**Long Range Interpretive Plan**

**Edgar Allan Poe National Historic Site**

**December 2003**

**Table of Contents**

> Part 1 [3](#__RefHeading___Toc461769620)
>
> Introduction [4](#introduction)
>
> Park Purpose [6](#park-purpose)
>
> Park Significance [6](#park-significance)
>
> Interpretation in Planning Documents [8](#__RefHeading___Toc461769624)
>
> Themes [11](#__RefHeading___Toc461769628)
>
> Experiences [14](#__RefHeading___Toc461769629)
>
> Audiences [16](#__RefHeading___Toc461769630)
>
> Issues [17](#__RefHeading___Toc461769631)
>
> Part 2 [19](#__RefHeading___Toc461769632)
>
> Organization [20](#__RefHeading___Toc461769633)
>
> Actions to Address Identity, Orientation, and Wayfinding
> [21](#__RefHeading___Toc461769634)
>
> Actions to Address Targeted Themes & Experiences
> [22](#__RefHeading___Toc461769635)
>
> Actions to Address Targeted Issues [23](#__RefHeading___Toc461769636)
>
> Actions to Address Targeted Audiences
> [24](#__RefHeading___Toc461769637)
>
> Research Needs [26](#research-needs)
>
> Staffing & Training Needs [27](#__RefHeading___Toc461769639)
>
> Action Plan [28](#__RefHeading___Toc461769640)
>
> Participants [34](#__RefHeading___Toc461769641)
>
> Appendix 1
>
> Programmatic Accessibility Guidelines for Interpretive Media
> [35](#__RefHeading___Toc461769643)
>
> Appendix 2
>
> Characteristics of a Curriculum-based Educational Program
> [42](#__RefHeading___Toc461769645)

**Part 1**

**Background**[]{#__RefHeading___Toc461769620 .anchor}

### Introduction

> **Comprehensive Interpretive Planning in the National Park Service**
>
> In 1995, the National Park Service adopted a unified planning approach
> for interpretation and education. This approach took proven elements
> of interpretive planning and combined them. At the same time,
> responsibility for interpretive planning shifted to the parks. The
> Comprehensive Interpretive Planning (CIP) process became the basic
> planning component for interpretation and was incorporated into park
> service guidelines (see Director's Order 6).
>
> **What is a Comprehensive Interpretive Plan?**
>
> The CIP is a tool designed to help parks make choices, and is written
> to provide guidance to park staff. It helps them decide what their
> objectives are, who their audiences are, and what mix of interpretive
> media and personal services to use. Although the CIP as defined in DO
> 6 is composed of specific elements, it should be clearly stated that
> any good planning is customized to meet the individual park's needs,
> conditions, and situations. The CIP is not a recipe; rather it is a
> guideline for efficient, effective, goal-driven planning. The product
> is not the plan, but an interpretive program that achieves management
> goals, provides appropriate services for visitors, and promotes
> visitor experiences. While it considers past interpretive programming,
> it is primarily a forward-looking document that concentrates on
> actions needed to create or sustain a vigorous and effective
> interpretive program for the future.
>
> Responsibility for procuring interpretive planning rests with park
> superintendents and each park should update the CIP as frequently as
> circumstances require. It can and should evolve to address new
> challenges and maintain relevance to park management efforts.
>
> **What is a Long Range Interpretive Plan?**
>
> The heart of the CIP is the Long Range Interpretive Plan (LRIP).
> Almost everything else is tied to it. The LRIP defines the overall
> vision and long term (5-7 years) interpretive goals of the park. The
> process that defines the LRIP encourages development of targeted,
> realistic strategies and actions that work toward achievement of the
> LRIP's goals.
>
> A facilitator works with park staff, partners, and outside consultants
> to prepare a plan that is consistent with other current planning
> documents.
>
> [Part 1]{.underline} of the LRIP establishes criteria against which
> existing and proposed personal services and media can be measured. It
> identifies themes, audiences, and desired experiences. Within the
> context of Government Performance and Results Act (GPRA) requirements,
> it lists results-oriented strategic goals and poses management issues
> that interpretation might address.
>
> [Part 2]{.underline} describes the mix of services and facilities that
> are necessary to achieve management objectives and interpretive
> mission. It identifies promising partnerships and includes an [Action
> Plan]{.underline} that plots a course of action, assigning
> responsibilities and offering a schedule of activity.
>
> When appropriate, [Appendices]{.underline} provide more detailed
> discussions of specific topics.
>
> **The Annual Implementation Plan and Interpretive Database**
>
> The completed LRIP is a critical part of the CIP, but it does not
> stand alone.
>
> Actions in the LRIP are divided into annual, achievable steps and
> reproduced in the Annual Implementation Plan (AIP), the second
> component of the CIP. Creating annual plans via this "stepping-down"
> of the LRIP simplifies much of a park's annual planning process.
>
> The third component of the CIP is the Interpretive Database (ID), a
> compilation of information, including interpretive media inventories,
> the park's strategic plan, enabling legislation, visitor surveys,
> interpretive reports, and a bibliography.

### Park Purpose & Significance

## Park Purpose

> The legislation that created the Edgar Allan Poe National Historic
> Site in 1978, Public Law 95-625, offers few insights into
> congressional aspirations for the park. In addition to specifying the
> land and buildings included within the site's boundaries, it cites the
> "literary importance attained by Edgar Allan Poe" as the single
> rationale for adding the unit to the National Park System.
>
> Workshop participants agreed that, as the legislation implies, the
> park's purpose includes the preservation and protection of structures
> (530 and 532 North Seventh Street plus the house at the rear where Poe
> actually lived) as well as interpretation of Poe's literary
> contributions. They also felt that Poe's sojourn in Philadelphia
> provided context (the literary, social, and political worlds of Poe's
> era, as well as his home life with his wife and mother-in-law) and
> required interpretation.

## Park Significance

> Significance statements explain why a park and its resources are
> important. They place each National Park Service unit into context.
>
> The Edgar Allan Poe National Historic Site is [nationally]{.underline}
> significant because it\...

-   Provides a tangible connection to Poe's expansive literary legacy.
    Poe enriched the literary world in a variety of ways.

A Virginian, Poe brought a different perspective to American literature
then dominated by northern authors.

> An accomplished poet, literary critic, and magazine editor, Poe
> mastered the short story, carefully choosing words and images that
> stir deep emotion. The themes he addressed personally touched and
> intrigued his readers. He purposefully wrote to produce a single
> effect that would have an immediate impact on his readers.
>
> Poe invented a new genre of literature---the detective story.
>
> Poe's genius is recognized and his influence felt around the world; He
> is credited with inspiring authors, Baudelaire and Mallarme in
> particular, who revitalized French Literature.

Served as Poe's home during the height of his literary powers and sheds
light on the relationship between creative genius and personal life.
During his stay in Philadelphia, Poe produced some of his greatest
works.

> Poe lived at the site, the only surviving Poe residence in
> Philadelphia, with his mother-in-law and ailing wife. The impact of
> their lives, as well as his own biography, raises questions about the
> origin of creative ideas and literary themes.

Poe's residence in Philadelphia, one of the literary and publishing
capitals of 19th century America, was no accident. He chose to live in
Philadelphia hoping to influence his career and enhance his success.

> The Edgar Allan Poe National Historic Site has [local]{.underline}
> significance because it\...

-   Represents the preservation efforts of private citizens, early
    pioneers in countless campaigns to save America's historic
    structures.

Richard Gimbel, a Poe scholar and collector, purchased the Poe House and
maintained the site through a foundation. After Gimbel's death, the
city, via the Free Library, administered the house until creation of the
national historic site.

**Interpretation in Planning Documents**[]{#__RefHeading___Toc461769624
.anchor}

> Several existing planning documents include recommendations for the
> development of interpretive programming. It is useful to include
> summaries of those ideas for reference.
>
> **Interim Interpretive Plan (1980)**

An Interim Interpretive Plan, prepared by staff assigned to Independence
National Historical Park with assistance from Harpers Ferry Center,
provided initial direction for the site's interpretive program. Current
conditions, reflect the recommendations of that plan as they have
evolved over two decades.

-   Exhibits in 532 North Seventh Street introduce visitors to Poe's
    literary world, his literary accomplishments, and his personal life.

-   An audio visual program presents an interpretive chronology of Poe's
    life.

-   A tour of the unfurnished Poe house presents the whole man by
    establishing connections between Poe's life and his literature,
    between the house and Poe's biography.

-   In a reading room furnished to reflect the ideas featured in Poe's
    essay, "The Philosophy of Furniture," visitors can spend time
    exploring Poe's literature.

-   Publications include a park brochure in English and one
    multi-language brochure (Spanish, French, German, and Japanese),
    plus several "site bulletins" on specialized topics.

-   A small sales area provides visitors with an opportunity to purchase
    items by and about Poe and 19th century literature.

-   Park programming includes a curriculum-base education program, a
    Junior Ranger program, neighborhood homework and reading clubs, a
    discovery trunk, a one act play entitled "Remembering Poe," a
    distance learning program with the School District of Philadelphia,
    and several annual special events.

-   The park has a website.

> **Government Performance & Results Act (1993)**
>
> The Government Performance and Results Act (GPRA) requires federal
> agencies to establish standards for measuring performance and
> effectiveness. The law requires federal agencies to develop strategic
> plans describing their overall goals and objectives, annual
> performance plans containing quantifiable measures of their progress,
> and performance reports describing their success in meeting those
> standards and measures.
>
> The following mission goals were prepared as part of a process
> required by GPRA. Annual plans prepared by the park will establish
> future benchmarks for visitor satisfaction, visitor understanding, and
> partner participation and should be consulted during the annual review
> of this LRIP.

-   Mission Goal IIa: Visitors safely enjoy and are satisfied with the
    availability, accessibility, diversity, and quality of park
    facilities, services, and appropriate recreational opportunities.

-   Mission Goal IIb: Visitors and the general public understand and
    appreciate the preservation of parks and their resources for this
    and future generations.

###### "The Road Ahead: A Strategy for Achieving Excellence in Interpretation & Education" (1997)

> Released by the Northeast Region of the National Park Service, "The
> Road Ahead" identified six goals designed to improve the quality of
> both interpretive and educational programming. The park's
> Comprehensive Interpretive Plan will support and implement these
> goals.

-   Discover the Untold Stories, i.e., interpretive and educational
    programs are inclusive and present diverse perspectives and multiple
    points of view where appropriate and are related to park themes.

-   Open New Doors to Learning, i.e., school systems, academic
    institutions, organizations, diverse visitors and lifelong learners
    recognize and use parks to enhance learning.

-   Invest in Children, i.e., every park will have a curriculum-based
    education program so that children have a quality educational "park
    experience" during their elementary and high school years.

-   Develop America's Best Workforce, i.e., the profile of our workforce
    reflects the rich diversity of the United States population. All
    employees demonstrate the necessary competencies and approach their
    responsibilities with the highest degree of professionalism and
    innovation in order to provide outstanding customer service, to
    maintain subject matter credibility, and to be accountable in all
    aspects of the operation.

-   Make Connections, i.e., every park will connect its story to the
    entire National Park System and will seek opportunities to link
    themes and build bridges with parks and partners locally,
    nationally, globally.

-   Get Wired to the World, i.e., every park capitalizes on new and
    emerging technologies in order to enhance resource protection,
    improve customer service, and educate all audiences.

> **Accessibility**
>
> NPS policy mandates that interpretive programming be developed in
> accordance with Director's Order 42 and the programmatic accessibility
> guidelines included in Appendix 1.

**Themes**[]{#__RefHeading___Toc461769628 .anchor}

> **What are Interpretive Themes?**
>
> Interpretive themes capture the essence of the park's significance.
> They are a park's most important stories and represent core messages
> that every audience should have the opportunity to hear.
>
> While interpretation of any park could touch upon many stories,
> focused themes increase effectiveness. When well conceived, they
> explore the meanings behind the facts. They open minds to new ideas
> and perhaps to multiple points of view. When linked to commonly held
> emotions or universal human experiences, themes encourage audiences to
> see themselves in a park's story and discover personal relevance.
>
> **Themes**
>
> [Topic 1: Human Creativity]{.underline}
>
> Primary Theme Statement
>
> *Poe's life is a case study in the expression of and society's
> reaction to creative genius.*
>
> Content:
>
> At many parks there is a story that is so fundamental that all other
> interpretive messages rest upon it, so compelling that it transcends
> all others.
>
> In the case of Edgar Allan Poe, that story is human creativity. Nearly
> 200 years after Poe's birth, we still ask how he could write the way
> he did? What accounted for his literary genius? Why do his works still
> inspire such fascination?
>
> When asked about Poe, those questions point to a more fundamental line
> of inquiry. How is creative genius received by the world at large?
> Society simultaneously embraced and rejected Poe's writings. Some felt
> his works too dark and morbid, his criticism too brutual. Others
> regarded his criticism as a much-needed wake-up call from the old
> system of puffery and regarded his stories as startlingly original and
> stimulating. Why does society sometimes have difficulty recognizing
> and embracing creativity?
>
> This overarching story can be dissected into three additional themes
> essential to understanding the significance of the park's resources.

######### Topic 2: Poe's Body of Work

> Primary Theme Statement:
>
> *Poe demonstrated the breadth of his creative genius by mastering and
> even pioneering a variety of literary forms.*
>
> Content:
>
> This theme focuses on quality and variety. Poe not only wrote poetry,
> literary criticism, and horror stories, but he also pioneered and
> popularized science fiction and detective stories.
>
> He expressed his literary genius through the power of carefully chosen
> words that elicit intense emotional response. He possessed an ability
> to have an impact on his readers on an intellectual as well as a
> visceral level. He chose and explored themes that had universal
> resonance. And he achieved his best when he wrote economically, for
> poems and short stories rather than novels or expansive narrative.
>
> [Topic 3: Poe's Continuing Literary Influence]{.underline}
>
> Primary Theme Statement:
>
> *Poe's influence on literary expression as well as popular culture
> began during his lifetime and continues today.*
>
> Content:
>
> This theme focuses on the impact that Poe has had on a variety of
> literary genres and on authors who have worked in those genres. His
> influence is longstanding and widespread, not confined to the U.S.
> Both Poe's literature and his life have entered popular culture where
> they continue to inspire art, music, and film.
>
> [Topic 4: Poe's Life and Times]{.underline}
>
> Primary Theme Statement:
>
> *Poe's personal life as well as the literary world in which he made
> his living had an impact on his creative expression.*
>
> Content:
>
> This theme focuses on what influenced Poe and on the life choices he
> made. It opens the door to interpretation of Poe's biography and his
> personal life with his wife and mother-in-law, how he and his family
> lived, and the impact of his decision to pursue his literary work to
> the exclusion of other, perhaps more lucrative, ways of making a
> living. This is the theme that explores the myths and realities of
> Poe's life.
>
> But it also places family life into context. Poe made his way in the
> literary world of his times. That world affected where he lived. It
> had an impact on what he could sell or do to make a living. It
> produced friends and foes. It built or destroyed reputations.

**Experiences**[]{#__RefHeading___Toc461769629 .anchor}

> In addition to the themes that the park hopes to communicate, it is
> important to think about the nature of the park's interaction with
> targeted audiences. What will the initial contact with the park be
> like? How will audiences be oriented? What activities and programs can
> the park provide that will reinforce its themes? How can audiences
> actively participate in learning? Are there ways to encourage
> reflection and inspiration? What will create positive memories and
> nurture stewardship and support?

## General Atmosphere

> Based on responses during the planning workshops, interpretive
> programming will be most effective when it contributes to an on-site
> atmosphere of\...

-   Mystery, discovery, and unhurried inquiry.

-   Fear or uneasiness in a safe setting.

-   Creative tension.

-   Delight in the power of well-chosen words.

> The interpretive techniques employed also should\...

-   Offer choice. Primary themes should be presented via a variety of
    media.

-   Encourage interactivity and dialogue.

> **Orientation & Wayfinding**
>
> Based on responses during the planning workshops, interpretive
> programming will be most effective in helping audiences with
> orientation and wayfinding when it provides opportunities for
> audiences to\...

-   Find the site without confusion.

-   Feel comfortable visiting the site, parking, etc.

-   Find other sites with similar themes or stories.

> **Theme Reinforcement**
>
> Based on responses during the planning workshops, interpretive
> programming will be most effective in reinforcing the park's primary
> themes when it provides opportunities for audiences to\...

-   Read, hear, or recite Poe's writing.

-   Make personal connections with Poe themes.

-   Make tangible connections between Poe and the house, to explore ways
    that Poe's personal life in the house might have affected his
    creative expression and might be reflected in his writing.

-   Make a physical connection between Poe's literature and some
    tangible representation---facsimilies of first edition books or
    scenes from Poe stories (the cellar staircase or false chimney, for
    example).

-   See physical evidence of the house's history and use over time.

-   Place Poe's life in the house into context, to connect Poe's
    personal life to the neighborhood and to U.S. and literary history.

-   Place the myths about Poe into factual context.

-   See or hear examples of Poe's influence on others, including the
    impact that he has had on popular culture.

> **Thought, Reflection, Inspiration, & Stewardship**
>
> Based on responses during the planning workshops, interpretive
> programming will be most effective in encouraging reflection and
> fostering inspiration and stewardship when it provides opportunities
> for audiences to\...

-   Linger and reflect in a quiet area.

-   Express their own creativity.

-   Take home an appropriate memento from the site.

**Audiences**[]{#__RefHeading___Toc461769630 .anchor}

> **Existing Audiences**
>
> Annual visitation averages 16,000 and can be divided into three basic
> groups (1/3 students/families/individuals). Because of Poe's worldwide
> popularity, the site has significant foriegn visitation. A majority of
> visitors to this site already have some knowledge of Poe's life and
> work.
>
> **5 Year Focus**
>
> The intended audiences for interpretive programming can have an
> important impact on the interpretive programs and techniques
> recommended in this plan.
>
> In order to focus valuable resources of staffing and budget, workshop
> participants discussed both [existing]{.underline} and
> [potential]{.underline} audiences and suggested that the following
> groups should receive priority over the next 5 years.

-   Neighbors and schools in the immediate community (Spring Garden and
    Northern Liberties).

-   Residents in the Philadelphia metropolitan area.

-   Writer's organizations and the cultural community.

-   Philadelphia public schools, primarily middle school and higher.

-   Multi-lingual audiences, primarily French, Spanish, and Japanese.

-   Virtual audiences who use the Internet.

-   Teachers nationwide.

> Several other groups were considered important and some level of
> communication will be appropriate for the following on an as needed
> basis.

-   Friends of Poe, existing supporters.

-   Civic groups and organizations.

-   Families.

-   People with disabilites.

-   Reading or book discussion groups.

**Issues**[]{#__RefHeading___Toc461769631 .anchor}

> The park has many assets upon which it can build an effective
> interpretive program including an evocative sense of place, compelling
> story, and professional qualified staff.
>
> However, like any park it faces challenges as well. In addition to the
> focused content, the identified targeted audiences, and the delivery
> of certain types of audience experiences that are addressed elsewhere
> in Part 1, workshop participants identified the following issues that
> should be addressed by interpretive programming.
>
> **Identity & Expectations**

-   The site is not well known. Even many Philadelphians don't know
    where it is located.

-   Many don't understand what the site has to offer. They don't expect
    an "empty" house. They may be uncertain or uncomfortable with the
    site's location, how to get there, where to park, whether it is
    safe, etc.

-   Poe's residence is only part of the site and on-site visitors can
    become confused.

-   The current condition of the house raises questions about the
    quality of care and attention the building receives.

-   The door to the house is locked for security and because staff often
    are with visitors in another part of the building.

> **Neighborhood**

-   The neighborhood is becoming more racially and economically diverse
    and housing is becoming more expensive.

-   The site continues to need to build relationships with its
    residential neighbors.

> **Space**

-   The residential nature of site buildings means that available spaces
    are limited. There are limits to the size of guided groups. There is
    no group meeting space on site during normal operating hours.
    Convenient off-street parking in not always available.

> **Interpretive Media**

-   Existing exhibits are over 20 years old and beginning to show their
    age. There are questions about how well they reflect current themes
    and provide desired experiences.

-   The park's basic folder also is aging and needs review.
    Supplementary publications have evolved over the years and need a
    comprehensive review.

> **Bicentennial**

-   2009 marks the 200th anniversary of Poe's birth.

> **Staffing**

-   The site is closed two days a week for seven months or more (based
    on annual budgets). As noted above, staff often are with visitors
    requiring the entry door to be locked.

-   Emergency response time for NPS law enforcement rangers is affected
    by the "remoteness" of the site.

> **Accessibility**

-   The residential nature of the park's structures poses physical and
    programmatic accessibility challenges (refer to Director's Order 42
    and the Harpers Ferry Center programmatic accessibilities guidelines
    in Appendix 1).

**Part 2**[]{#__RefHeading___Toc461769632 .anchor}

**Actions**

**Interpretive Program Description**

> **Organization**
>
> []{#__RefHeading___Toc461769633 .anchor}
>
> After reviewing the contents of Part 1, park staff identified the
> following areas of focus for the next 5-7 years. These are important
> areas that have not been adequately addressed in the past.

######### The Highest Priority: Identity, Orientation, & Wayfinding

> The most important goal for interpretive programming over the next 5-7
> years is to heighten the identity of the site and improve orientation
> and wayfinding. Currently, the site is not well known. Even many
> Philadelphians don't know where it is located or what it has to offer.
> Visitors need to be able to find the site without confusion and feel
> comfortable visiting and parking.
>
> Since Poe's residence is only part of the site, on-site visitors can
> become confused. They often don't expect an "empty" house, and the
> current condition of the house raises questions about the quality of
> care and attention the building receives.

######### Themes

Two of the site's themes would benefit from additional interpretive
attention.

> Topic 1: Human Creativity
>
> *Poe's life is a case study in the expression of and society's
> reaction to creativegenius.*
>
> Topic 3: Poe's Continuing Literary Influence
>
> *Poe's influence on literary expression as well as popular culture
> began during his lifetime and continues today.*
>
> [Experiences]{.underline}
>
> The on-site atmosphere of mystery, discovery, and unhurried inquiry
> could play a critical role in reinforcing the site's themes. Over the
> next 5-7 years, interpretive programming should encourage
> interactivity and dialogue. Audiences should have opportunities to
> read, hear, or recite Poe's writing. And they should see or hear
> examples of Poe's influence on others, including the impact that he
> has had on popular culture.
>
> [Issues]{.underline}
>
> The park has received funding to develop a plan for how to treat the
> interior spaces of the original Poe House, including the possible
> repair of wall surfaces and architectural features. This project may
> alter the appearance of the house and needs to be coordinated with an
> exhibit plan for the entire site including the museum and theatre
> spaces..
>
> The site continues to need to build relationships with its residential
> neighbors.

######### Audiences

> Special effort will be made to communicate with several targeted
> audiences:
>
> Residents in the Philadelphia metropolitan area.
>
> Writer's organizations and the cultural community.
>
> Philadelphia public schools, primarily middle school and higher.
>
> Virtual audiences who use the Internet.
>
> Friends of Poe, existing supporters.
>
> **1. Actions to Address Identity, Orientation, and
> Wayfinding**[]{#__RefHeading___Toc461769634 .anchor}
>
> In order to heighten the site's identity and help with orientation and
> wayfinding, park staff will\...

-   Prepare and distribute an annual calendar of events.

-   Explore regular or special transit routes to the site.

-   Increase "advertising" through thematically related sites.

-   Take the next steps in organizing a "Friends" group and use the
    group to expand the site's cadre of supporters.

-   Develop and market a thematic tour of sites related to literary
    Philadelphia.

-   Create interpretive media that link the Poe House to literary sites
    in the historic district. Include diverse sites that will appeal to
    varied audiences. Use these tours to establish the context of Poe's
    sojourn in Philadelphia.

Experiment with walking tours, self-guided tour brochures, or a virtual
tour on the Internet. Include a reading list that complements the
content. Following the experiments, develop a strategy to publicize the
program.

-   Maintain hotel and tourism staff, including employees of Eastern
    National, with information about the site. Offer "fam" tours.

-   Develop a "rack" card and distribute to tourism outlets.

-   Sustain existing ties to neighborhood groups in Northern Liberties
    and Old City and expand to include others.

-   Approach the organizers of Philadelphia Open House and discuss
    adding a Poe program.

-   Initiate dialogue with librarians and booksellers and discuss some
    sort of satellite program.

> **2. Actions to Address Targeted Themes &
> Experiences**[]{#__RefHeading___Toc461769635 .anchor}
>
> The targeted themes are challenging to address. However, over the next
> 5-7 years, park staff will\...

-   Define objectives for and request an official "unigrid" brochure.

```{=html}
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```
-   Initiate the process that will produce an exhibit plan for the site.
    While aging exhibits and AV, intended to be temporary when the site
    opened, will be the primary focus of this planning effort, it
    clearly must complement, and may offer rationale for adjusting,
    interpretation inside the Poe House itself. When this exhibit plan
    is begun, it should be viewed as an opportunity to explore new ways
    to address the themes and experiences, particularly those related to
    creativity, included in this LRIP. It also should suggest new ways
    to present book sales and visitor orientation.

> Many of the other action items that follow will serve to test ideas
> that might be implements by a new exhibit plan.

-   Explore the addition of audio options to the house tour. For
    example, guides might offer visitors taped readings of Poe's work.
    They might play passages that illustrate a particular point about
    Poe's use of language.

-   Consider ways to use an audiovisual program to introduce a
    discussion of human creativity. Begin by preparing objectives. Talk
    to other sites that address similar topics, including other NPS
    sites with an arts focus.

> Staff might experiment with existing programs like "Why Man Creates,"
> an Academy Award winning short film. Or they might create a Power
> Point program that focuses more on Poe as a case study and uses his
> body of work to illustrate the creative process or creative
> expression.
>
> Rather than attempt to present some definitive theory of human
> creativity, site programs should facilitate thought and challenge
> visitors to develop their own ideas about creativity and speculate
> about the sources of inspiration.

-   Design activities that encourage audiences to be creative---to write
    or express their feelings in some form---or to think about what
    society judges creativity.

-   Use the small changing exhibit area for an on-going "Poe in the
    News" display, a place to post news articles, advertisements, etc.
    that reference Poe.

-   Add titles of authors who were influenced by Poe to the books
    available in the Reading Room.

-   Use special events and speakers to explore Poe's continuing
    influence on literature and popular culture.

-   Revise the foreign language tour of the house.

> **3. Actions to Address Targeted
> Issues**[]{#__RefHeading___Toc461769636 .anchor}
>
> [Neighbor relations]{.underline}
>
> In order to build and sustain a positive relationship with neighbors,
> park staff will...

-   Continue to offer a Junior Ranger program, with its emphasis on the
    NPS, to Spring Garden, but reduce the number of lessons from six to
    three.

-   Offer the same three lessons to teachers and students at Kearney.

-   Distribute some sort of small incentive or invitation to all
    students who participate in the program that will encourage them to
    visit the site with their family.

-   Continue to offer a "party" or open house for neighborhood
    residents. Explore new options to make the event more inviting.

-   Experiment with some sort of project that will benefit both the site
    and the neighborhood.

> **4. Actions to Address Targeted
> Audiences**[]{#__RefHeading___Toc461769637 .anchor}
>
> [Schools]{.underline}
>
> In order to reach out to teachers and students, park staff will\...

-   Contact schools in the surrounding neighborhoods and discuss
    possible areas of educational overlap.

```{=html}
<!-- -->
```
-   Assess the "Poe in Philadelphia" handbook for teachers and ask for
    assistance in evaluating teacher handbook materials and for advice
    in creating a curriculum-based education program (see Appendix 2 for
    characteristics of curriculum-based education).

> [Residents in the metropolitan area.]{.underline}
>
> See action items for "Identity, Orientation, & Wayfinding."
>
> [Writer's organizations and the cultural community]{.underline}
>
> In order to reach out to writer's organizations and the cultural
> community, park staff will\...

-   Offer space on site for small group meetings.

-   Explore ways to collaborate with the Poe Studies Association.

> [Virtual audiences]{.underline}
>
> In order to reach audiences who use the Internet, park staff will...

-   Add additional items to the site's website, specifically a
    chronology of Poe's life and accomplishments, information from the
    park's brochure, educational materials, and links to theme-related
    sites.

> [Friends of Poe]{.underline}
>
> Park staff will...

-   Develop and implement a strategy that will create a "friends" or
    volunteer group of site supporters.

### Research Needs

> In order to fully accomplish the actions included in this plan, the
> following research is needed\...

-   Poe's continuing influence on literature and popular culture.

**Staffing & Training Needs**[]{#__RefHeading___Toc461769639 .anchor}

> In FY 2001, the site had 5 permanent interpretive staff working the
> equivalent of 4 FTE. It had 2 temporary staff working .3 FTE.
>
> Personal services (contact station, tours, education programs, etc.)
> required the largest investment in staff time (3.8 FTE). Non-personal
> services required .2 FTE and outreach .3 FTE.
>
> In order to support the actions included in Part 2, the park will make
> the following changes in staffing\...
>
> In order to support the actions included in Part 2, the park staff
> will\...

-   Visit other Poe and literary sites.

-   Submit Albright grants for software training courses such as
    Photoshop and Pagemaker.

**Action Plan**[]{#__RefHeading___Toc461769640 .anchor}

### Actions to Address Identity, Orientation, Wayfinding

+--------------------+-------+------+------+------+------+------+------+
| **Action**         | **W   | **FY | **FY | **FY | **FY | **FY | **   |
|                    | ho?** | 04** | 05** | 06** | 07** | 08** | Futu |
|                    |       |      |      |      |      |      | re** |
+--------------------+-------+------+------+------+------+------+------+
| Prepare a calendar | Staff |      | ###  | ###  | ###  | ###  |      |
| of events          |       |      | ## X | ## X | ## X | ## X |      |
|                    | ###   |      |      |      |      |      |      |
|                    | ## Fr |      |      |      |      |      |      |
|                    | iends |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| "Advertise" via    | ####  |      | ###  | ###  | ###  | ###  |      |
| related sites      | # USM |      | ## X | ## X | ## X | ## X |      |
|                    |       |      |      |      |      |      |      |
|                    | Par   |      |      |      |      |      |      |
|                    | tners |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Organize "Friends" | ####  | ###  |      |      |      |      |      |
| group              | # USM | ## X |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Develop literary   | #     |      |      | ###  |      |      |      |
| Phila. Tour        | ####  |      |      | ## X |      |      |      |
|                    | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Create interp.     | ####  |      |      |      |      |      | ###  |
| link to hist.      | # USM |      |      |      |      |      | ## X |
| dist.              |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Re-contact tourism | ####  |      |      |      |      |      | ###  |
| staff              | # USM |      |      |      |      |      | ## X |
|                    |       |      |      |      |      |      |      |
|                    | PAO   |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Develop rack card  | #     |      | ###  |      |      |      |      |
|                    | ####  |      | ## X |      |      |      |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | EN    |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Sustain ties to    | #     | ###  | ###  | ###  | ###  | ###  |      |
| neighborhood       | ####  | ## X | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Discuss Phila.     | USM   |      |      |      |      |      | ###  |
| Open House         |       |      |      |      |      |      | ## X |
|                    | PAO   |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Talk to            | #     |      | ###  | ###  | ###  | ###  | ###  |
| lib                | ####  |      | ## X | ## X | ## X | ## X | ## X |
| raries/booksellers | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+

### Actions to Address Themes & Experiences

+--------------------+-------+------+------+------+------+------+------+
| **Action**         | **W   | **FY | **FY | **FY | **FY | **FY | **   |
|                    | ho?** | 04** | 05** | 06** | 07** | 08** | Futu |
|                    |       |      |      |      |      |      | re** |
+--------------------+-------+------+------+------+------+------+------+
| Define             | ####  |      | ###  |      |      |      |      |
| objectives/request | # USM |      | ## X |      |      |      |      |
| unigrid            |       |      |      |      |      |      |      |
|                    | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Initiate exhibit   | ####  | ###  |      |      |      |      |      |
| rehab              | # USM | ## X |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | PMIS  |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Explore audio in   | \*    | X    |      |      |      |      | ##   |
| house              |       |      |      |      |      |      | ###  |
+--------------------+-------+------+------+------+------+------+------+
| Discuss creativity | \*    | X    |      |      |      |      | ##   |
| AV                 |       |      |      |      |      |      | ###  |
+--------------------+-------+------+------+------+------+------+------+
| Design creativity  | \*    | X    |      |      |      |      | ##   |
| activities         |       |      |      |      |      |      | ###  |
+--------------------+-------+------+------+------+------+------+------+
| Use exh. space for | \*    | X    |      |      |      |      | ##   |
| Poe in News        |       |      |      |      |      |      | ###  |
+--------------------+-------+------+------+------+------+------+------+
| Add titles to      | #     | ###  | ###  | ###  | ###  | ###  |      |
| Reading Room       | ####  | ## X | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | EN    |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Add special        | #     | ###  | ###  | ###  | ###  | ###  |      |
| events/speakers    | ####  | ## X | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | ##### |      |      |      |      |      |      |
|                    | ## Fr |      |      |      |      |      |      |
|                    | iends |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Revise foreign     | #     |      |      | ###  |      |      |      |
| lang materials     | ####  |      |      | ## X |      |      |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | EN    |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+

### \*These actions are linked to producing an exhibit plan with funding through HFC.

###  

### Actions to Address Issues

+--------------------+-------+------+------+------+------+------+------+
| **Action**         | **W   | **FY | **FY | **FY | **FY | **FY | **   |
|                    | ho?** | 04** | 05** | 06** | 07** | 08** | Futu |
|                    |       |      |      |      |      |      | re** |
+--------------------+-------+------+------+------+------+------+------+
| Continue Jr.       | #     | ###  | ###  | ###  | ###  | ###  |      |
| Ranger at Spring G | ####  | ## X | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | ##### |      |      |      |      |      |      |
|                    | ## EN |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Introduce Jr.      | #     |      | ###  |      |      |      |      |
| Ranger at Kearney  | ####  |      | ## X |      |      |      |      |
|                    | Staff |      |      |      |      |      |      |
| \*                 |       |      |      |      |      |      |      |
|                    | EN    |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Distribute         | #     |      |      |      |      |      | ###  |
| incentives         | ####  |      |      |      |      |      | ## X |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | EN    |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Offer open house   | #     |      | ###  | ###  | ###  | ###  |      |
| city wide          | ####  |      | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | Fr    |      |      |      |      |      |      |
|                    | iends |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Develop community  | #     |      |      |      |      |      | ###  |
| project            | ####  |      |      |      |      |      | ## X |
|                    | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+

### Actions to Address Audiences

+--------------------+-------+------+------+------+------+------+------+
| **Action**         | **W   | **FY | **FY | **FY | **FY | **FY | **   |
|                    | ho?** | 04** | 05** | 06** | 07** | 08** | Futu |
|                    |       |      |      |      |      |      | re** |
+--------------------+-------+------+------+------+------+------+------+
| Contact            | #     | ###  | ###  | ###  | ###  | ###  |      |
| neighborhood       | ####  | ## X | ## X | ## X | ## X | ## X |      |
| schools            | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| ##### Assess P     | ####  |      | ###  |      |      |      |      |
| oe In Philadelphia | # USM |      | ## X |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | G     |      |      |      |      |      |      |
|                    | rants |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Offer space for    | ####  |      |      |      |      |      | ###  |
| meetings           | # USM |      |      |      |      |      | ## X |
|                    |       |      |      |      |      |      |      |
|                    | PAO   |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Collaborate with   | ###   |      | ###  |      |      |      |      |
| Poe Studies A      | ## Fr |      | ## X |      |      |      |      |
|                    | iends |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Enhance website    | #     | ###  | ###  | ###  | ###  | ###  |      |
|                    | ####  | ## X | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+

Actions to Address Research, Staffing, Training

Note: These items are included elsewhere, but repeated here for easy
reference.

+--------------------+-------+------+------+------+------+------+------+
| **Action**         | **W   | **FY | **FY | **FY | **FY | **FY | **   |
|                    | ho?** | 04** | 05** | 06** | 07** | 08** | Futu |
|                    |       |      |      |      |      |      | re** |
+--------------------+-------+------+------+------+------+------+------+
| Gather info on     | ####  |      | ###  |      |      |      |      |
| Poe's influence    | # USM |      | ## X |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | G     |      |      |      |      |      |      |
|                    | rants |      |      |      |      |      |      |
|                    | \$    |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Visit Poe/literary | #     | ###  | ###  | ###  | ###  | ###  |      |
| sites              | ####  | ## X | ## X | ## X | ## X | ## X |      |
|                    | Staff |      |      |      |      |      |      |
|                    |       |      |      |      |      |      |      |
|                    | Fr    |      |      |      |      |      |      |
|                    | iends |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
| Submit Albright    | Staff |      |      |      |      |      | ###  |
| grants             |       |      |      |      |      |      | ## X |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+
|                    |       |      |      |      |      |      |      |
+--------------------+-------+------+------+------+------+------+------+

**Participants**[]{#__RefHeading___Toc461769641 .anchor}

> Joanne Blacoe, Interpretive Specialist, NPS Philadelphia Support
> Office
>
> Leo Blake, Site Manager, Walt Whitman House, NJ State Park Service
>
> Julia Canonica, Volunteer, Edgar Allan Poe National Historic Site
>
> Kathy Dilonardo, Interpretive Program Manager, NPS Philadelphia
> Support Office
>
> Doris Fanelli, Chief, Cultural Resources Management, Independence
> National Historical Park
>
> Ralph Gladstone, Volunteer Guide, Edgar Allan Poe National Historic
> Site
>
> Matthew Ifill, Park Ranger, Walt Whitman House, New Jersey State Park
>
> Mary Jenkins, Park Supervisor, Independence National Historical Park
>
> Mary Jean Kashmer, Teacher, Edgewater Park Schools
>
> Eric Knight, Park Ranger, Edgar Allan Poe National Historic Site
>
> Andrew McDougall, Park Ranger, Edgar Allan Poe National Historic Site
>
> Helen McKenna-Uff, Park Ranger, Edgar Allan Poe National Historic Site
>
> Steve Medeiros, Park Ranger, Edgar Allan Poe National Historic Site
>
> Craig Ranshaw, Teacher, Maple Shade New Jersey
>
> Robert Regan, Professor Emeritus of English, University of
> Pennsylvania
>
> Mary Reinhart, Interpretive Specialist, Independence National
> Historical Park
>
> Joanne Schillizzi, Park Ranger, Edgar Allan Poe National Historic Site
>
> Steve Sitarski, Park Manager, Independence National Historical Park
> Unit Sites
>
> Ron Thomson, Facilitator & Writer, Compass

**Appendix 1**

**Programmatic Accessibility Guidelines for Interpretive
Media**[]{#__RefHeading___Toc461769643 .anchor}

> All new interpretive programming will be developed according to the
> \"Guidelines for Interpretive Media\" finalized in June 1996 by the
> Accessibility Task Force at the NPS\'s Harpers Ferry Center.
>
> Statement of Purpose
>
> This document is a guide for promoting full access to interpretive
> media to ensure that people with physical and mental disabilities have
> access to the same information necessary for safe and meaningful
> visits to National Parks. Just as the needs and abilities of
> individuals cannot be reduced to simple statements, it is impossible
> to construct guidelines for interpretive media that can apply to every
> situation in the National Park System.
>
> These guidelines define a high level of programmatic access which can
> be met in most situations. They articulate key areas of concern and
> note generally accepted solutions.
>
> Due to the diversity of park resources and the variety of interpretive
> situations, flexibility and versatility are important.
>
> Each interpretive medium contributes to the total park program. All
> media have inherent strengths and weaknesses, and it is our intent to
> capitalize on their strengths and provide alternatives where they are
> deficient. It should also be understood that any interpretive medium
> is just one component of the overall park experience. in some
> instances, especially with regard to learning disabilities, personal
> services, that is one-on-one interaction, may be the most appropriate
> and versatile interpretive approach.
>
> In the final analysis, interpretive design is subjective, and
> dependent on both aesthetic considerations as well as the particular
> characteristics and resources available for a specific program.
> Success or failure should be evaluated by examining all interpretive
> offerings of a park. Due to the unique characteristics of each
> situation, parks should be evaluated on a case by case basis.
> Nonetheless, the goal is to fully comply with NPS policy:
>
> \"\...To provide the highest level of accessibility possible and
> feasible for persons with visual, hearing, mobility, and mental
> impairments, consistent with the obligation to conserve park resources
> and preserve the quality of the park experience for everyone.\"
>
> NPS Special Directive 83-3, Accessibility for Disabled Persons
>
> Audiovisual Programs
>
> Audiovisual programs include motion pictures, sound/slide programs,
> video programs, and oral history programs. As a matter of policy, all
> audiovisual programs produced by the Harpers Ferry Center will include
> some method of captioning. The Approach used will vary according to
> the conditions of the installation area and the media format used, and
> will be selected in consultation with the parks and regions.
>
> The captioning method will be identified as early as possible in the
> planning process and will be presented in an integrated setting where
> possible. To the extent possible, visitors will be offered a choice in
> viewing captioned or uncaptioned versions, but in situations where a
> choice is not possible or feasible, a captioned version of all
> programs will be made available. Park management will decide on the
> most appropriate operational approach for the particular site.
>
> Guidelines Affecting Mobility Impaired Visitors
>
> 1\. The theater, auditorium, or viewing area should be accessible and
> free of architectural barriers, or alternative accommodations will be
> provided. UFAS 4.1.
>
> 2\. Wheelchair locations will be provided according to ratios outlined
> in UFAS 4.1.2(18a).
>
> 3\. Viewing heights and angles will be favorable for those in
> designated wheelchair locations.
>
> 4\. In designing video or interactive components, control mechanisms
> will be placed in accessible location, usually between 9\" and 48\"
> from the ground and no more than 24\" deep.
>
> Guidelines Affecting Visually Impaired Visitors
>
> 1\. Simultaneous audio description will be considered for
> installations where the equipment can be properly installed and
> maintained.
>
> Guidelines Affecting Hearing Impaired Visitors
>
> 1\. All audiovisual programs will be produced with appropriate
> captions.
>
> 2\. Copies of scripts will be provided to the parks as a standard
> procedure.
>
> 3\. Audio amplification and listening systems will be provided in
> accordance with UFAS 4.1.2(18b).
>
> Guidelines Affecting Learning Impaired Visitors
>
> 1\. Unnecessarily complex and confusing concepts will be avoided.
>
> 2\. Graphic elements will be chosen to communicate without reliance on
> the verbal component.
>
> 3\. Narration will be concise and free of unnecessary jargon and
> technical information.
>
> Exhibits
>
> Numerous factors affect the design of exhibits, reflecting the unique
> circumstances of the specific space and the nature of the materials to
> be interpreted. It is clear that thoughtful, sensitive design can go a
> long way in producing exhibits that can be enjoyed by a broad range of
> people. Yet, due to the diversity of situations encountered, it is
> impossible to articulate guidelines that can be applied universally.
>
> In some situations, the exhibit designer has little or no control over
> the space. Often exhibits are placed in areas ill suited for that
> purpose, they may incorporate large or unyielding specimens, may
> incorporate sensitive artifacts which require special environmental
> controls, and room decor or architectural features may dictate certain
> solutions. All in all, exhibit design is an art which defies simple
> description. However, one central concern is to communicate the
> message to the largest audience possible. Every reasonable effort will
> be made to eliminate any factors limiting communication through
> physical modification or by providing an alternate means of
> communication.
>
> Guidelines Affecting Mobility Impaired Visitors
>
> 1\. Exhibit space will be free of physical barriers or a method of
> alternate accommodation shall be provided.
>
> 2\. All pathways, aisles, and clearances will meet standards set forth
> in UFAS 4.3. Generally a minimum width of 36\" will be provided.
>
> 3\. Ramps will be as gradual as possible and will not exceed a slope
> of 1\" rise in 12\" run, and otherwise conform with UFAS 4.8.
>
> 4\. Important artifacts, labels, and graphics, will be placed at a
> comfortable viewing level relative to their size. Important text will
> be viewable to all visitors. Display cases will allow short or seated
> people to view the contents and the labels. Video monitors associated
> with exhibits will be positioned to be comfortably viewed by all
> visitors.
>
> 5\. Lighting will be designed to reduce glare or reflections,
> especially when viewed from a wheelchair.
>
> 6\. Ground and floor surfaces near the exhibit area will be stable,
> level, firm, and slip-resistant. (UFAS 4.5).
>
> 7\. Operating controls or objects to be handled by visitors will be
> located in an area between 9\" and 48\" from the ground and no more
> than 24\" deep. (UFAS 4.3)
>
> 8\. Horizontal exhibits (e.g. terrain model) will be located at a
> comfortable viewing height.
>
> 9\. Information desks and sales counters will be designed for use by
> visitors and employees using wheelchairs, and will include a section
> with a desk height no greater than 32 to 34 inches, with at least a 30
> inch clearance underneath. The width should be a minimum of 32 inches
> vertical, with additional space provided for cash registers or other
> equipment, as applicable.
>
> 10\. Accessibility information about the specific park should be
> available at the information desk and the international symbol of
> access will be displayed where access information is disseminated.
>
> 11\. Railings and barriers will be positioned in such a way as to
> provide unobstructed viewing by persons in wheelchairs.
>
> Guidelines Affecting Visually Impaired Visitors
>
> 1\. Exhibit typography will be selected with readability and
> legibility in mind.
>
> 2\. Characters and symbols shall contrast with their backgrounds,
> either light characters on a dark background or dark characters on a
> light background. (UFAS 4.30.3)
>
> 3\. Tactile and participatory elements will be included where
> possible.
>
> 4\. Audio description will be provided where applicable.
>
> 5\. Signage will be provided to indicate accessible rest rooms,
> telephones, and rest rooms elevators. (UFAS 4.30)
>
> Guidelines Affecting Hearing Impaired Visitors
>
> 1\. Information presented via audio formats will be duplicated in a
> visual medium, either in the exhibit copy or by printed material.
>
> 2\. Amplification systems and volume controls will be incorporated to
> make programs accessible to the hard of hearing.
>
> 3\. Written text of all audio narrations will be provided.
>
> 4\. All narrated AV programs will be captioned.
>
> 5\. Allowance for Telecommunication Devices for the Deaf (TDD) will be
> included into information desk designs.
>
> Guidelines Affecting Learning Impaired Visitors
>
> 1\. Exhibits will avoid unnecessarily complex and confusing topics.
>
> 2\. Graphic elements will be developed to communicate non-verbally.
>
> 3\. Unfamiliar expressions and technical terms will be avoided and
> pronunciation aids will be provided where appropriate.
>
> 4\. To the extent possible, information will be provided in a manner
> suitable to a diversity of abilities and interests.
>
> 5\. Where possible, exhibits will be multi-sensory. Techniques to
> maximize the number of senses utilized in an exhibit will be
> encouraged.
>
> 6\. Exhibit design will be cognizant of directional handicaps and will
> utilize color and other creative approaches to facilitate
> comprehension of maps.
>
> Historic Furnishings
>
> Historically refurnished rooms offer the public a unique interpretive
> experience by placing visitors within historic spaces. Surrounded by
> historic artifacts visitors can feel the spaces \"come alive\" and
> relate more directly to the historic events or personalities
> commemorated by the park.
>
> Accessibility is problematical in many NPS furnished sites because of
> the very nature of historic architecture. Buildings were erected with
> a functional point of view that is many times at odds with our modern
> views of accessibility.
>
> The approach used to convey the experience of historically furnished
> spaces will vary from site to site. The goals, however, will remain
> the same, to give the public as rich an interpretive experience as
> possible given the nature of the structure.
>
> Guidelines Affecting Mobility Impaired Visitors
>
> 1\. The exhibit space should be free of architectural barriers or a
> method of alternate accommodation should be provided, such as slide
> programs, videotaped tours, visual aids, dioramas, etc.
>
> 2\. All pathways, aisles, and clearances shall (when possible) meet
> standards set forth in UFAS 4.3 to provide adequate clearance for
> wheelchair routes.
>
> 3\. Ramps shall be as gradual as possible and not exceed a 1\" rise in
> 12\" run, and conform with UFAS 4.8.
>
> 4\. Railings and room barriers will be constructed in such a way as to
> provide unobstructed viewing by persons in wheelchairs.
>
> 5\. In the planning and design process, furnishing inaccessible areas,
> such as upper floors of historic buildings, will be discouraged unless
> essential for interpretation.
>
> 6\. Lighting will be designed to reduce glare or reflections when
> viewed from a wheelchair.
>
> 7\. Alternative methods of interpretation, such as audiovisual
> programs, audio description, photo albums, and personal services will
> be used in areas which present difficulty for the physically impaired.
>
> Guidelines Affecting Visually Impaired Visitors
>
> 1\. Exhibit typefaces will be selected for readability and legibility,
> and conform with good industry practice.
>
> 2\. Audio description will be used to describe furnished rooms, where
> appropriate.
>
> 3\. Windows will be treated with film to provide balanced light levels
> and minimize glare.
>
> 4\. Where appropriate, visitor-controlled rheostat-type lighting will
> be provided to augment general room lighting.
>
> 5\. Where appropriate and when proper clearance has been approved,
> surplus artifacts or reproductions will be utilized as \"hands-on\"
> tactile interpretive devices.
>
> Guidelines Affecting Hearing Impaired Visitors
>
> 1\. Information about room interiors will be presented in a visual
> medium such as exhibit copy, text, pamphlets, etc.
>
> 2\. Captions will be provided for all AV programs relating to historic
> furnishings.
>
> Guidelines Affecting the Learning Impaired
>
> 1\. Where appropriate, hands-on participatory elements geared to the
> level of visitor capabilities will be used.
>
> 2\. Living history activities and demonstrations which utilize the
> physical space as a method of providing multi-sensory experiences will
> be encouraged.
>
> Publications
>
> A variety of publications are offered to visitors, ranging from park
> folders which provide an overview and orientation to a park to more
> comprehensive handbooks. Each park folder should give a brief
> description of services available to the disabled, list significant
> barriers, and note the existence of TDD phone numbers, if available.
>
> In addition, informal site bulletins are often produced to provide
> more specialized information about a specific site or topic. It is
> recommended that each park produce an easily updatable \"Accessibility
> Site Bulletin\" which could include detailed information about the
> specific programs, services, and opportunities available for the
> disabled and to describe barriers which are present in the park. These
> bulletins should be in reasonably large type, 18 points or larger.
>
> Guidelines Affecting Mobility Impaired Visitors
>
> 1\. Park folders, site bulletins, and sales literature will be
> distributed from accessible locations and heights.
>
> 2\. Park folders and Accessibility Site Bulletins should endeavor to
> carry information on the accessibility of buildings, trails, and
> programs by the disabled.
>
> Guidelines Affecting Visually Impaired Visitors
>
> 1\. Publications will be designed with the largest type size
> appropriate for the format.
>
> 2\. Special publications designed for use by the visually impaired
> should be printed in 18 point type.
>
> 3\. The information contained in the park folder should also be
> available on audio cassette. Handbooks, accessibility guides, and
> other publications should be similarly recorded where possible.
>
> Guidelines Affecting Hearing Impaired Visitors
>
> 1\. Park site bulletins will note the availability of such special
> services as sign language interpretation and captioned programs.
>
> Guidelines Affecting Learning Impaired Visitors
>
> 1\. The park site bulletin should list any special services available
> to this group.
>
> Wayside Exhibits
>
> Wayside exhibits, which include outdoor interpretive exhibits and
> signs, orientation shelter exhibits, trailhead exhibits, and bulletin
> boards, offer special advantages to disabled visitors. The liberal use
> of photographs, artwork, diagrams, and maps, combined with highly
> readable type, make wayside exhibits an excellent medium for visitors
> with hearing and learning impairments. For visitors with sight
> impairments, waysides offer large type and high legibility.
>
> Although a limited number of NPS wayside exhibits will always be
> inaccessible to visitors with mobility impairments, the great majority
> are placed at accessible pullouts, viewpoints, parking areas, and
> trailheads.
>
> The NPS accessibility guidelines for wayside exhibits help insure a
> standard of quality that will be appreciated by all visitors. Nearly
> everyone benefits from high quality graphics, readable type,
> comfortable base designs, accessible locations, hard-surfaced exhibit
> pads, and well-landscaped exhibit sites.
>
> While waysides are valuable on-site \"interpreters,\" it should be
> remembered that the park resources themselves are the primary things
> visitors come to experience. Good waysides focus attention on the
> features they interpret, and not on themselves. A wayside exhibit is
> only one of the many interpretive tools which visitors can use to
> enhance their appreciation of a park.
>
> Guidelines Affecting Mobility Impaired Visitors
>
> 1\. Wayside exhibits will be installed at accessible locations
> whenever possible.
>
> 2\. Wayside exhibits will be installed at heights and angles favorable
> for viewing by most visitors including those in wheelchairs. For
> standard NPS low-profile units the recommended height is 30 inches
> from the bottom edge of the exhibit panel to the finished grade; for
> vertical exhibits the height of 6-28 inches.
>
> 3\. Trailhead exhibits will include an accessibility advisory.
>
> 4\. Wayside exhibits sites will have level, hard surfaced exhibit
> pads.
>
> 5\. Exhibit sites will offer clear, unrestricted views of park
> features described in exhibits.
>
> Guidelines Affecting Visually Impaired Visitors
>
> 1\. Exhibit type will be as legible and readable as possible.
>
> 2\. Panel colors will be selected to reduce eye strain and glare, and
> to provide excellent readability under field conditions. White should
> not be used as a background color.
>
> 3\. Selected wayside exhibits may incorporate audio stations or
> tactile elements such as models, texture blocks, and relief maps.
>
> 4\. For all major features interpreted by wayside exhibits, the park
> should offer non-visual interpretation covering the same subject
> matter. Examples include cassette tape tours, radio messages, and
> ranger talks.
>
> 5\. Appropriate tactile cues should be provided to help visually
> impaired visitors locate exhibits.
>
> Guidelines Affecting Hearing Impaired Visitors
>
> 1\. Wayside exhibits will communicate visually, and will rely heavily
> on graphics to interpret park resources.
>
> 2\. Essential information included in audio station messages will be
> duplicated in written form, either as part of the exhibit text or with
> printed material.
>
> Guidelines Affecting Learning Impaired Visitors
>
> 1\. Topics for wayside exhibits will be specific and of general
> interest. Unnecessary complexity will be avoided.
>
> 2\. Whenever possible, easy to understand graphics will be used to
> convey ideas, rather than text alone.
>
> 3\. Unfamiliar expressions, technical terms, and jargon will be
> avoided. Pronunciation aids and definitions will be provided where
> needed.

4.  Text will be concise and free of long paragraphs and wordy language.

**Appendix 2**

**Characteristics of a Curriculum-based Educational
Program**[]{#__RefHeading___Toc461769645 .anchor}

> 1\. The program must be relevant to the resource and address the
> park's interpretive themes. This way the program becomes mutually
> beneficial to both the park and the organized group.
>
> 2\. The program must address the learning needs of the target
> audience. School districts in every state are addressing education
> reform. Teachers need to be sure that their time is spent on helping
> students achieve the state required standards for learning. The park
> needs to work with these standards to identify the connections between
> park resources and themes and the standards of learning. This
> knowledge will help the park target the appropriate grade level or
> levels and help to again create a mutually beneficial program that
> meets both park and school needs.
>
> 3\. The program needs to be developmentally appropriate for the target
> audience. A one size fits all does not work with organized groups,
> which are mostly school groups. It is difficult to develop a program
> that will meet developmental needs for grades 4, 8 and 11. A program
> that is too difficult will frustrate younger students; a program that
> is too simple will not be sophisticated enough for older students.
>
> 4\. Many parks do not have the expertise on staff to address
> developmental needs and create appropriate materials and activities
> for students. Parks need to work with educational group leaders in the
> development and implementation of curriculum-based programs. Many
> parks have benefited from partnerships with individual schools or
> school districts in the development of the materials and activities
> for curriculum based programs.
>
> 5\. Curriculum-based programs extend learning beyond a single
> experience either in a park, on the Internet, or in an outreach
> program in a school. Pre-visit and post-visit activities extend
> learning and help to incorporate the park experience into the larger
> context of a unit of study in the school.
>
> 6\. Evaluations need to be conducted both in the developmental and
> testing phase as well as in the full implementation phase. Parks need
> to know what works and what does not work. In developing a program,
> part of that development should focus on a plan for evaluating the
> program itself as well as the learning outcomes. To assist parks in
> evaluating their programs, they should look at *Assessing Parks as
> Classrooms®: A Model for Program Evaluation* and go on-line to review
> the *Social Science Surveys and Interviews in the National Park for
> the National Park Service: A Guide to NPS and OMB Approvals.* Both of
> these tools will help parks think about why evaluation is necessary,
> what evaluation can inform, and how evaluation will help to improve a
> program.
>
> For additional information about curriculum-based programs, parks can
> review *Programming for School Groups: An Interpreter's Guide*. In
> addition, Reference Manual 6 for DO 6 will have an Education Chapter.
> This document is scheduled to come out for field review late in FY02
> or in FY03.