Goals are general intentions; objectives are precise.  Goals are intangible; objectives are tangible.
Goals are abstract; objectives are concrete.  Goals are not measured; objectives are measured.

Example exhibit goal: Provide interpretive opportunities to enhance visitors’ appreciation of this area.

Example exhibit objective: Double the number of visitors each year for the next two years.

As an interpretive planner of a creative firm, I prefer exhibit goals.  Goals are the stuff of brainstorms.  Goals are concepts not yet exposed to the rigors of budgeting.  Goals are inspiring.  Objectives?  Objectives can seem restraining.  Objectives can seem to fetter design.  Objectives can seem so…numerical.

This being said, objectives are necessary.  Effective, efficient design firms need objectives if they plan to design well into the future by the very fact that they limit and measure.  For those out there that prefer goals to objectives, I want to reveal an objective that can save a designer-client relationship: the success objective.

The success objective is a communication tool that interweaves the client’s goals and the designers’ goals. It establishes an over-arching, common objective for exhibit success, namely how the client will measure and judge the success of an exhibit.  This objective is established by asking the client to complete this sentence: Our exhibit will be deemed successful if and when___________________________________. Since objectives are measureable, both the client and the exhibit designer can test the exhibit for results.

Once the objective is set, it fixates what is occassionally a moving target.  Once the objective is set, it should be advertised, so all the client’s stakeholders are aware of the metric.

Years ago, Taylor Studios, Inc. was awarded a small contract to design and build an audiovisual exhibit for a visitor center.  The schedule was extremely tight, so both teams (Taylor and client) agreed to streamline the design/build schedule.

Our client formed an abbreviated design team (as opposed to their standard, larger design team) in order to simplify input, exhibit reviews, and signoffs.  Their abbreviated team was composed of state-level decision makers.  The local park staff were not fully represented; they were asked to sit this one out.

The project kickoff meeting was successful-the client’s team was prepared, excited, and engaged.  I left the meeting satisfied; it appeared as all team members were on the same page.  As an interpretive planner, I left with a prized possession-a list of the exhibit’s interpretive objectives.  The success of the exhibit would be judged by how well it met these interpretive objectives.

Taylor Studios and the site’s team met the challenging exhibit deadline without a hitch.  With that concern behind us, it was time for the client to evaluate the exhibit product.  Like a producer or playwright awaiting initial newspaper reviews, I prepared myself for feedback.

Relief came once the client’s team praised the exhibit.  The client’s team evaluated the exhibit by the objectives that were established at the onset of the design process.

The following day, I returned to the site to tie several loose ends.  The local park staff also had their first opportunity to evaluate the exhibit.  And they were none too pleased.

They shared their disappointment and diapproval of the final product.  The park staff had established a different set of success criteria.  The interpretive objectives that the exhibit faithfully addressed were not the objectives that the local park staff had in mind.

Continually looking to improve our products and services, Taylor Studios evaluated the situation to prevent this circumstance in the future.  Thus was born, the success objective. It requires the client’s staff to set the primary, overarching measurement of success and then announce it to all stakeholders.  Since objectives are measureable exhibit success or failure becomes evident.

Establishing the success objective does not preclude additional exhibit objectives or goals.  In the above circumstance, the client established interpretive objectives for success.  Management objectives and action objectives are two other types of objectives that could be used for success objectives.  With an advertised success objective in the preceding scenario, Taylor Studios would have been able to ensure that all stakeholders were working towards a common understanding of success.

Anyone reading this want to share a useful exhibit objective?

Posted by: Pete

Today’s post is the final installment of our design-build series.  I hope that the descriptions of each phase of our process has helped facilitate your understanding of what it takes to bring an exhibit to life.  As always, if you have questions or comments, please let us know.

Production Phase:

With exhibit design finalized and graphics and text well on the way, it’s during the Production Phase when the design team’s vision begins to materialize.  The first step of the Production Phase is lots of planning. Following a team kickoff meeting attended by the project designer and fabrication team among others, fabricators write out the steps required to complete each component and make materials lists. A final set of construction drawings are completed as needed and fabricators get to work on the required samples for client review.

After construction drawings and samples have been submitted to and approved by the client, the fabrication team gets to work. Each week, photos are taken of progress made and posted to the client’s website. This keeps clients in the loop during the entire Production Phase. Clients are also highly encouraged to visit the production facility.

As exhibit artists begin putting hammer to nail, interpretive planners hammer out text revisions based on comments received at the conclusion of the Final Design Phase. The text revisions are reviewed one more time before the text is placed on graphic panels. By the time printouts of the graphics complete with text are sent to the client, the client is only checking for grammatical accuracy.

When the final graphics and text are approved by the client, the graphic files are sent to the printer.

The culmination of the Production Phase occurs when all the exhibit components and graphics are “Ready to Ship.” This date is generally a contractual date spelled out in the client’s initial agreement with Taylor Studios and means everything is complete and ready to begin its trip to the client’s facility.

“Ready to Ship” is followed, of course, by shipping and installation.  Installation is complete when all components are in their place and a Taylor Studios team member walks through the exhibit with the client. The team member demonstrates how each piece works and makes sure the client is satisfied with the installation.

An exciting time for the client, the project is not quite complete at installation. Within a month of installation, the client will receive a maintenance manual outlining a maintenance schedule and basic exhibit care. The purpose of the maintenance manual is to give the client the tools to ensure that the exhibit will look and function as it should for years to come. Should any component fail as a result of normal wear and tear, Taylor Studios’ stellar - yes, stellar - five-year warranty has the client covered. That’s it! Another happy client has become a graduate of the Design-Build process! Now it’s time for the client to enjoy their new exhibit! As for us, it’s back to Point A…

Posted by: Renee

First, what are performance and payment bonds?  A bond is a three party agreement between the owner (e.g. a museum), the contractor (e.g. Taylor Studios), and a surety company (e.g. Travelers Casualty Insurety Company).  The surety company assures the owner that the contractor will perform the contract.  A performance bond protects the owner from financial loss should the contractor fail to perform.  A payment bond assures the contractor will pay its employees, subcontractors, and vendors.  Often these are combined in one bond.

Second, why would I (an owner of a design/build firm) encourage potential clients to require performance bonds?  This comes from personal experience as a subcontractor.  On one project the prime contractor was over a year late in paying us (a subcontractor on this particular project) for a large final payment on a contract.  The museum did their best to help us.  The city that was paying the contractor was not helpful.  One phone call to the surety company got our check in the mail within a few weeks.  On a second project the federal owner (museum) had not required the prime contractor to acquire a performance bond, even though it was in the prime contract agreement.  This prime contractor went out of business.  We had no surety company to call to be paid for our progress on the project.  The museum also did not have a surety company to call to compensate them for any payments they had made to this now defunct company.  The surprising thing is that this same museum’s contract with a new company also does not require a performance bond.

Third, what are some reasons to obtain a performance bond?  On many projects it is the law.  The Miller Act requires a contractor on a federal project to post two bonds: a performance bond and a labor and material payment bond.  Almost all states also have similar requirements on public work projects, these are often called “Little Miller Acts.”  It seems these laws are ignored from time to time.

A second reason to obtain a performance bond is the assurance you as the owner will get that the company you hire is capable of completing your project.  The surety company does extensive analysis of the company prior to bonding them.  If the company defaults, the surety company will fulfill the contract.  If the company you are considering is not capable of getting a bond it tells you something about their financial and business stability.  In the construction industry, there is a 30% failure rate, it is a risky business.  I know of many companies in the industry that would not be able to take on projects if the clients had required performance bonds.

Finally, why do most not require performance bonds?  I assume it is the cost of the bond.  They typically cost one to three percent of the total contract amount.  I must admit when we are the prime contractor and I know we are not going out of business, we pay our subcontractors, we are financially stable… I’d prefer to spend those dollars on more exhibitry for our clients.

You can learn more about bonds at this website:  www.sio.org.

Posted by: Betty

Last Saturday, I went to the Inspiring Women Gala at Southern Illinois University with my mom.  The event raises money for scholarships for women attending SIUC and honors inspiring women throughout Southern Illinois and SIU alumnae.  Even though I graduated from the University of Illinois, most of my family graduated from SIU, so I feel as much of a connection to SIU as I do to UofI (growing up 10 minutes from campus may have something to do with that as well).  That connection is only part of the reason we decided to attend this year, however.

The key reason we wanted to go was because the president of Taylor Studios, Betty Brennan, received the Alumna Achievement Award.  She was inducted into the College of Business hall of fame in 2006 and serves as an active member of the college’s advisory board.  The dean of the College of Business, J. Dennis Cradit, nominated her.

She took the stage with five other women who have led the way to the top of their respective fields and have devoted much of their time to the service of others.  They included a judge, a PhD, and a mayor.  At one point during the program, I noticed how much of an age gap there seemed to be between Betty and the other nominees.  I attribute this to the fact that she knew what she wanted before she ever graduated and as she says she “followed her bliss” and created a thriving company never compromising her values.  Her drive, determination, and unwavering spirit has made Taylor Studios what it is today and she continues to live by our core value of constant improvement.

Follow these links to read more about the Gala and the women who were honored.

Posted by: Kara

(Pictures to Come)

Our production floor is one of the more surreal places in Central Illinois.  If you can even recognize what you’re looking at, chances are it will be in a state or position that leaves you scratching your head. Case in point:

No, we’re not in the horror-movie prop business, but John Carpenter would feel right at home. This rather freaky looking photo is of a life cast figure that will one day be part of the National Museum of the Marine Corps in Quantico, VA. Why is the face missing? The Marine that was the body model (and yes, we used all Marines for this project) knew that he wouldn’t be used for the face, which was to be of a historical figure. A sculpted face, based upon historical photos, is taking shape about 20 feet away.

And the strange hand position?  He’s typing on a field typewriter during World War One. What about the pants? As we get various reproductions of the necessary uniform parts and accessories, they are fitted to the figure and then sent to the client for approval. The pants were already fitted, which you can tell by the large split in the figure’s right leg. That leg would have to come off to get the pants on, which gives a whole new twist to the phrase, “He put his pants on one leg at a time.”

Isn’t it wonderful what a little context does?

Posted by: Ryan

I’ve been here for almost 10 years and have enjoyed the work and the characters.  These are a few photos showing our personalities.

Posted by: Tony

What I do in my spare time

Hawke Nest

Because Marc is Short

Pete Sweats Mickey

Jason, Ben, Tony, and Curt at Stone Mountain

Lexi

A standard definition of “shoot the moon” is to aim high.  It essentially means set higher than normal goals for yourself, and try your best.  Don’t aim at easy-to-reach goals.  Go for something that shows the best of your ability.

Anonymous quote:  “Shoot for the moon.  Even if you miss, you’ll land among the stars.”

In June of this year, NASA launched the $79 million LCROSS probe along with a lunar orbiter that is circling the moon as I am writing this.  The probe is scheduled to separate from its orbiter early tomorrow morning to determine whether water ice (a potential resource for future astronauts) actually exists in the craters at the moon’s south pole.

The fascinating aspect of this scientific endeavor, aside from the potential chunk of lunar knowledge we will add to our greater cosmic understanding, is the fact that this probe, which is a 5,216 lb (about as much weight as a large SUV), 42-foot long centaur rocket stage, will be chucked from orbit at a whopping 5,600 mph and slammed into an existing crater.  This impact will kick up tons of moon dirt more than 6 miles above the lunar surface and create a new crater 12 miles wide.

AWESOME!…but wait.  Why smash one thing into the moon when you can smash two at double the awesomeness?!  So, four minutes after the initial impact, the 1,664 lb. orbiter will smash into the newly formed crater, which will belch up even more lunar debris.  “Frikkin’ sweet!” is what the scientist who came up with this idea must have said to herself as she patted herself on the back at the end of the “What to do with the Orbiter” meeting.

In following this story, I realized a parallel between the scientists involved in the lunar project and the collective diversity of talent here at Taylor.  These scientists are on a serious quest for knowledge and discovery and are using the most up-to-date highly sensitive scientific instruments to catalogue this event.  But let’s face it, they are chuckin’ rocks at the moon to see what will happen.  I know there has to be that insatiable curiosity and childlike excitement among them like a group of kids setting off firecrackers on an anthill and witnessing the glorious aftermath.  I am fortunate to be working with just such a group here at Taylor.  Like these scientists, I see and experience that level of curiosity and imagination in my co-workers and see it creatively expressed in our work here.  If we had continually set the bar low and made the goal easy to achieve, we would have forfeited much of the creativity required to achieve that sense of awe and wonder in those that are involved with and experience our creations.  Likewise, our knowledge of cutting edge processes and materials would have begun to wane.

So, like those NASA scientists currently smashing stuff into the moon in order to learn something new, I am happy to see and actively encourage all the talented people I am fortunate to work with to seek knowledge in unorthodox ways.  In other words, in every creative expression, continue to Shoot the Moon!

Posted by: Brian

Fall is the wrong time to be raising baby chicks, but I guess that thought never occurred to my Plymouth Rock hen. Twenty-one days after she started sitting on her clutch of ten eggs we spotted the first of six chicks poking its head out from under her wing. For several days they ate and ran and played. On the fourth day however, I counted seven. Pee Wee was a quarter of the size of his siblings. His tiny little toothpick size legs hardly seemed able to support his body. While the other chicks would run and play keep away with a large worm, Pee Wee would sit next to his mother, basking in the sun dreaming.

One night I went out to check on them and found Pee Wee lying on his side on the cold concrete floor. All of the other chicks were snuggly tucked away under moms’ warm feathers. I picked up his cold stiff little body and brought him into the house to beak the sad news to my wife. To my surprise however, she grabbed a blow dryer and began to warm the little feller up. After ten minutes we saw him lift his wing. After thirty minutes he was able to stand on his own and chirp. The moral of this story is that a little hot air never hurt anyone.

Posted by: Ben

If you’ve been following along, this post describes the third step, Final Design, in our design-build process:

By the time a project moves into Final Design, all basic renderings have the client’s stamp of approval, a graphic look has been selected, and the beginning stages of copy have been approved. The last stage of the design is, appropriately, about the final details.

During Final Design, construction drawings are crafted for the components in each exhibit area. The drawings show not only exact dimensions of each component, but also specify hardware and materials and indicate construction methods.

As the final exhibit components are being detailed, graphics also come a long way during Final Design. While preparing the final files and printing takes place during the Production Phase, it’s during Final Design when the exact number and size of each graphic in the exhibit is determined. The content for each graphic is decided, as well as the material each graphic will be printed to.

By the time Final Design begins, copywriters have been gathering background materials and doing research for two phases. It’s at the conclusion of Final Design when the client will have the first opportunity to review draft text for the entire exhibit. However, Final text will not be placed on the graphic until the Production Phase.

Posted by: Renee