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Xander Karkruff Design Development Package November 14, 2013 Rosenwald-Wolfe Gallery University of the Arts

concept development
4 big idea 5 mission statement 5 goals 5 objectives 6 bubble diagram 7 thematic 7 f loor plan 8 look & feel 9 interpretive devices

schematic design
10 11 12 13 14 16 17

table of contents

exhibit f loor plan keyed f loor plan left isometric right isometric typical graphics color palette typography (primary)

10

walk through

19 Intro 22 Rock and Roll Music is the Rhythm of America 24 Object Timeline and Dance Monitor 26 Segregation of American Bandstand 28 American Bandstand Studio 30 Alternative Dance Spaces 34 Remixing the Past

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architectural details 44
45 46 47 48 49 51 52 53 54 55 56 57 58

elevations & sections

Decking Details Dance Interactive Details Case Details TV Touch Screen Details Graphic Panel Details Elevation/Section Plan TV Case & Georgie Woods Timeline Cases Television Interactive Shoes & Car Dance Interactive Alternative Spaces Mix Station

appendix 60

61 Artifact Schedule & Keyed Plan 63 Graphics Schedule & Keyed Plan 64 budget 65 bibliography

50

architectural drawings 36
37 38 39 40 41 42 43 As Built Plan Demo Plan Partition Plan Exhibit Plan Flooring Plan Lighting Plan & Schedule Rendered Floor Plan

big idea

During its American Bandstand years, Philadelphia was a tumult of racial tension, rock and roll mania, and teen angst. concept development

mission statement goals


Our mission is to appreciate American Bandstands influence on the formative years of rock and roll, simultaneously revealing the complicated race relations that were central to the music and to Philadelphias communities from 1957-1964. This exhibition will... Highlight how American Bandstand continues to be part of an ongoing struggle of how the history of racism in the North is remembered. Celebrate the contributions of Philadelphia youth to national dance fads and fashion trends. Show how African American teenagers were largely excluded from American Bandstands image of a unified youth culture despite integration policies. Recognize Philadelphia performers who made it big on American Bandstand. Initiate dialog about appropriation in music. Explore the spaces where teenagers danced that provided alternatives to American Bandstand.

objectives
Visitors will... Learn about the origins of rock n roll. Dance! Begin to think about how inequality is built into societal structures like mass media and the music industry. Form their own opinions about what it means to appropriate something.

bubble diagram

thematic f loor plan


7

http://www.ebay.com.au/ctg/The-Everly-Brothers-Best-of-the-Everly-Brothers-1957-1960-1995-/4027687?_tab=1

Science Museum of Minnesota

http://www.creativeinc.ie/index.php/portfolio/detail/my_gaa_hero_exhibition

http://theozhiztoryblog.blogspot.com/2012/02/paul-anka-smellslike-teen-spirit.html

http://www.patternity.co.uk/search/interior

http://www.populuxebooks.com/index.php?main_page=document_general_info&products_id=736

http://www.opera-amsterdam.nl/projects.php?pro_id=134

look & feel

interpretive devices

http://www.earlytelevision.org/american_14t6.html

http://www.jamesbutters.com/arvin61r16checkmark.htm

schematic design

10

exhibit f loor plan

keyed f loor plan


photo murals content panels cases audio interactives other interactives seating

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12

left isometric

right isometric

13

Sample text: Georgie Woods was one of the first radio disc jockeys to introduce Philadelphians to the sound of rhythm and blues with its new moniker of rock n roll. Woods recognized the potential of the genre to appeal to a broad audience, and indeed, his radio show and record hops were wildly popular with black and white Philadelphia teenagers. In 1955, he wrote in his Philadelphia Tribune column, Rock and Roll with Georgie Woods: Today, as never before, white teenagers are buying rhythm and blues tunes. Reasonthe younger generation is away from the old idea that rhythm and blues music is strictly for Negroes. In this writers opinion, Rock and Roll music is the rhythm of America and there are many who will agree. When Dick Clark took over American Bandstand in 1957, he didnt know much about rock and roll, but he knew what his teenage audience wanted to dance to. He enlisted the help of Georgie Woods, whose rock and roll hits in Philadelphia became national hits when Clark played them on Bandstand. While Georgie Woods remained an influential figure in the Philadelphia music scene, it was Dick Clark - popular with a more conservative white audience - who legitimized rock and roll on a national level.

Sidebar: In 1955 and 1956, rock and roll protests were taking place across the country, due to overt racism and fears of juvenile delinquency. With the advantage of white privilege, Dick Clark capitalized on his wholesome, clean-cut image, which made rock and roll safe in the eyes of white America.

Primary content graphic, 36x64

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typical graphics

Interactive secondary content graphic, 12x12 closed

Object label, 8x6.5

Object tombstone, 6.5x3 Interactive secondary content graphic, 12x24 open

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Pantone 359 C

Pantone 7669 C

Pantone 7446 C

Pantone 360 C

Pantone 1235 C

Pantone 7635 C

Pantone 204 C

Pantone 7403 C

Pantone 7527 C

Pantone Black 7 C

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color palette

body copy
sidebar copy
image credits

quotes
typography (primary)

American Typewriter Light 200pt/50pt kerning

ITC New Baskerville bold 52pt

ITC New Baskerville bold 30pt

ITC New Baskerville regular 14pt

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The visitor watches the television for a minute, intrigued by the footage of teenagers dancing.

Entrance elevation

18

walk through

Our visitor is a local high school student, and hes walking down Broad Street on a Saturday afternoon, thinking about asking his crush to an upcoming dance. As he approaches a UArts building, the visitor notices something interesting happening in the windows of the galleries: the interior has been dramatically done over, and theres lots of activity inside. One window is covered by a giant graphic, with two dancing people and the exhibit title bursting out of the frame. In the central window is an old-fashioned television with a black and white moving image on the screen. The visitor watches for a minute, intrigued by the footage of teenagers dancing. The video starts over from the beginning, with the logo of American Bandstand appearing on the screen. Although the visitor is not particularly interested in the time period, he is intrigued by the television in the window, and the exhibit title is particularly lively - he decides to go in and look around.

Intro

Consultant Name
http://logos.wikia.com/wiki/American_Bandstand

Xander Karkruff
Project Title
http://www.classicalreunion1962.com/clients/a/aa/aa7c1213645c4e2e4d69ff85756bb 27f/5552575_org.jpg

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

19

Intro

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

As the visitor steps through the doors of the gallery, he is encountered by glass cases stacked one on top another. Within each case is another old-fashioned television like the one the visitor saw in the window, ranging from small and streamlined to large and boxy. The visitor appreciates the design of the televisions, and takes in the wall of moving images. As the visitor gets closer, he realizes that some televisions show people dancing, and some show people in protest, what he understands to be civil rights protests. These scenes juxtaposed with one another evoke in the visitor a sense of the conflicting exuberance and turmoil of midcentury United States. The images have no accompanying sound, but the visitor reads a brief content graphic that introduces 1957, the year American Bandstand became a national television show. The photograph attached to the panel, which reminds the visitor of the shape of a vinyl record or an

old-fashioned radio dial, depicts one of the students involved in the 1957 integration crisis in Little Rock, Arkansas. The visitor is introduced to Dick Clark, who remembered American Bandstand as one of the first integrated television shows. The visitor is surprised to learn that the show was not actually integrated in Philadelphia, and feels unsettled and curious to learn more.
http://cdn.aarp.net/content/dam/aarp/entertainment/music/2012-07/01/620-american-bandstand.imgcache.rev1342798323633.jpg

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http://www.learnnc.org/lp/multimedia/13824

These scenes juxtaposed with one another evoke in the visitor a sense of the conflicting exuberance and turmoil of midcentury United States.

Intro

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

21

By pressing the dial of the radio, the visitor has the option of listening to three different oral histories.
Proceeding up a gradual ramp, the first thing the visitor notices are the larger-thanlife black and white photographs that are punctuated by angular shapes that emerge from the walls. These shapes draw attention to content graphics similar to the one the visitor just read. The visitor sees a display case in an alcove that displays three small objects that are beautiful to behold: from the labels, the visitor learns that they are transistor radios. The visitor is impressed by the design of these devices. After reading the content graphic about Georgie Woods, Dick Clark, and the introduction of rock and roll to a mainstream audience, the visitor approaches an interactive screen embedded on a reader rail next to the case. The screen shows an image of one of the transistor radios. The visitor is excited to interact with the transistor radio, even if it is on a screen - the design of the app enhances the beauty of the device. By pressing the dial of the radio, the visitor has the option of listening to three different oral histories. He chooses an oral history with a member of the Philadelphia Larks, a teen vocal group that performed on street corners and at record hops. Sound emanates from speakers overhead: the audio clip fades in with a popular song of the time, and the voice interweaving with the song explains how this style of singing was one of the influences of early rock and roll. The visitor listens to the other tracks, which are only about 60 seconds in length, and each one provides a succinct sound bite that introduces the visitor to Georgie Woods and the early rock and roll scene in Philadelphia. Each clip is accompanied by a photograph of the narrator, introducing each by name and by the neighborhood in Philadelphia that they grew up in. As the visitor leaves this section, he stops to look at an interactive graphic. It is roughly the shape and size of a vinyl record sleeve. An image on the outside depicts Elvis, with the words borrow/copy/steal. When the visitor opens the sleeve, a photograph on the inside depicts an African American musician who was the first to record the songs Elvis became popular for. A short paragraph explains that covering songs was (and still is) common in the music industry, and that in the 1950s, many white groups would cover songs recorded by black groups. A question prompts the visitor to contemplate the ethical issues inherent in this practice.

Rock and Roll Music is the Rhythm of America


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

22

Rock and Roll Music is the Rhythm of America


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

23

The visitor is amused by how wholesome the teenagers look, and thinks about how that must have changed peoples attitudes about rock and roll.
The visitor is beginning to understand the complex race relations at the heart of the evolution of rock and roll, as well as the influence of American Bandstand on popularizing the genre for white audiences. The visitor sees a row of cases in the opposite wall. Each one glows from within, and is framed by a brightly-colored silhouette of a person dancing. Each dancer is different, and the visitor enjoys how the enliven the space. Above the cases is a large quote: You just wanted to get up and dance . . . You felt it in your soul. The visitor can relate to the sentiment behind the quote, even if he doesnt quite understand what was so great about early rock and roll - it still sounds old-fashioned to him. Starting with the 1957 case, the visitor examines a national guard uniform representing the Little Rock integration crisis, next to Elvis 45 record All Shook Up. Perusing the cases, the visitor sees myriad objects depicting popular culture, the rise of rock and roll, and national events. This gives the visitor a broad overview of the time and further develops his sense that this time period was full of excitement and conflict. As he moves from case to case, the visitor can hear one of the popular songs of each year. The sound is coming from directional speakers, so he only hears the overlap of music in between cases. The visitor approaches a curving platform, upon which is a single large television set from the 1950s. On the wall is a largerthan-life photograph of white teenagers dancing on American Bandstand. The visitor is amused by how wholesome the teenagers look, and thinks about how that must have changed peoples attitudes about rock and roll. Other visitors are gathered around the television. The visitor looks over someones shoulder, and sees a looping video of different kinds of dances from the era. The visitor realizes that the dancers are other visitors, and for each dance a silhouette of an American Bandstand dancer is moving in the upper right corner, showing what the steps should be. The excitement of the dancers is infectious, and the visitor wants to try it for himself.

Object Timeline and Dance Monitor


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

24

Eddie Hausner/The New York Times photo archive http://www.nytstore.com/Hula-Hoop-Craze--1958_p_4790.html

http://en.wikipedia.org/wiki/Elizabeth_Eckford

Object Timeline and Dance Monitor


Consultant Name

Xander Karkruff
National Guard jacket, ebay.com

Project Title

Philadelphia Project
Sheet Title

Walk Through
http://www.45cat.com/record/75405

Sheet Number

25

On this content graphic, the visitor learns that despite integration policies, American Bandstand had many ways of keeping black teenagers out of the studio, and he begins to feel outraged on behalf of the students pictured in the newspaper graphic.
The visitor heads around the corner, where he hears music and the voices of other visitors. First, he encounters another case, and behind it on the wall is a large newspaper headline that says Negroes Crack Bandstand Code. Printed on an angular panel emerging from the wall is a photograph of a group of African American teenagers smiling. In the case, illuminated by a spotlight, is a pair of shoes. The label explains they are Dick Clark American Bandstand shoes, marketed to teens in both black and white publications in Philadelphia. Understanding the irony of the situation, the visitor sees another reader rail with the transistor radio interactive. Familiar with the format now, the visitor presses the dial and sees three audio options narrated by the same people he heard earlier. The visitor chooses his favorite narrator, and hears her briefly describe what she thought about American Bandstand as a teenager growing up in Philadelphia, and how it always seemed like a show for white kids. She talks about preferring the Mitch Thomas show, which was only on air for a few years. The visitor walks over to the content graphic, and reads about how the media was segregated at the time, though most northern organizations had color-blind policies. On this content graphic, the visitor learns that despite these policies, American Bandstand had many ways of keeping black teenagers out of the studio, and he begins to feel outraged on behalf of the students pictured in the newspaper graphic. He learns that because American Bandstand was broadcast nationally, there was a fear that the show would lose its Southern viewers and advertisers if Black teens were seen on the show. The content graphic discusses the role of media invisibility in perpetuating racist social structures.
http://pages.scrippscollege.edu/~mdelmont/American%20Bandstand%20 shoe%20ad%20-%20web%20version.jpg

Segregation of American Bandstand


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

26

Segregation of American Bandstand


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

27

The atmosphere is very upbeat and almost surreal, with the music echoing off the hard surfaces in the room and the spotlights illuminating each dancer.
The visitor next sees a tall, curving glass display case. Each shelf is completely filled with products that were marketed on American Bandstand, from Clearasil pimple cream to stacked cans of 7-Up. Turning to face the room and the music, the visitor peruses an content graphic that explains how American Bandstand was a major player in the creation of a national youth culture. The visitor learns that regular dancers on American Bandstand became famous across the country, and that other teens were soon copying the fashion and dance moves of Philadelphia teens, mostly Irish Catholic teens from the nearby Catholic schools in West Philly. The visitor watches other visitors engage in the dance interactive, and is excited to try. The entire wall of the studio is an interactive screen, displaying a life-size photograph of teens dancing on American Bandstand. The visitor steps onto a lit-up square on the floor, indicating where to stand. As the visitor moves into place, a silhouette character appears in the foreground of the photograph, and dialog bubble appears, prompting the visitor to touch the screen to enter an email address if he wishes to send the video to himself at the end. After entering his email address, the visitor steps back to the square, and the silhouette performs a brief tutorial of the Twist, with symbols representing each stage of the dance. Next, the visitor is prompted to follow the dancers movements through the same dance, and the visitor realizes there is a motion sensor that is recording his movements and giving a percent score for each step. The visitor follows the silhouette through several dances, each one becoming more complex than the last. The video game format of the interactive, as well as the motion-sensor component, has the visitor completely engaged, and he finds himself enjoying the challenge alongside other visitors. The atmosphere is very upbeat and almost surreal, with the music echoing off the hard surfaces in the room and the spotlights illuminating each dancer. The visitor feels as if he is actually on the show and performing for a national audience. Having had his fill of excitement, the visitor leaves the studio and checks the touch screen on the television interactive outside the studio. Sure enough, he sees himself dancing in the American Bandstand studio. The visitor is excited to watch the video again later and maybe even share it with his crush.

American Bandstand Studio


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

28

American Bandstand Studio


Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

29

The visitor is surprised to learn that some of the dances popularized by American Bandstand were invented by African American teenagers on the Mitch Thomas show.
The visitor heads toward the next area, drawn by a curving wall that depicts an African American couple dancing. Curious about this image, the visitor reads about how the Mitch Thomas show was a popular dance show with black teenagers in the Philadelphia area, and how white teenagers would watch the show to learn the dance moves they saw performed by their African American peers. The visitor reads about how teenagers were dancing everywhere in the 1950s and 1960s: in school, at record hops, in popular basement parties, and in movie theaters, causing lots of concern on the part of older generations. The visitor sees the transistor radio interactive, and listens to the narrators talk about these different dance venues, and what dancing meant to them as teenagers rebelling against the more conservative attitudes of their parents generation. The visitor sees another interactive graphic, and this one has the same words on the cover, but with an image of Madonna instead of Elvis. Curious, the visitor opens the sleeve, and sees an image of a Latino drag queen illustrating the style of dance called voguing. The visitor is surprised to learn that Madonna did not invent voguing, and is curious to know how other music and dance styles have been co-opted. The graphic encourages the visitor to contemplate the act of a person with privilege co-opting the cultural symbols of marginalized cultures.

Alternative Dance Spaces

Consultant Name

Xander Karkruff
Project Title

Vera Boyer and Otis Givens dancing on the Mitch Thomas Show. http://scalar.usc.edu/nehvectors/nicest-kids/mitch-thomas-television-pioneer

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

30

Teens dancing at West Philadelphia High School prom, 1953. http://scalar.usc.edu/nehvectors/nicest-kids/youth-spaces-in-bandstands-backyard

Alternative Dance Spaces

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

31

The dark atmosphere of this section of the exhibit contributes to the visitors feeling of illicit activity and romance.
The visitor is excited to check out the area adjacent to this one: half of an old-fashioned car is parked in a dark corner, the front end, roof, and seats disembodied from the rest of the car. The visitor recognizes it as a 1960era Ford Falcon. Despite the low lighting, the car glows from within, lit up from the dash board. When he sits down on the front bench seat, he hears music coming from the radio, and the tuner flashes, beckoning him to turn it. A touch screen interactive set into the dashboard of the car describes each station as he listens. The dial of the radio is connected to the screen, so that when he dials between stations the screen changes. First he listens to a pop music station and then a rock and roll station, comparing the sounds of the different genres of music. The interactive displays a play list for each station, describing the songs as popular love ballads of the time. The content in the interactive discusses how the automobile contributed to the greater freedom teenagers experienced during this time, and how that effected attitudes about dating. The dark atmosphere of this section of the exhibit contributes to the visitors feeling of illicit activity and romance. Though the songs are a little overly sentimental for the visitor, he finds himself empathizing with the singers, who range from heartbroken to madly in love. Being a teenager, romance and heartbreak are emotions the visitor can relate to, and he finds himself thinking again about the person he wants to ask to the dance. The third station is a reproduction of a news show, with radio hosts debating whether rock and roll is a bad influence on teenagers, citing the recent banning of dancing in public places. The visitor is aghast to learn that public bans were in place at the time to control delinquent behavior.

Alternative Dance Spaces

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

32

Chubby Checker performing in Los Angeles, 1961. http://www.mymodernmet.com/profiles/blogs/life-famous-figures-that

Alternative Dance Spaces

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

33

He ends up with a resulting piece that samples both Elvis and Little Richard, and feels so happy with the result that he decides to put it on a mix for his crush.
From his seat in the car, the visitor can see a solid wood table in a curving shape in front of him. The top has a glowing touch screen embedded in it, and other visitors are engaged with the screen and wearing headphones attached to the table. The visitor is curious, and heads over to check it out. The touch screen in the table is divided into several sections, each with an iPad interactive. The home screen displays the words Listen/Remix, and the visitor puts on a pair of headphones and touches the words. He has two options: to listen to current artists who are re-sampling early rock and roll songs in interesting ways, and to create his own music by re-sampling the songs he has heard. The visitor listens first, learning about how the The Fugees and Kanye West, among others, sample songs in their music. The content relates this practice to the borrow/copy/steal interactive graphics in the exhibition, building on the visitors understanding of re-use and appropriation in music. He sees the practice of re-mixing as related but different from the themes addressed in the borrow/copy/ steal graphics, in that it feels like more of an homage to the original artist than anything else. The next section is really fun for the visitor: he loves hip hop and electronic music, so getting to try his hand at re-mixing songs is very thrilling. He ends up with a resulting piece that samples both Elvis and Little Richard, and feels so happy with the result that he decides to put it on a mix for his crush. On his way out, the visitor stops to glance at the last content graphic. It brings the exhibition to a close by discussing how history is memory, and as such there are different versions of events. What resonates with the visitor is the fact that the mainstream media largely ignores marginalized memories, including those of the narrators he listened to throughout the exhibit. The text ends on a hopeful note, by urging the visitor to seek out lesser-known histories whenever possible. The visitor leaves the exhibition feeling more knowledgeable about many things: the complicated race relations in mid-century Philadelphia, the social implications of appropriation in music, and the influence on rock and roll of figures like Dick Clark and Georgie Woods. Most importantly, the visitor leaves the exhibition feeling excited about asking his crush to the dance.

Remixing the Past

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

34

Remixing the Past

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Walk Through
Sheet Number

35

36

architectural drawings

Notes Verify in field.

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

As Built Plan
Sheet Number

37

Notes Remove temporary raised f looring in mezzanine.

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Demo Plan
Sheet Number

38

PARTITION LEGEND Code W-1A-1C W-2A W-2B W-3 W-4-5 W-6 245.5 2x4 wood frame, 5/8 gypsum board sheath west face, punched through for touch screen wall. 147.5 2x4 wood frame, 5/8 gypsum board sheath on both sides. 147.5 2x4 wood frame, 5/8 gypsum board sheath on exterior. 87 2x4 wood frame, 3/4 Certainteed Flex gypsum board sheath both sides. 11 2x4 wood frame, 3/4 Certainteed Flex gypsum board sheath both sides. Wall graphic both sides. Wall graphic on south face, black paint north face. White paint, wall graphic. Black paint on gallery side, unfinished on office side. Black paint, wall graphic. 15 2x4 wood frame, 5/8 gypsum board sheath on exterior. Painted black. Height Description Finish

W-6 W-4

W-3 W-5 W-2A W-1C W-2B W-1B W-1A Notes

Sheet Title

Project Title

Sheet Number

Consultant Name

Entry f loor addition at 5 from gallery f loor.

All partitions anchored to gallery f loor.

Exhibit f loor addition at 12 from gallery f loor.

39

Philadelphia Project

Partition Plan

Xander Karkruff

Graphic Panel Detail Case Detail TV Touch Screen Detail


Notes

Dance Interactive Detail

1-5 47

1-3 49

Consultant Name

1-3 46 1-4 48

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Exhibit Plan

Sheet Number

40

Decking Detail

Notes Marmoleum tiles, 20x20.

1 45

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Flooring Plan

Sheet Number

41

Notes

Sheet Title

Project Title

Sheet Number

Consultant Name

42
A A C
Description A B Juno Cylindra T255LED Series Trac Lighting - flood 4 IC 600 Lumen LED downlight C 4000mm KKFS side-emitting adhesive strip

Philadelphia Project
A A Recessed light Track light -suspended Linear LED adhesive strip Wall mounted wall wash C C B B A C C C C B A A A A A B A B A A A A B C A A A C B B B B A A A C A A A A A A A A
Manufacturer Juno Lighting Group Juno Lighting Group Catalog Number T255LED-72D-F-BL IC1LEDG3-27K-14104-SC Visual Lighting Technologies BF-A-4-W-4000mm Lamping LED LED Volts 120 120 Mounting track

Fixture Type

Lighting Plan & Schedule


C C C C C C C C
low-voltage LED 24 adhesive strip

Xander Karkruff

recessed in drop ceilings or recessed wall mounted for wall washes

Key

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Rendered Floor Plan

Sheet Number

43

44

architectural details

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Decking Details

Sheet Number

45

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Dance Interactive Details

Sheet Number

46

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Case Details

Sheet Number

47

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

TV Touch Screen Details

Sheet Number

48

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Graphic Panel Details

Sheet Number

49

50

elevations & sections

Notes

1 61

1 58 3 59

Consultant Name

Xander Karkruff
1 57 1 55 1 56 Project Title

Philadelphia Project
Sheet Title

1 59

Elevation/ Section Plan

Sheet Number

51

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

52

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

53

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

54

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

55

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

56

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

57

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

58

Notes

Consultant Name

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Elevations & Sections

Sheet Number

59

Ar.6.1

Ar.5.1 - Ar.5.11

Ar.4.1 - Ar.4.2 Ar.2.1 - Ar.2.3 Ar.3.8 Ar.3.10 Ar.3.1 Ar.3.15 - Ar.3.13 Ar.3.4 Ar.3.17 Ar.3.11 Ar.3.5 - Ar.3.1 Ar.3.14 Ar.3.12 Ar.3.7 Ar.3.4

Ar.1.1 Ar.1.10

60

appendix

Accession # Area 1 - Intro Ar.1.1 - Ar.1.10 Ar.2.1 - Ar.2.3 Ar.3.1 Ar.3.2 Ar.3.3 Ar.3.4 Ar.3.5 Ar.3.6 Ar.3.7 Ar.3.8 Ar.3.9 Ar.3.10 Ar.3.11

Type Assorted televisions Transistor radios Elvis Presley All Shook Up 45 album cover Photograph of Elizabeth Eckford National guard uniform How to Dance The Stroll Danny and the Juniors At the Hop 45 album cover Little Richard, Good Golly Miss Molly 45 album cover Photograph of children hula hooping Frankie Avalon, Venus 45 album cover Vintage sweater Photograph of Greensboro sit-in Were gonna do the Twist... And it goes like this... - dance steps Chubby Checker, Twist 45 album cover The Marvelettes, Please Mr. Postman 45 album cover Little Eva, The Locomotion 45 album cover Photograph of Dick Clark and Little Richard The Beach Boys, Be True to Your School 45 album cover The Shangri-Las, Leader of the Pack

Notes Ebay, retrotted for at screen monitors. Radio and Television Museum, Bowie, MD Ebay Will Counts, photographer New Hall Military Museum, Philadelphia, PA The private collection of The Diamonds Ebay Ebay New York Times archive

Accession # Area 4 - Transition Ar.4.1 Ar.4.2

Type Dick Clarks American Bandstand shoes Dick Clarks American Bandstand shoes newspaper advertisement Teen Magazine, 1959 Album cover - Dr. Pepper presents Dick Clarks All Time Hits Dick Clark Clearasil advertisement WFIL Station coverage map Vintage Clearasil tubes Vintage Dr. Pepper cans Vintage sweater with Peter Pan collar Vintage Bobby socks Vintage hair bleach Vintage hair curlers Portable 45 record player Front end and interior of 1961 Ford Falcon

Notes Private collection Philadelphia Tribune archive

Area 2 - Rock and Roll in Philadelphia Area 3 - Timeline and TV Touch Screen Interactive

Area 5 - American Bandstand Studio Ar.5.1 Ar.5.2 Ar.5.3 Ar.5.4 Ar.5.5 Ar.5.6 Ar.5.7 Ar.5.8 Ebay Ebay Library of Congress ABKCO Music and Records, Inc. Ar.5.9 Ar.5.10 Ar.5.11 Ar.6.1 Teen Magazine DC Media DC Media WPVI-TV, ABC Local Reproductions Reproductions Ebay Ebay Reproductions Ebay Ebay Reproduction

Notes

Area 6 - Alternative Spaces

Consultant Name

Ar.3.12 Ar.3.13 Ar.3.14 Ar.3.15 Ar.3.16 Ar.3.17

Ebay Ebay Ebay DC Media Ebay Ebay

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Artifact Schedule & Keyed Plan

Sheet Number

61

G.6.E6 G.7.A6

G.6.D3 G.4.G1-G2 G.5.C3-C14 G.4.A3

G.5.A4

G.6.A5 G.4.C1-C2

G.6.E5

G.6.D2 G.6.E6

G.2.E1 G.2.B1-B3 G.2.D1 G.5.E4 G.5.E3 G.3.E2 G.3.B4-B21

G.2.A2

G.1.A1

62

appendix

Accession # Area 1 - Intro G.1.A1

Type Primary graphic

Size 36x64

Materials Adhesive vinyl mounted on 1/2 MDF, brushed chrome trim, yellow acrylic Adhesive vinyl mounted on 1/2 MDF, brushed chrome trim, yellow acrylic Adhesive vinyl on matte board Adhesive vinyl Reverse printed acrylic Adhesive vinyl on matte board Adhesive vinyl Adhesive vinyl on matte board Adhesive vinyl mounted on 1/2 MDF, brushed chrome trim, yellow acrylic Adhesive vinyl mounted on 1/2 MDF, wrapped edges Adhesive vinyl on matte board Adhesive vinyl mounted on 1/2 MDF, brushed chrome trim, yellow acrylic Adhesive vinyl Adhesive vinyl mounted on 1/2 MDF, brushed chrome trim, yellow acrylic Adhesive vinyl Reverse printed acrylic Adhesive vinyl mounted on 1/2 MDF, brushed chrome trim, yellow acrylic

Area 2 - Rock and Roll in Philadelphia G.2.A2 G.2.B1-B3 G.2.E1 G.2.D1 G.3.B4-B21 G.3.E2 Area 4 - Transition G.4.C1-C2 G.4.A3 G.4.G1-G2 Tombstone labels Primary graphic Miscellaneous graphics 6.5x3 36x64 Varies Primary graphic Object label Wall graphic Secondary graphic Object label Wall graphic 36x64 6x8.5 Varies 12x24 6x8.5 Varies

Notes A - Primary graphic B - Object label C - Tombstone label D - Secondary graphic (Borrow/Copy/Steal) E - Wall graphic F - Wall quote G - Miscellaneous graphics

Area 3 - Timeline and TV Touch Screen Interactive

Area 5 - American Bandstand Studio G.5.C3-C14 G.5.A4 G.5.E3-E4 G.6.A5 G.6.E5-E7 G.6.D2-D3 G.7.A6 Tombstone labels Primary graphic Wall graphic Primary graphic Wall graphic Secondary graphic Primary graphic 6.5x3 36x64 Varies 36x64 Varies 12x24 36x64

Consultant Name

Area 6 - Alternative Spaces

Xander Karkruff
Project Title

Philadelphia Project
Sheet Title

Area 7 - Remix Station

Graphics Schedule & Keyed Plan

Sheet Number

63

Consultants Exhibit Designer Writer/Researcher Fabricator

EXPENSES

Computational Details

Payment Schedule Sep 1, 2013 Sep 1, 2013 Dec 1, 2013

Artifacts/Objects Conservation Loan Agreements (fees, insurance) Courier/shipping costs for objects Exhibit Fabrication Production Management Cases Interactives/MM AV/MM Housing/Wiring Installation Props/replicas Environmental Setting Graphic Production Printing, mounting and materials Panel Construction Photo Use Fees General Construction Demolition Partitions/Drywall Electrical/Water Doors/Windows HV/AC Lighting Flooring/Painting/wall treatment/trim

XKDesigns 150,000 Temple University public university 25,000 Art Guild - See Exhibit Fabrication details, below Subtotal 175,000 15,000 3,500 20,000 38,500 50,000 50,000 50,000 55,000 10,000 30,000 245,000 30,000 15,000 8,000 53,000 20,000 30,000 5,000 10,000 10,000 75,000 100,000 250,000 761,500

Subtotal

Apr 1, 2014 Sep 29, 2013 Nov 1, 2013

Subtotal

Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013

Subtotal

Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013 Dec 1, 2013

64

budget

Subtotal $340/sq ft

Estimated Budget

Barnes, Ellen. Riots, Rebellion, and Rock n Roll: The Story of Rock Around the Clock. Last modified Nov 25, 2010. http://www2.gibson.com/News-Lifestyle/Features/en-us/bill-haley-1125.aspx Brown, Trudi, dir. Black Philadelphia Memories. WHYY-TV12, 1999. Clark, Dick with Fred Bronson. Dick Clarks American Bandstand. New York: Collins Publishers, 1997. Delmont, Matthew F. The Nicest Kids in Town: American Bandstand, Rock n Roll, and the Struggle for Civil Rights in 1950s Philadelphia. Last modified Nov 28, 2013. http://scalar.usc.edu/nehvectors/nicest-kids/index. Rosin, James. Philadelphia, City of Music. Camino Books, 2006. Wilkinson, Gerry. Georgie Woods: Broadcast Pioneers of Philadelphia. Last modified 2009. http://www.broadcastpioneers.com/georgiewoods.html

bibliography

65

thank you

66

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