Exposure to safety andsecurity problems may increase withstaff carelessness, poor design andengineering, inadequate maintenance,or other unsafe practices.

Identify potential risk factors for your

project:

lack of environmental controls cleaning practices tripping hazards hanging objects and rigging heights of overhangs counter heights sharp objects glazing materials lighting---too bright or too dim

open flames, fire electrical safety animal bites, stings, etc. hot objects fragility of objects instability of interpretive objects value of items on display

slippery surfaces height of stairways and ramps

Methods for mitigating threats to safetyand security:

security for collections storage secure large objects safeguard all objects photo documenting inventory daily "walk-throughs" building occupancy limits safety and directional signs sound control available first aid kit emergency plan in place

risk management plan in place security guard first aid/safety training for staff opening/closing procedures cash handling procedures intrusion alarms vandalism defensive plants available phone radio background checks access to sheriff's office

insurance for specialevents/movies

emergency notification guide

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

Useful References:

Museum Security and Protection: AHandbook for Cultural HeritageInstitutions.

International Council of Museums


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

Porter, Erika R.All Visitors Welcome:

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

Ralph, Larry J."Visitor Safety in Exhibit Design

and Production," Exhibitionist, Spring,1993.

Notes on safety and security:

Other Considerations

What about the availability of resourcesfor project development? Will there be astorage area for newly acquired objects

for the interpretive project? Is there apreparation area for cleaning andconservation work, house museummock-ups, preparatory exhibitconstruction, etc.?

While developing the project, considercreating a marketing campaign for thecompleted project to maximize itsimpact. (See the Marketing andPromotion section under FOLLOW

THROUGH for more discussions on thesubject.)

Notes:


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______________________________________________________________________________

BEFORE YOU BEGIN: Planning Strategies

PLANNING STRATEGIES

Project Timetables

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

dates. It is a graphic tool---a flow chartthat details the work to be done.

Briefly, a PERT chart shows therelationship of one activity to another,which steps need to be completed first,as well as any important due dates.Each line or box on the chart is a job,task, or activity that is part of the wholeproject. The lines represent the timerequired to complete each task. The

chart can track work to be donesimultaneously, as well as activities thatmust follow one another. Overlappingand interrelated activities are alsoidentified.

Work backwards from the proposedopening date to establish allotted timeframes for aspects of the project.Timelines for projects need to matchbudget allocations. Be realistic. Will

there be other park commitments thatneed to be addressed in this sameperiod? When creating a schedule,allow sufficient flexibility toaccommodate unanticipated problemsor delays. Some activities may requireextensive lead time. These may include

research, or the reproduction orconservation of objects to be used in ahistoric setting exhibit, 5024 andCalifornia Environmental Quality Act(CEQA) reviews, etc. Other work may

be interdependent or may occursimultaneously, such as the creation ofan exhibit catalog or promotionalmaterials.

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

Assemble the Team Plan to---

Assess the Existing

SituationDefine Goals & ObjectivesResearch (consider

special situations--e.g. seasonalchanges)

Evaluate CollectionsEstablish ThemesInventory GraphicsPrepare Audio-Visual

Elements Write the Interpretive Plan

Write the Furnishing Plan Prepare Preliminary Designs Develop Preliminary Exhibit Plan Budget---Consider ProjectFeasibility

Revise Project ("too expensive"or "not achieving objectives")

Circulate for Department Review Involve Public in Review Arrange for CEQA, 5024 Review Acquire Objects---

PurchaseReplicatePreserveConserve

Research Copyright/Permissionto Use

Develop---


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______________________________________________________________________________


Final Project DesignTextObject Preparation for

ExhibitCatalog Artifacts

Acquire Audio-VisualEquipmentDevelop Audio-Visual

ProgramTest Ideas on Focus

Groups


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______________________________________________________________________________


Contract---PrepareAdvertiseAward ProcessContract Management

Construction---Carpentry, etc.Walk-ThroughsInstallation

Train Staff/Docent Develop Maintenance Schedules(DPR 473 forms)

Marketing and Promotion---Prepare BrochureDevelop Exhibit CatalogCreate Teachers' Guides

Write Press ReleasesProduce souvenirs,

replicasPromote Events

Follow-Up---EvaluateWarranty WorkRepairsRevisionMaintenance

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

Useful Reference:

Bryan, Dave"How the Exhibit Builder Can

Avoid Scheduling Mishaps," Exhibit

Builder. 6, No. 6, 1989, pp.34-40.

Prepare a draft timetable for the

project.

(Refer to the example on the next page.)


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______________________________________________________________________________


Example of a project timetable.


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Defining Measurable Outcomes

Viewing and critiquing interpretivefacilities elsewhere can help your teambuild a better understanding about the

project's desired outcome. Also, visitingother sites may provide ideas that mightwork for you, as well as a betterunderstanding of those that won't.

What kind of physical and emotionalinvolvement do you want visitors to havewith the park's resources? Determinewhat it is you would like to accomplishwith the project from the outset. Writtenstatements of goals and objectives will

become the basis for program policies.They will also provide the public with aclear understanding of the role andpurpose of your proposed project. Setyour goals early. Keep them simple.Goals broadly outline whatinterpretation aims to accomplish.Objectives describe how the goals willbe met in a general way.

Interpretive Goals are general

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

Examples:

Visitors will be able to experiencethe park using their different senses.

Visitors will gain an appreciationfor archeology and its role in revealing

the history of Monterey State HistoricPark's Cooper-Molera Adobe.

Visitors will understand how thedifferent cultures in Old Town SanDiego's past related to the soil and thelandscape of the region.

Visitors will be oriented to Shasta

State Historic Park's buildings and sites,to help them gain the most from theirvisit.

Visitors will learn the importanceof preserving and protecting natural and

cultural resources in the park. The staff at Castle Crags StatePark will develop methods for showingpark trails to visitors who cannot walkthem.

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

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

Examples:

Every visitor will be able toidentify the work performed by an earlyCalifornio vaquero.

Grade school students willremember the reasons why Rootvillewas established.

High school students will be ableto describe what the daily regimen waslike for an enlisted soldier at Fort Tejon.

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

Examples:

Grade school children will leavethe park with one or two simple resource

conservation measures to use at home. A majority of park visitors willlearn about the native plants in the areaand will be able to identify many of themin the park.

Visitors will find the historicbuildings in the park, after being


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______________________________________________________________________________


oriented to their location in the visitorcenter.

Emotional Objectives---How do youwant visitors to emotionally relate to the

resources? How will they change oralter their attitudes? What values doyou want them to take home?

Examples:

Visitors will develop an empathyfor the Chinese, who worked in the goldfields of California.

Visitors will understand the valueof recycling and will practice it regularly.

Visitors will value the pygmyforest, treating it with respect and asense of stewardship.

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

interpretive.

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

development and installation.

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

the interpretation? Did their intellectual,emotional, and behavioral responsesagree with your original intentions?Were visitors satisfied with theirexperiences? Interpretive project

development should be a continualprocess of setting goals, verifyingresults, and refining the project. Only inthis way can you can be assured thatyou are communicating with youraudience and that they understand yourmessage.

Useful References:

Doering, Zahava D. and Andrew J.Pekarik

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

Veverka, John A.Interpretive Master Planning.

Falcon Press Publishing Company.Helena, 1994.

Note your preliminary interpretive

goals and objectives for the project:


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Research Design

After assessing the park's resourcesand establishing the interpretive goalsfor the project, you will need to

formulate a plan to guide research. Askyourself, what is the "big idea" you wishto convey through your project?Examine the park's general planelement or interpretive prospectus forthematic direction. To help you stayfocused and organized, outline theconcepts to be interpreted. The outlinewill allow you to understand what youknow (or don't know), what is available,as well as any limitations or

shortcomings in the materials. This willserve as your research design.

You may need to address theseinformational needs in your research:

The identification of resources---plants, animals, historic sites, buildingstyles, collections;

Factual points---names, dates,events;

Resource issues---naturalprocesses, implications of humanactivities on species;

Cultural perspectives---multiplepoints of view, cultural practices; and

The values, meanings, andphilosophies to be represented andinterpreted by the project.

Research will probably lead you to newareas of concern or to other valuable

information that might be incorporated inthe project. (Some subject areas,because of their complexity, may requirethe services of an outside expert orscholar.) Projects should be basedupon the most up-to-date informationavailable. Be sure to allocate enough

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

original focus. Refer to your outlineoften.

When looking for materials for yourproject, be guided by the list of relevantresources and their locations, gatheredearlier by your team. (See pages 10-11,

Assessing the Existing Situation:References and Resources.) Compile alist of collections and institutions withpertinent materials to be examined andspecific questions or concerns to beaddressed, to insure that research is

done carefully, comprehensively, andeconomically.

Develop regular procedures for theconduct of your research. Record thedata you collect in a systematic manner.Use 3" X 5" cards and type your notes

or record the information using acomputer database. Be neat! Ifpossible, photocopy materials to verifyerrors in transcription. Be sure to keep

track of authors, titles, dates, recordbooks, etc.---any details about theinformation and where it came from.

Look for appropriate images, as well.Historic photographs, drawings,paintings, maps, etc. may proveinformative and useful for illustrations inthe final project. (Review your notes onGraphics---see pages 18-19.) Also,locate objects---historic artifacts,

reproductions, modern equivalents, ormounted specimens, etc.---that might beapplicable. (Refer to your notes onInterpretive Objects--see pages 15-17.)If possible, photograph items that mightbe of value to the project. Note theirsize, weight, condition, catalog number,


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

the information and sources in asystematic manner.

Remember, not everything has beenrecorded or saved. Research entailsfinding those things that have survivedand analyzing them. As you gather theinformation and materials, examinethem critically for any biases. Askyourself, are there errors? Is eachaccount objective? Was the author onsite at the time he/she wrote about anevent? Could he/she fully appreciate

the situation? In general, a report orstory's value increases in proportion toits nearness in time and space to thewitness and the events he/sheobserved. Do not assume that becausesomething or someone is old, that thematerial you are examining is factual,tasteful, logical, well-designed,organized, up-to-date, old-fashioned,unique or "typical of the period," etc.

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

A primary source is from anevent.

A secondary source is aboutanevent.

Primary sources are generallyconsidered more reliable thansecondary sources for information. Try

to base your interpretive project onprimary evidence whenever possible.

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

arrange the material. Keep in mind theproject's interpretive goals andobjectives, which have been identified inthe previous section. (See pages 36-37,Planning Strategies: Defining

Measurable Outcomes.) Make sureyour information is accurate. Bestraightforward in your interpretation ofthe material. Present it in a manner thatcommunicates the broadestunderstanding of the subject. There isnever an excuse for inaccuracy.

In reporting your research clearly andhonestly, cite references, interviews,graphics, and interpretive objects with

footnotes or endnotes, and keep abibliographic list at the back of thedocument. You may wish to follow thebibliographic format employed in thisWorkbook's "Useful References"sections. Your written report willbecome one of several resources usedto develop the final interpretive plan. Itwill also serve to justify and support theproposed direction taken by the projectand will become one of the principal

references used by interpretersdeveloping programs on site. Yourreport's usefulness will be dependentupon its thoroughness, accuracy, andrelevance.

In summary, use the following basicresearch procedures:

1) Select a topic/theme.

2) Outline the concepts to beinterpreted.

3) Find the facts. Track down allrelevant information.

4) Record the information


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systematically.

5) Critically evaluate the informationcollected.

6) Arrange the material in a logicalpattern.

7) Report your research resultsclearly and honestly.

Consider how important research is toCalifornia State Parks and to its role asguardian and interpreter of this state'snatural and cultural resources. The

public has bestowed their trust in theDepartment to properly representCalifornia's heritage. The Departmen

Workbook for Planning Interpretive Projects

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