Brief for the contract to redisplay the First World War permanent display
at the Museum of Hartlepool.
Introduction and Summary
This brief outlines the specifications and objectives for improving the design and
interpretation of the permanent object displays relating to the First World War at the
Museum of Hartlepool. It summaries the background information required to inform
such proposals, the essential features that we require to be incorporated into the
redisplay, and outlines the criteria by which proposals will be evaluated.
Project background
The Borough of Hartlepool played an essential role in the First World War, especially
on the Home Front.
Of all local events during the War the German naval raid of the 16th December 1914
remains the best known both nationally and internationally. “The Bombardment of
the Hartlepools” saw extensive loss of life and damage across a wide area, resulting
in the death of at least 130 people (114 civilians, 9 soldiers and 7 sailors) and the
wounding of over 500 more.
Although overshadowed by the attack on Scarborough in the media due to military
secrecy and official propaganda, the attack spurred both volunteer recruitment to the
armed services and the raising of record levels of funds by civilians for the war effort.
A detailed narrative of the Bombardment is attached as appendix 1 in the supported
documents for further information.
Between 2013 and 2015, the Culture and Information Services of Hartlepool
Borough Council led a partnership of museums and galleries across the Tees Valley
to commemorate the region’s contribution to the First World War. This project,
“Remembering Our War” was funded by Arts Council England and included object
research, education and outreach, a touring display and a temporary exhibition, and
a major sequence of touring outdoor performances titled “Homecoming” which
culminated in Hartlepool on the evening of 16th December 2015.
The Services also led locally, with partners, to deliver the official 100th Anniversary
Commemoration for the Bombardment of the Hartlepools, including the dedication
service for a new civilian Bombardment Memorial which included the laying by
schoolchildren of 130 ceramic poppies from the display at the Tower of London.
Public reaction to the Commemoration was hugely positive, and continued with
record numbers to the Museum of Hartlepool’s temporary exhibition “Voices of the
Bombardment”, which included public display of these poppies as a centrepiece
amongst original artefacts, artworks, photographs and historical accounts.
To enable this temporary exhibition the pre-existing permanent Bombardment
display was temporarily replaced. Now, rather than just reinstitute the old display
originally created in 1996, we would like to take this opportunity to create a better
interpretation. This needs to be more accessible, incorporating new interpretative
techniques, while retaining the best features of the old.
Above all, the new display must sensitively incorporate the 130 ceramic poppies and
the names for the known victims which have so recently captured the public
imagination and respect.
Contract details and timescales
Work relating to this contract will begin in August 2015 to complete in December
2015.
The contract is split into three main areas: exhibition design, exhibition production
and exhibition installation.
It is expected that the exhibition design will be completed by the 31st September
2015, with production and supply to be completed in October and November.
Installation should commence on 30th November 2015, and must be fully completed
by 15th December to allow formal opening on the 101st Anniversary on the 16th
December 2015.
The chosen provider will supply a dedicated project or account manager who will
lead the contract and be the first point of contact with the Museum Manager.
The progress of the exhibition will be reviewed on pre agreed dates throughout the
duration of the contract.
The current design of the display
The current First World War display area is based around 3-dimensional backdrops
of damaged houses, and includes two display cases (one tall, one flat-topped) for
objects, with one free standing shell on the gallery floor. The display cases have
wrapped bases themed “war” in green and white, to the scheme used in the
improvements of 2008. Object labels were also in this scheme.
There are no display panels on the walls due to the size of the space. Instead, the
story of the Bombardment is told on a vertical LCD screen which displays three
narrative panels in slow sequence.
One wall of the area is flat, and is used to display the smaller glazed copy of the oil
painting “The Bombardment of the Hartlepools” by James Clark. This wall is currently
themed to show WW2 posters.
A scale plan of the display area is included as appendix 2.
Photographs of the current display area are included in appendix 3.
Audience feedback
Audience research and visitor comments suggest that visitors:

Are occasionally confused by the lack of a solid transition into the themed
display space, especially if approaching from the “wrong” direction.

Like the damaged house backgrounds and settings.

Like the objects on display, especially the iconic Bombardment Clock and the
painting, but would prefer clearer integration of objects into the storytelling.

Regularly overlook the written story of the Bombardment as displayed on the
LCD screen due to its location.

Do not fully realise the significance of the original large German shell on the
floor of the gallery next to the main ruined house.

Would like an element of Remembrance and Commemoration, especially if
the visitor is local.
Essential and optional improvements required
We require the redisplay of the First World War area to strongly focus on interpreting
the Bombardment of the Hartlepools from a mostly civilian perspective. Proposals
should look at how to “put the people” back into the story.
In addition proposals should also include how they might include brief references to
other First World War subjects including recruiting, women in work (shell factories,
trams, etc), naval shipbuilding, Zeppelin raids, or raising money for the war effort.
These references and any uses of objects should complement the Bombardment
story, not overwhelm it.
Proposals must clearly outline how they would incorporate the 130 ceramic poppies
and the names of the 130 known victims physically into the displays and how their
use would strengthen the suggested interpretative scheme. Proposals must also
clearly explain how the poppies would be made highly secure to avoid theft.
Proposals should show how they would use the iconic objects within the museum
collection to tell the story of the Bombardment.
There should therefore be a particular focus on the display of the following items:

The Bombardment Clock , which was stopped by a shell fragment at the exact
time the shelling started,

James Clark’s oil painting “The Bombardment of the Hartlepools” (smaller
version, HPMAG 1960.3, glazed, dimensions 85cm by 136 cm)

The rare unexploded shells, of which we have two full 11” shells, one half
section of a 11” shell cut to expose its inner workings, and one 6” shell.
Consideration of the weight of these items should be included (as a complete
11” shell weighs 330kg)

Propose a new, interesting use of our model of the L34 Zeppelin L34 (which is
1/200 scale and 180cm long), shot down over Hartlepool on 27th November
1916. Previously hung from the roof high up above the display area, any
better use should also not conflict with the main story of the Bombardment.
There is the potential to re-purpose existing cases to expand the available cased
display areas within the display, and to move cases to create a better or larger area
(for example the Schools social history case, which is currently adjacent to the First
World War area). Proposals should therefore be clear about their use of the limited
space, the inclusion of any new walls or barriers, and the details of the design of any
new backdrops or settings.
Proposals which include new display cases or the creation of new areas for object
displays must clearly show that these are secure as per best practice for a museum
to the 2011 Accreditation Standard. Such inclusions should also be realistically
budgeted and timetabled for sourcing.
Proposals should clearly state your ability to produce and supply new graphics, text
panels and labels. While extensive research over the last few years by the team at
the Museum means that a large volume of factual information is quickly available on
for the redisplay, consideration of how you would work with the Museum Manager to
write/edit new text should also be clearly stated in your proposal.
Proposals may suggest creative ways to incorporate the Museum’s extensive
collection of contemporary photographic images of the Bombardment into the
displays.
Proposals may suggest ideas for the inclusion of a hands-on interactive and/ or the
inclusion of an AV system. In both cases robustness, relevance to the interpretation,
and consideration of the sensitivity of the theme should be considered.
Proposals may suggest ways to adapt or replace the current CD sound system used
in the display space to better support the story. Currently it plays Edwardian popular
songs, but could for example be reengineered to give atmosphere or relevant sound
effects and voice to the interpretative scheme.
Proposals may suggest ways to incorporate the surviving newsreel footage of the
Bombardment into the displays, although this is very limited in scope and would incur
difficulties in securing reproduction rights and prohibitively high licensing fees.
Budget
The maximum budget for the entire works is £30,000.
£10,000 will be paid upfront on the agreement of a formal contract for works, with the
remainder paid on successful completion as per a specific contract with the provider.
The chosen provider will manage the entire budget, and must be able to provide us
with the full financial details of all transactions for audit purposes.
Given this budget, we fully understand that proposals will have to make choices
about the range and depth of the possible improvements noted above in their
suggestions.
Points to be included in your response
When submitting your response applicants must include information on the following:

Company information: Who are you and what do you do? Who are the people
that are employed by the company and what skills will they bring to the
project?

A fully costed breakdown of how the budget will be spent, including fees

Examples of previous temporary exhibition work and the brief you were given

Examples/ideas for improving the displays

How the Bombardment of the Hartlepools will be portrayed in the design and
interpretation

Be able to demonstrate how the new display will be accessible, both
intellectually and physically.

If you have access to researchers, copywriters and photographers.

A breakdown of the timescale of the works proposed

Finally, but most importantly, all proposals must clearly state how the works
will be fully completed by 15th December to allow formal opening on the 101st
Anniversary on the 16th December 2015.
Rights
Please note that all copyrights and reproduction rights for material owned by the
Museum will remain the property of Hartlepool Borough Council.
Evaluation process
There will be a two-stage evaluation process.
The first stage will assess applications in relation to this brief, which will be evaluated
as follows:

Background of company and skills, previous exhibition experience, other
relevant experience - 40 points

Initial ideas for design, interpretation and structure - 40 points

Value for money (based on budget breakdown) – 20 points
The highest scoring companies in stage one will be invited to an interview on 13th
August 2015.
This interview will form stage two of the evaluation process.
Applicants will be expected to deliver a pre-planned presentation relating to the
project during their interview.
Contract milestones
Applicants should be aware of the following contract milestones:

Noon 31st July 2015 – Deadline for applications in response to this brief.

3rd August 2015 – Short-listing to take place

5th August 2015 – Applicants notified if they have been short-listed and
invited to interview

13th August 2015 – Interviews take place

14th August 2015 – Successful company notified

15th August 2015 to the 24th August 2015 – ‘Cooling Off’ period

26 to the 28th August 2015 – Contract signed by both parties
Applicants are also free to submit further information they feel would be beneficial in
supporting their application e.g. photographs, videos etc.
Please return your quotation by noon on Friday 31st July 2015
If you have any enquiries please place them through the questions section of the
North East Procurement Organisation (NEPO) Portal.
If your company is not already registered with NEPO, you will find further information
on the website https://www.qtegov.com/systems/nepocms.nsf
Please note that your company must be registered with NEPO in order to apply for
this contract. All applications must be submitted through the North East
Procurement Organisation (NEPO) Portal.
Briefing prepared by Mark Simmons, Museums Manager, Hartlepool Borough
Council. 3rd July 2015.
Invitation to quote for the redisplay the First World War permanent display at
the Museum of Hartlepool
Name of company:
Address:
Contact name:
Tel:
Fax:
Email address:
Examples of previous professional exhibition work:
Examples/ideas for the redisplay, its interpretation, and improvements :
Demonstrate how the redisplay will be accessible both physically and
intellectually.
Please state a fully costed breakdown of the budget:
Please state a complete timescale for the works proposed:
Referee 1:
Referee 2:
Hartlepool Borough Council does not undertake to consider quotations received after
the due date and time.
You must bear all costs associated with the preparation and submission of your
quotation.
Prices shall be quoted in pounds sterling unless otherwise stated.
Quotations shall remain valid for a period of 60 days.
Hartlepool Borough Council does not bind itself to accept the lowest of any quotation
and reserves the right to accept a portion of the quotation, unless the supplier
expressly stipulates otherwise in their quotation.