This concept brief for We Are Americans was researched, designed and

written to fulll the requirements for the Georgetown University Museum

Exhibition Planning & Design Certicate Program, May 2007.
Kyoko Arakawa Curator
Susan Bergner Interpretive Developer
Christopher Edwards Designer
Adriana Rojas Museum Educator
James Rosolanka Project Manager
3
Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . 4
Big Idea . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Bubble Plan . . . . . . . . . . . . . . . . . . . . . . . 6
Floor Plan . . . . . . . . . . . . . . . . . . . . . . . . . 7
Visitor Narrative . . . . . . . . . . . . . . . . . . . 8
Orientation . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1941 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Behind the Barbed Wire . . . . . . . . . . . . . . . 22
What Now? . . . . . . . . . . . . . . . . . . . . . . . . . 39
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Design . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Labels
Programming . . . . . . . . . . . . . . . . . . . . . 46
Budget . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Team Report . . . . . . . . . . . . . . . . . . . . . 51
4
Introduction
We Are Americans weaves multimedia
interpretative displays with interactive
audience technology to explore how
America, during WWII, subjected citizens
to incarceration for almost four years, just
for being Japanese-Americans and no
other crime.
War can create hysteria and unintended
negative consequences. This episode
in American history shows how
Japanese-Americans weathered this
injustice and continued to live, grow, and
survive. They proved that they were truly
American citizens despite Americas
Concentration Camps.
This exhibit comprises ve major themes
with sub-themes:
ORIENTATION
Japanese-American life before the beginning
of the war
1941
Life in the Western States, December 7,
1941, America Reacts, and Leaving Home
BEHIND THE BARBED WAR
Setting Up, Family Life, Growing Up in
Camp, and Loyalty
WHAT NOW?
Changing Opinions, Survivors, and
Remembrance
CONCLUSION
Questions to ponder
I didnt even know I was Japanese then. It was just a good
mixture. I mean there was no separation or anything.
Pat Aiko
5
Big Idea, etc.
BIG IDEA
There have been occasions in our history,
when fear and uncertainty during wartime
have led America to make unjust decisions
which sacriced the rights of individual
citizens in the service of security for the
whole country.
EXHIBITION MISSION
We Are Americans presents an
understanding of the tragic and
wrongful imprisonment during WWII of
Japanese-American families living in the
western United States with the hope that
this knowledge will help guard against
making similar mistakes again.
EXHIBITION PERSPECTIVE
This story of the WWII Japanese-American
imprisonment is expressed in the stories,
diaries and artwork of teenaged camp
prisoners.
PRIMARY EXHIBITION GOALS
Visitors 11-14 years of age and their families
will learn:
The attack on Pearl Harbor on December
7, 1941, prompted the government to make
unexpected and harsh decisions in regard to
Japanese-Americans living in the far western
States.
Many Japanese-American citizens were forced
to relinquish their individual freedom in the name
of providing a sense of security for the country.
Wartime can change family life dramatically.
What life was like for teenagers and their
families behind the barbed wire of the prison
camps.
What happened when the camps were closed.
Visitors 11-14 years of age and their families
will be asked to think about:
PRIMARILY --- What would you do?
SECONDARILY
1. What can we learn?
2. If the country of my parents is at war with
the US, what does that mean for me?
3. How much personal freedom should be
sacriced to secure a greater sense of safety
for the country?
6
Bubble Plan











The exhibition space for We Are Americans is on the
main level of the newly renovated National Museum
of American History at the Smithsonian. With the
compelling Star Spangled Banner exhibition and
the major introductory exhibit for the museum
American Experience as its neighbors, We
Are Americans is powerfully positioned as one
of the important stories of American history.
7
Floor Plan

8
Orientation
We Are Americans tells the story of
Japanese-American imprisonment during
WWII.
Approaching the exhibition, the visitor
is initially drawn to the left side of the
entrance and a life-sized photo of a 1941
Japanese-American family with suitcases
by their sides and government-required
family tags around their necks. The photo is
black and white. The teenaged children are
highlighted as three-dimensional cutouts
in front of the image. The title, We Are
Americans, is at the top of the image.
The visitor is then pulled slightly further into
the exhibition by the introductory text on a
wall to the right of the entrance. The text
reads:
During war, life changes dramatically. Fear and
uncertainty prompt decisions which sacrice individual
freedoms in service of security for the whole. At times in
our history, these decisions have been unjust.
The experiences of Japanese-Americans living along the
West Coast of the US during WWII tell this story.
LISTEN! LEARN! ASK: What would you do?
Nearby, a kiosk dispenses RFID cards
shaped and threaded like the family tags
shown in the introductory photograph.
These tags were assigned to and required
to be worn by all Japanese-Americans
imprisoned during WWII. Explanatory
text tells the visitor that each RFID card
corresponds to a single narrative of one of
ve real families. The family story which
is activated by your RFID card will unfold
slowly as you walk through the exhibit and
use your card at designated points. One
member of each of the ve families is a
contemporary public person and is proled
near the end of the exhibit in a subsection
called Survivors.
Use of the cards personalizes and
emphasizes the details of the imprisonment
experience. Visitors who come in groups
share the same walk-through experience/
information, but through the RFID
interactives gather somewhat different
information from one another. This provides
an opportunity for deeper discussion of the
exhibit as they exchange information.
After receiving a tag, the visitor walks up an
incline to reach the rst major section of the
exhibit, 1941.
SECTION CONTENT
IMAGE: Large-scale photo, The Mochida Family
Waiting for the Evacuation, Dorothea Lange,
photographer
INTERACTIVE: Supply of RFID cards each
programmed with one of ve family story lines
INTERACTIVE: Kiosk for dispensing RFID cards to
visitors
VISITOR NARRATIVE
There was talk of sending us away, and we just
couldnt believe that they would do such a thing.
Mary Tsukamoto
9
Hayward, Calif.-- Members of the
Mochida family awaiting evacuation bus.
Identication tags are used to aid in keeping
the family unit intact during all phases of
evacuation. Mochida operated a nursery
and ve greenhouses on a two-acre site
in Eden Township. He raised snapdragons
and sweetpeas. Evacuees of Japanese
ancestry will be housed in War Relocation
Authority centers for the duration.
Photographer: Lange, Dorothea -- Hayward,
California. May 8, 1942
Creditline: War Relocation Authority
Photographs of Japanese-American
Evacuation and Resettlement Series
14, Preevacuation;The Bancroft Library.
University of California, Berkeley
10
1941
1941 starts off on the left with a timeline
of Japanese-American immigration patterns
starting in 1869 and continuing to 1941.
The timeline includes information about
immigration laws and immigration policy
affecting Japanese-Americans prior to
1941. The immigration information helps
to establish the scene for the Japanese-
Americans in the Western United States. It
serves as a transition element into the rst
subsection of 1941 entitled Life in the
Western States.
LIFE IN THE WESTERN STATES
From the right, the visitor hears low,
inviting radio broadcast sounds of 1941 pop
musicians like Glenn Miller/Duke Ellington/
Andrews Sisters. On the right are movie
posters, samples of advertising, newspaper
headlines, record jackets and several models
of early 1940s radios to establish a sense of
the pop culture at the time.
Next on the right the visitor sees photos
of Japanese American teens pursuing
various everyday activities---with family, in
school and at play, mixed in with authentic
labels from Japanese run farms and shing
businesses, a photo of Little Tokyo in San
Pedro and images from Japanese-American
farms in the Central Valley with text and
labels describing the daily activities of
Japanese-American families and teens.
Following these are denitions of Issei
and Nisei and text about family structure.
And, at the end of this subsection is a
poster advertising No Japs in Our Schools-
Citizens Mass Meeting from 1906.
Additional text establishes a long-held racial
prejudice against Japanese-Americans.
Located in this section is the rst dialog
table, an interactive computer kiosk that
is activated by either touch, gesture or the
RFID cards, where visitors gather to learn
and exchange information. The information
revealed at this dialog table is biographic
telling stories of home and normal for
Japanese-American teens in 1941. This table
also supplies the rst element of the family
story contained on the visitors RFID card.
SECTION CONTENT
INTERACTIVE: Immigration timeline, mounted
waist height
AUDIO: 1941 pop musical recordings
OBJECTS: Early 1940s movie posters, advertising
samples, newspaper headlines about pop culture,
record album covers
OBJECTS: Several 1940s radios
IMAGES: Photos of everyday family and teen
activities in early 1941
OBJECTS: Packaging labels from Japanese run
shing and farming businesses
OBJECT: Poster, No Japs in Our Schools-Citizens
Mass Meeting, 1906
INTERACTIVE: Dialog table, an interactive
computer kiosk controlled through gesture and
touch, that is programmed with stories and
quotations about home and the everday for
Japanese-American in 1941 before Pearl Harbor
VISITOR NARRATIVE
11
12
13
14
DECEMBER 7,1941
The visitor next enters the subsection titled December 7, 1941. On
the left is a large-scale picture of the sinking of the USS California
at Pearl Harbor. The sounds of radio music give way to sounds of
an air raid: explosions, airplanes, sirens and pandemonium. Lighting
effects on the image of the USS California ash to simulate bombing
and are timed with the sounds of explosions. Radio broadcasts
announcing the bombing and reactions expressed on Dec. 7th
are playing. The experience is one of chaos and urgency.
Explanatory text gives details of the time and place of the attack and
highlights the signicance of the bombing of Pearl Harbor to our story.
SECTION CONTENT
IMAGE: Large-scale print of USS California Sinking at
Pearl Harbor, December 7, 1941
AUDIO: Sound effects of an air raid including
explosions, sirens, airplanes dive bombing; Radio
broadcast tapes from December 7, 1941
LIGHTING: Light effects for bombing synced with
sound effects
Over night, things changed for us.
Yuri Kochiyama
15
Crew abandoning the damaged USS
California (BB-44) as burning oil drifts
down on the ship, at about 1000 hrs on the
morning of 7 December 1941, shortly after
the end of the Japanese raid. The capsized
hull of USS Oklahoma (BB-37) is visible at
the right.
Ofcial U.S. Navy Photograph, from the
collections of the Naval Historical Center.
USS Arizona (BB-39) sunk and burning
furiously, 7 December 1941. Her forward
magazines had exploded when she was hit
by a Japanese bomb.
At left, men on the stern of USS Tennessee
(BB-43) are playing re hoses on the water
to force burning oil away from their ship
Ofcial U.S. Navy Photograph, now in the
collections of the National Archives.
16
AMERICA REACTS
On the right hand side, the visitor
encounters the next subsection,
America Reacts. Diary excerpts tell
of Japanese-American experiences on
Dec. 7th. Also included are a photo and
newspaper accounts of the immediate
arrest of some Japanese-American men
considered a threat because of their
professions and positions as community
leaders.
Accounts of happenings on Dec. 8th
follow, including a photo of FDR signing
the Declaration of War against Japan. A
number of diary excerpts about reactions of
non-Japanese friends and teachers toward
Japanese-American students at school are
displayed. The visitor is challenged to ask:
What would I have done? What if my best
friend were Japanese-American and I were
not? or What if I were Japanese-American
and my best friend, who is not, ignored me?
As the visitor moves to the end of this
subsection, the year becomes 1942, and
Americas reaction continues to unfold.
The right-hand wall holds headphones to
hear recordings of speeches and headlines
leading up to the signing of Executive
Order #9066. Above the headphones are
newspaper articles and explanatory text
establishing the background for #9066. The
visitor can read the actual transcript of the
#9066 and is challenged to ask: What would
you do, if you were President?
SECTION CONTENT
OBJECT: Excerpts from Stanley Hayami Diary
and diaries of other Japanese-Americans (who
were teenagers during their time of imprisonment)
regarding December 7th, 1941 and December 8th
at school
IMAGE: Photo of police frisking man of Japanese
descent on December 7th
OBJECT: Newspaper accounts of arrests made on
December 7th of Japanese-Americans
IMAGE: Photo of FDR signing the Declaration of
War against Japan on December 8th
INTERACTIVE: Taped recordings of speeches
and radio broadcasts leading up to the signing of
Executive Order #9066 listened to through 3 sets
of headphones
OBJECT: Newspaper articles in reference to
Executive Order #9066
OBJECT: Executive Order #9066
17
18
LEAVING HOME
In order for the visitor to better understand
the shock and difculty of being ordered
from your home, the exhibit continues on
the left with the next subsection, Leaving
Home. With the use of diary excerpts,
news articles, photos of property sales
and explanatory text, Japanese-American
reactions to #9066 are detailed. The visitor
is challenged to ask: What would you do?
How would you react?
Next the visitor can read a copy of the
Exclusion Order for San Jose which
ordered all Japanese-Americans living
in San Jose to be moved to assembly
centers and eventually to permanent
prison camps. It species that each
person is allowed to pack only what he
or she could carry. A display case shows
an authentic dufe bag from Gila River
Camp what one teenager would carry
and an authentic, handmade canvas bag
for packing extras. A portion of an essay
written by Estelle Ishiguro is displayed
above the case and describes the difculty
of making decisions about what to pack.
Next to the display case, the visitor is invited
to a packing interactive. A number of
household/personal items appropriate for
teens in the early 1940s are displayed. Each
item is bathed in its own spot light. The
visitor is invited to Look at these objects.
What would you bring? A button can be
pushed and lights are extinguished for all
items which the government would not
allow to be taken to camp. Explanatory text
accompanies this activity. The last element
is a photo of a grandfather and grandchildren
wearing tags and awaiting evacuation.
As the visitor passes the elements on the
left, across the hall on the right appears a
large-scale interactive map describing which
camps Japanese-Americans were sent
to from their homes in major West Coast
areas of Japanese-American settlement.
We got our order to pack our things and
dispose of our business and belongings as
were going to be in an Assembly Center in one
week . . . carrying whatever we were able to.
Ben Tsutomu Chikaraishi
19
20
Through various lighting systems, the map
enables the visitor to learn, for example,
where Japanese-Americans residing in
Seattle, Washington, were sent to rst and
then subsequent assignments. The major
assembly centers, relocation centers and
permanent camps are identied and labeled
and the differences dened. RFID tags
activate specic locations relevant to the
individual stories associated with the tags.
This 1941 section ends with the lighting
darkening and a nal image of a slot
box truck taking children to internment
center from San Pedro, California, with
accompanying label and explanatory text to
lead the visitor into the next major section
of the exhibition---an experience of a
permanent imprisonment camp.
The path narrows as it turns to the left and
descends slightly into the Behind Barbed
Wire space.
SECTION CONTENT
OBJECT: News accounts regarding Japanese-
American reactions to EO 9066
OBJECT: Diary excerpts from Japanese-Americans
(who were teenagers during their time of
imprisonment) regarding reactions to EO 9066
IMAGE: Photo of grocery store with sign I Am an
American
IMAGE: Photo of man with toddler putting
Evacuation Sale sign in store window
IMAGE: Photo of grandfather and grandchildren,
tagged and awaiting evacuation
OBJECT: Exclusion Order for San Jose Japanese
Imprisonment
OBJECTS: Authentic duffel bags in display case
from Gila River Camp and from Ernie Kurima
OBJECT: Extract from Essay Lone Heart
Mountain by Estelle Ishiguro regarding decisions
about what to pack
INTERACTIVE: Packing interactive case, lighting
and programming with OBJECTS: Variety of toys,
clothing, cameras, radios, food etc. objects from
1941 for packing interactive
INTERACTIVE: Interactive map detailing where
Japanese-Americans from major areas on the West
Coast were sent for assembly, relocation and
connement programmed to include access for
the continuing RFID card stories
IMAGE: Large-scale print of Slot box truck
taking children to internment center, San Pedro,
California. Credit: Clem Albers Courtesy of National
Archives, April 5, 1942
21
Slot box truck taking children to internment
center San Pedro, California. Trucks were
jammed high with suitcases, blankets,
household equipment, garden tools, as
well as children, all bearing registration
tags as the last Redondo Beach residents
of Japanese ancestry were moved to
assembly center at Arcadia, California.
Clem Albers Courtesy of National Archives
April 5, 1942
22
What was I doing behind a fence like a criminal? . . .
Maybe I wasnt considered American anymore. Maybe
my citizenship wasnt real. Then what was I?
Monica Sone
Behind the Barbed Wire
VISITOR NARRATIVE
As the visitor descends, the already darkly lit
space becomes darker and the passageway
narrows to convey the experience of not
knowing what is coming next. The visitor is
following light and is initially hit with a very
bright light. A wooden gateway reminiscent
of the prison camp fencing frames the visitor
as this section is entered. On the right is a
large-scale image of Toyo Miyatakes Boys
Behind the Barbed Wire.
The visitor is unable to see much beyond
this entrance way. The space behind, like life
in the camps for an actual prisoner, remains
a mystery. As the visitor passes through
the gate and past the Miyatake image, the
entirety of the large, expansive section
Behind Barbed Wire becomes visible. It
includes a reconstructed barrack, a guard
tower and a full video wall of images from
a number of the camps. The intent is to
shock. To the visitors left begins the rst
subsection, Setting Up.
SETTING UP
To depict arrival and set up at the camps, a
collection of photos of Japanese-Americans
arriving, standing in lines and stufng
mattresses with straw are interspersed
with explanatory text and exhibited along
SECTION CONTENT
OBJECT: Constructed wooden gateway reminiscent
of prison camp fencing
IMAGE: Large-scale print of Toyo Miyatakes Boys
Behind Barbed Wire
LIGHTING: Designed to create shock of light as
one enters the section from the darkness of the last
IMAGES: Variety of photos from the camps
showing arriving, lining up for everything and
stufng mattresses etc.
OBJECTS: Diary excerpts and writings from
Japanese-Americans, who were teenagers during
their time of imprisonment, regarding the early
struggles of setting up and the bleakness of the
camps
the wall. References are made to the early
struggles, the bleakness of the camps and
the efforts to create order. As throughout
the exhibit, the factual information of the
documents is underscored with quotes and
diary excerpts from teens. At this point,
the visitor arrives in the front of the next
subsection, My Space.
23
Boys Behind Barbed Wire by
Toyo Miyatake
24
Then, the rst day, we have to get in
lines, constant lines. Then they tell
you to ll up this mattress with straw.
I mean, being from the city, I had no
idea what straw was or anything . . . .
Pat Aiko
25
26
MY SPACE
In front of the visitor is a walkthrough
diorama of one familys space in a prison
camp barrack. The My Space subsection
recreates the typical dimensions, 18 x 20,
assigned to one family in camp. The idea
of a walkthrough barrack is to help detail
the reality of daily life for the Japanese-
American prisoners including the lack of
privacy and claustrophobic living space.
The visitor sees the space through the
side which is marked on the ground. The
remaining three walls are at full scale.
The front wall, on the right, has doors
and windows and is constructed of wood
and plaster with an outside wall of black
tar paper, like a wall from an actual camp
barrack. Within the space, the lighting is
subdued.
The wall to the left displays a large image of
an authentic interior of one familys space in
a prison barrack with explanatory text. The
wall in front of the visitor has an indication
of a pitched rooftop with scrapbook notes,
paintings and drawings as well as photos
of families in their barracks taped over it.
Text will explain the mock-up in which the
visitor is standing and challenges the visitor
to ask: How would you organize this space
with your family? Where would you put your
belongings?
On the oor are two dimensional outlines
of a dresser, chair and wash stand, all
clearly labeled. There are several raised
platforms marked bed where visitors can
sit to think about the space. These beds
have homemade-looking straw mattresses
on them. In the corner sits a full-scale
reproduction of a heating stove. On the beds
are copies of Japanese-American teens
sketchbooks and notebooks to page through
while sitting.
Once seated, the visitor can take in the
space of the barrack and also see out
through the windows and door to a large
video wall of edited archival footage of the
camps, detailing what the full sized camps
were like.
The experience is one of sitting in an
actual barrack, looking out to the moving
environment. From this place the visitor can
see, through the missing fourth wall, the
rest of the Behind Barbed Wire section,
but is removed from it as well. The low
sound of wind on the open plains of the
camps can be heard and the experience
of the empty, dusty location of the prison
camps is suggested.
Visitors move either across the outlined
fourth wall, where they entered, or through
the barracks front door toward the video
wall to exit.
SECTION CONTENT
EXHIBIT: Constructed 18 by 20 three-walled
barrack area/diorama complete with door and
windows, one exposed exterior wall and furniture
lines drawn and labeled on the oor
IMAGE: Large-scale print of a familys cramped
barracks quarters
IMAGE: Photos of families in their barracks
quarters
OBJECT: Scrapbook notes, paintings and drawings
from teens diaries
OBJECT: Three raised platforms topped with
straw-lled mattresses for sitting with
OBJECT: Reproduction of a heating stove
OBJECT: Laminated copies of teens sketch books
and notebooks for visitors to peruse
AUDIO: Sound effects of constant wind across
open plains
The only bad thing I really remember
about our rst day in camp was the
bathrooms . . . . Theres these open stalls,
not even a partition in bewtween them.
There were like six toilets. . . . So my
sisters and I would hold our coats around
each one as were doing it.
Pat Aiko
27
28
The dust, no trees just barracks and a bunch of
people standing against the fence, looking out.
Mary Tsukamoto
29
30
FAMILY LIFE
After exiting My Space, the visitor sees
the next subsection entitled Family Life.
Here the visitor learns through photos, diary
excerpts and text, the details of everyday
camp life including what was eaten, how
it was served, what the bathing/ toileting
facilities were like, how the laundry was
done, what were the work responsibilities
and how cycle of life events were
handled---weddings, funerals and births.
The theme of No Privacy is featured
throughout. Reprinted articles from the
Manzanar Free Press, a newspaper
published by prisoners about their daily life
inside the barbed wire, are exhibited.
The visitor learns also about the disruption
of the Japanese-American family structure
children/teens hanging out with one
another and no longer with their families
and the reliance the government placed on
the Nisei rather than the traditional head-
of-household, the Issei from explanatory
text, photos and diary excerpts.
In a tribute to the coping abilities of the
Japanese-Americans while in prison, there
is a collection of photos showing activities
like dances, games, gardens/crops grown
in the desert, furniture building and several
hand-carved/hand-crafted objects that all tell
of triumph over difcult circumstances.
There is a dialog table on the oor in this
area which contains information about
camp experiences for the RFID families and
others.
SECTION CONTENT
IMAGES: Variety of photos depicting daily camp
activities, e.g. eating, bathing, laundry, toilet
facilities, working, cycle of life events
OBJECTS: Diary excerpts describing eating,
bathing, laundry, toilet facilities, working, cycle of
life events
OBJECT: Articles from Manzanar Free Press
describing eating, bathing, laundry, toilet facilities,
working, cycle of life events
OBJECTS: Diary excerpts and photos describing the
breakdown in the traditional family structure
IMAGES: Photos of activities such as games,
dances, carving, planting crops, furniture building
and elaborate gardens
OBJECTS: Several authentic hand-carved/hand-
crafted items made in the camps
INTERACTIVE: Dialog table programmed with
stories of camp experiences for the RFID families
and others
What bothered me most was there was
virtually no family dining. Young people
ate with their friends. Men dined together.
And women ate in their own groups.
Mrs. Hatsumi Nishimoto
31
32
LOYALTY
Turning from the Family Life subsection,
the visitor is drawn toward a prison guard
tower atop a base on which sits another
set of exhibit walls. These walls represent
the next subsection, Loyalty. On one side
of the triangularly shaped kiosk are photos
and authentic dog tags related to the 100th
and the 442nd Japanese-American WWII
service units. This subtheme is called My
Brother in the Service. Diary excerpts
from teens about the service of their older
brothers are included.
On another wall of the guard tower is the
subtheme Questions 27 & 28 along
with explanatory information about the
loyalty oaths, including stories and photos
about how resistance was expressed
and suppressed. Questions 27 & 28 are
somewhat interactive. Each question is
printed and mounted above text which
details the consequences of different
answers to the question.
SECTION CONTENT
EXHIBIT: Constructed prison guard tower built
using the principles of foreshortening to appear
both larger and higher than it is
IMAGES: Photos related to the 100th and the
442nd , the Japanese-American Service units
during WWII
OBJECT: Authentic dog tags from the 100th and
the 442nd
OBJECT: Diary excerpts from teens related to older
brothers serving in the100th and the 442nd
OBJECT: Text of Question 27 and Question 28
TEXT: List of consequences to the possible
answers to Q27 and Q28
IMAGES: Photos related to expression of resistance
Are you willing to serve in the armed forces of the
United States on combat duty wherever ordered?
Question 27
33
Will you swear unqualied allegiance to the
United States of America and faithfully defend
the United States from any or all attack by
foreign or domestic forces, and forswear any
form of allegiance or obedience to the Japanese
emperor, to any other foreign government,
power or organization?
Question 28
34
I was just barely 16 and consequently,
I nished high school in camp.
Hirosha Mayeda
GROWING UP IN CAMP
Behind the guard tower is an alcove
space set apart from the main area of
Behind Barbed Wire. This subsection is
called Growing Up in Camp. It takes its
design cues from photos of prison camp
classrooms and includes three desks in
which visitors can sit and rest. There are
other elements which help to set this place
apart chalkboards and student work on
the walls.
The overall look includes reproductions as
well as references to actual spaces in the
prison camps, much like the My Space
area. A large-scale photo of the interior of
a camp school room appears on the right.
Visitors can sit in the school chairs and look
through reproductions of the Manzanar high
school yearbooks.
The other walls contain photos,
drawings, personal writings and information
about daily life for teens in the camps,
including high school activities like proms,
ice skating, Scouts and baseball.
SECTION CONTENT
EXHIBIT: Three school desks and chalkboard to
recreate the feeling of a classroom
IMAGE: Large-scale print of the interior of a camp
classroom
OBJECT: Laminated reproductions of Manzanar
High School yearbooks for visitors to peruse
IMAGES: Photos pertaining to teens daily life in
the camps including school activities, proms, ice
skating, Scouts and baseball
OBJECT: Diary excerpts and writings pertaining to
teens daily life in the camps
OBJECT: Sketches/drawings pertaining to teens
daily life in the camps
35
36
We used unnished buildings for
temporary classrooms, and we hastily
tried to keep everybody busy.
Mary Tsukamoto
37
38
Leaving the Growing Up in Camp area
and the Loyalty area, the visitor passes
My Space on the left and on the right is
the super-large video wall described in the
My Space narrative. Also included in this
area is a descriptive bar regarding the video
documentaries. On the left outside of the
My Space area are exhibition cabinets
for items from the prison camps related to
home life: included are dishes, childrens
shoes, a family tag, hand-made items like
the Miyatake camera and barbed wire
preserved from one of the camps.

CONTENT
VIDEO: A wall of large video panels playing
documentary video footage from the camps looped
for continuous play
EXHIBIT: Descriptive bar built waist height near the
video screens
EXHIBIT: Two cabinets with objects from the
prison camps, including dishes from a camp,
childrens shoes worn in a camp, authentic family
tag and Miyatake camera, hand-made in camp,
piece of authentic camp barbed wire
39
What Now?
VISITOR NARRATIVE
Leaving the Behind Barbed Wire section
and entering the nal major section,
What Now?, the visitor is greeted with
introductory text about the closing of the
prison camps and the question of What
now? faced by the internees.
Visuals in the introduction include a map of
the U.S. that shows the internment camps
and where the majority of internees went
after the camps closed. The map has an
interactive feature that responds to the
RFID cards and shows where the family
proled on the card goes upon leaving
camp. To underscore chronology there is a
timeline of camp closings.
CHANGING OPINIONS
On the left is the subsection entitled
Changing Opinions. First the visitor can
read a reprint of an article, All but the
Blind, written by Clara Breed, a school
teacher, during the imprisonment period
expressing how inappropriately Japanese-
Americans were treated, followed by
CONTENT
INTERACTIVE: Interactive map showing the camp
closings and the subsequent destinations of the
Japanese-American prisoners and programmed to
include the RFID families
OBJECT: Newspaper article by Clara Breed entitled
All But the Blind
OBJECT: Authentic ceremonial copy of 1976
Order to Rescind Executive Order #9066 signed
by President Ford and the signing pen used by
President Ford
OBJECT: Authentic ceremonial copy of HR442
signed by President Reagan in 1988 and the signing
pen used by President Reagan
AUDIO/VIDEO: Listening and viewing stations of
signing ceremonies
explanatory text highlighting the signicance
of this article.
Next on the left is explanatory text and
an exhibition cabinet containing two
documents and the accompanying signing
pens. One is the Order signed by President
Ford in 1976 rescinding Executive Order
#9066 and the other is HR 442 signed by
President Reagan in 1988 which offered
an apology and a payment of $20,000 to
each Japanese-American imprisoned in the
US during WWII. Audio and video of the
signing ceremonies are available for viewing/
listening with headphones.
40
SURVIVORS
On the right, in the subsection, Survivors,
the visitor is asked, Do you know these
Japanese-Americans? With the use of
photos, images, objects and text, nine
Japanese-American public personalities
who were living during WWII are introduced
and their stories briey told: Toyo Miyatake,
photographer; Estelle Ishigo, artist; Jeanne
Houston, author; George Takei, actor; Iwao
Takamoto, animator; Ruth Asawa, artist;
Norm Mineta, politician; Pat Morita, actor;
and Senator Daniel Inouye, politician.
Visitors may begin to realize that some of
these people represent the family stories
they have been following throughout the
exhibit with the use of the RFID tags.
REMEMBRANCE
On the left, visitors are invited to step into
a quiet space entitled Remembrance.
Ahead they will see the Remembrance Wall,
a slightly opaque wall with the branches of
a cherry tree etched into it (the tree is also
visible from the back on the outside of the
exhibition). Visitors can ll out and attach to
the tree cherry-blossomed-shaped sticky
notes to leave notes to the families they
have learned about and the kids whose
stories they have read about or other victims
of the imprisonment camps. The sticky
notes placed on the tree can also be viewed
from outside the exhibit. In this space is
a bench for resting, thinking and writing.
The bench would be commissioned from
Ruth Asawa whose own imprisonment
story is told with the other contemporary
personalities in the Survivors subsection.
SURVIVORS CONTENT
IMAGES: Large prints of nine public personalities
who were imprisoned during WWII and some
objects which are representative/explanatory
PROFILE: Toyo Miyatake and his photos
PROFILE: Estelle Ishigo and her artwork
PROFILE: Jeanne Houston and a rst edition of
Farewell to Manzanar
PROFILE: George Takei and scenes from Star Trek
PROFILE: Iwao Takamoto and Scooby Doo cels
PROFILE: Ruth Asawa and her artwork
PROFILE: Norm Mineta as Secretary of
Transportation with President GW Bush, former
Congressperson
PROFILE: Pat Morita and scenes from movies
PROFILE: Daniel Inouye, US Senator from Hawaii
and photos/dog tags
TEXT: Brief WWII story for each of the nine
personalities
REMEBRANCE CONTENT
INTERACTIVE: Opaque, Lucite-like wall with
etched trunk and branches of a Japanese cherry
tree, extra-sticky, cherry-blossom-shaped sticky
notes for leaving messages on the branches
OBJECT: Seating bench commissioned from Ruth
Asawa
Jeanne Wakatsuki Houston Toyo Miyatake (self portrait) Estelle Ishigo
Ruth Asawa with
one of her many
commissione
metal works.
41
George Takei (as Capt. Sulu) Iwao Takamoto Ruth Asawa (with her sculpture) Norm Mineta (US DoT ofcial photo) Pat Morita (as Mr. Miyagi) Senator Daniel Inouye (during the Watergate Hearings
Takei as a kindergartener at Rohwer
Miyatake family in a barrack
Takamotos Scooby Doo
Jeanne Houstons Farewell to Manzanar
Pat Morita as Arnold on Happy Days
42
Conclusion
As the visitor moves toward the exit , the
wall to the right asks, in large-scale letters:
What can we learn? and If the country
of my parents is at war with the US, what
does that mean for me? and How much
personal freedom should be sacriced to
secure a greater sense of safety for the
country?
The last activity is a computer interactive in
front of these questions which is activated
by the RFID cards and which allows
visitors to write their answers to the above
questions, comment on the exhibition, and
match their card with the personality whose
story they heard (at the same time the
interactive retrieves the RFID card).
Visitors then exit.
CONTENT
TEXT: Questions written on the wall
INTERACTIVE: Four computer setups activated by
the RFID cards and programmed to accept answers
to the questions on the wall, encourage a review of
the exhibit and identify the visitors family story
personality in case they did not gure it out in the
Survivor section; the set-up will be designed in
such a way to also retrieve the visitors RFID card
SIGNAGE: Clearly marked EXIT signs
The Japanese proved to be patient, adaptable, and courageous.
Elaine Black Yoneda
VISITOR NARRATIVE
43
Design
Blues and reds contrasted with blacks
and grays form the basic color structure
for the We Are Americans. These colors
are offset by natural materials made of
wood, weathered steel and plaster that
form the elements inuenced by the
actual internment camps the gates, the
barracks, the guard tower, the barbed wire.
The type treatments have been chosen to
reference the document objects. These
objects were printed in time of manual
typewriters, and often included details lled
in by hand.
All of the elements combine in a
contemporary way aided by an emphasis on
interactive technologies that is approachable
to our target audience of 11-14 year olds.
The approach is serious but still hip.










BASE COLORS
FULL PALETTE
44
Labels
Type treatment and
section logos
45
America Reacts
TITLE ROCKWELL BOLD, 140 PT
MAIN TEXT UNIVERS 55 ROMAN, 80/100
TEXT UNIVERS 55 ROMAN, 40/50
SIDEBAR ROCKWELL, 70/84
Asdampost ve, aperis, qui
con steli, ut Catumedo,
sat ina, que maximus,
quam seni convessimus?
Senatus, consuliam estis?
Bul hil conde cas ex mus et dius, qua det
vivividit. Ro cumus iuro, tat. Cupient idicibe
mendam, cla vesis conlos estus pri cla diem
intia. Raelutertil habus duconsus mantius?
Os is halemussena Forem.
Untiuro, robus ultum is se
46
Programming
WEEKLY PROGRAMING
GUIDED TOURS Every day at 12:30 pm and 5 pm. DURATION: 45 minutes
MONDAYS
PROGRAM: Book readings
LOCATION: Remembrance wall
TIME: 6 pm
TUESDAYS
PROGRAM: Films and Documentaries
LOCATION: Auditorium
TIME: 6 pm
WEDNESDAYS
PROGRAM: Art talks
LOCATION: Auditorium
TIME: 6 pm
THURSDAYS
PROGRAM: Conferences
LOCATION: Auditorium
TIME: 6 pm
FRIDAYS
PROGRAM: Films and Documentaries
LOCATION: Auditorium
TIME: 6 pm
SATURDAYS
PROGRAM: Workshops
LOCATION: Depends on the activity
TIME: 10 am
PROGRAM: Plays
LOCATION: Auditorium
TIME: 2 pm
47
ART TALKS
Talks about artists held in the camps, and their art work before, during
and after.
Every Wednesday afternoon at 6 pm.
PLACE: National Museum of American
History Auditorium.
Masumi Hayashi Hisalo Hibi Estelle Ishigo
Kenjiro Nomura Roger Shimomura
Henry Sugimoto Chiura Obata
LECTURES & PERFORMANCES
The performances will take place every Saturday afternoon at 2 pm.
Each play will be performing twice a month. The book readings will be
every Monday afternoon at 6 PM.
PLACE: Remembrance wall.
PLAYS
Reservations on-line
Farewell to Manzanar Recommended age: 312th
QUESTION 27, QUESTION 28: When Loyalty is Questioned in
Times of War By Chay Yew. Recommended age: 11 and up.
Citizen 13559: The Journal of Ben Uchida Adapted by Naomi Iizuka
from the book by Barry Denenberg. Recommended age: 9 and up.
BOOKS READINGS
Maximum attendance: 15. Readings of specic paragraphs
of the book; some reveal stories of teenagers in the camps.
Adios to Tears: The Memoirs of Japanese-Peruvian Internee in
US Concentration Camps, Seiichi Higashide (1993).
Recommended age: 11 and up.
Desert Exile: The Uprooting of a Japanese-American Family,
Uchida, Yoshiko (1982). Recommended age: 11 and up.
BOOKS READINGS (CONTD)
I Am An American: A True Story of Japanese Internment, Jerry
Stanley. (1994).
Japanese American Women: Three Generations 18901990, Mei
Nakano (1990). Recommended age: 9 and up.
Journey to Topaz, Uchida, Yoshiko (1971).
Recommended age: 9 and up.
Nisei Daughter, Monica Stone (1991).
Recommended age: 11 and up.
Storied Lives Japanese American Students and World War II,
Gary Okihiro (1999). Recommended age: 9 and up.
The Children of Topaz: The Story of a Japanese American
Internment Camp, Michael Tunnell and George Chilcoat (1996).
CONFERENCES
Conferences about Japanese Americans personalities held in the
camps.
Every Thursday afternoon at 6 pm.
PLACE: National Museum of American History Auditorium.
Emiko Omori (DOCUMENTARY DIRECTOR)
George Takei (ACTOR)
Iwao Takamoto (CREATOR, SCOOBY DOO)
Isamo Noguchi (ARTIST)
Noriyuki Pat Morita (ACTOR)
Ruth Asawa (ARTIST)
Toyo Miyatake (PHOTOGRAPHER)
Yoshiko Uchida (TANFORAN, TOPAZ)
FILMS AND DOCUMENTARIES
Every Tuesday and Friday in the afternoon at 6 pm. Place: National
Museum of American History Auditorium.
Topaz (1945) Filmed by internee Dave Tatsuno (1913-2006)
Farewell to Manzanar (1976) Director: John Korty
The Departure (1983) Director/producer: Emiko Omori
Come See the Paradise (1990) Director: Alan Parker
Eagle Against the Sun (1992) Director: John Akashoshi
Picture Bride (1994) Director: Kayo Hatta
Beyond Barbed Wire (1996) Director/Camera/Editor: Steve Rosen.
Heart Mountain: Three Years In An Internment Camp (1997)
Executive Producer: David Hosley
Little Iron Men Director: Jesse T. Kobayashi
Day of Waiting (1998) Director/Producer: Steven Okazaki
Children of the Camps (1999) Director/editor: Stephen Holsapple
Rabbit in the Moon (1999) Director: Emiko Omori
The Cats of Mirikitani (2006) Director: Linda Hattendorf
Conscience and the Constitution (2000) Director: Fank Abe
Forsaken Fields (2001)
Forced Out (2001) Producers: Corita Gravitt, KVIE-TV Production
In Time of War (2004) Producer: North by Northwest Entertainment,
in collaboration with Whitworth College
Hidden Internment: The Art Shibayama Story (2004)
Director: Casey Peek. Producer: Irum Shiekh.
From a Silk Cocoon (2005) Director: Stephen Holsapple
Take Me Home (2005) Study Guide. Directors/Writers/Editors: David
Tanner & Andrea Palpant.
The American Pastime (2007) Director: Desmond Nakano
48
EDUCATIONAL PROGRAMS
SCHOOL PROGRAMS
CLASS ACTIVITIES BEFORE YOU VISIT US:
1. Glossary workshop. Get familiar with certain words that you might
nd at the exhibit.
2. A review of the constitutional rights. What makes you an
American?
3. Background and segregation activity. Find out if someone
of your family was born somewhere else. Activity based on the
childrens background.
4. Japan and United States: two different cultures. Differences
and similarities between Japanese culture and American culture.
5. Move out activity. Recreation the situation by bringing just two
objects form home to school and then classify which ones were
allowed.
6. Write a letter to your friend. He was your classmate, but now he
is in the camp, because of their nationality.
7. Discussion about Incarceration vs. Internment.
CLASS ASSIGMENTS:
1. Essay about Japanese Immigration to USA. Investigate the
reasons for Japanese to come to this country.
2. Investigation about World War II. Research the causes and
effects of WWII.
3. Investigation about the internment camps. Find out what
other wars used internment camps. Describe types, locations and
conditions of the WWII USA camps
4. Essay about the Japanese in Latino America brought to the
USA. What countries were involved? What happened to these
people after the incarceration ended?
GUIDED TOURS
Every day at 12:30 pm and 5 pm. Duration: 45 minutes. Groups of ve
or more. Tours for Schools will be programmed in advance.
WORKSHOPS AND COURSES
Every Saturday morning at 10 am
Origami workshop. Recommended age: All.
Duration: 45 minutes. Location: My Space
Kangi, calligraphy workshop. Recommended age: All.
Duration: 45 minutes. Location: Hall
Tea ceremony workshop. Recommended age: ten and up.
Duration: 45 minutes. Location: Remembrance wall
Manga and Animat workshop. Recommended age: All. Duration:
45 minutes. Location: auditorium
Cartoon workshop. Recommended age: All. Duration: 45 minutes.
Location: auditorium
Food tasting. Recommended age: All. Duration: 1 hour.
Location: Remembrance wall
How to make Mochi. Recommended age: All. Learn how this artisan
Japanese candy is made. Location: Remembrance wall
What is a Bento Box? Recommended age: All. Location:
Remembrance wall
American History: Pearl Harbor, World War II and Constitution
rights courses. Recommended age: 12 and up. Duration: 1 hour and
a half each. Location: auditorium
Art interpretation course. Recommended age: 12 and up.
Duration: Five days, 1 hour and a half each session.
Location: auditorium
49
5. Scrapbook activity. Start a scrapbook. Exhibition of the
scrapbooks at the end of the year
6. Alimentation discussion. What kind of food do you think they ate
in the camps? What this type of food the kind they were used to?
Did this food have the nutritional values that they needed, specially
the children?
7. Circle of life discussion. Where people were born? Did they get
married in the camps? People died in the camps, where they were
buried?
CLASS ASSIGMENTS FOR AFTER THE VISIT:
1. Essay about life in the camps. Make a comparison essay of your
life now and the life at the camps in the 40s. Locate everything that
is in your house in one of the camps. How they live inside? Describe
a regular day for them. What new roles they developed to survive?
How these new activities help them go through this period of time?
Did they have stores to buy things? Were this camps open for
everybody? Can people from inside go out?
2. Investigation about the camps now. Graphic project: compare
1940s camps and todays elds with photographs. What are these
camps now?
3. Scrapbook. Add your experience at the exhibition in the scrapbook.
Exhibition of the scrapbooks.
4. Situations and reactions essay. Relate this part of history with
others. Example: Sept. 11. Ask your self the question: Why should I
care?
5. Field trip to the 100th/442nd Memorial.
6. Essay about survival. Write an essay with the topic: How
sometimes can bad situations bring the best in you?
7. Research of Japanese Americans today (oral presentation for
class). Write a biography of someone that is interesting for you..
10. Art in camps (oral presentation for class). Investigate what
kind of art the interns developed. Can art tell us the emotions of the
peoples life inside?
TEACHERS RESOURCES
BOOKS:
Farewell to Manzanar. Jeanne W. Houston
I Am An American: A True Story of Japanese Internment. Jerry
Stanley. (1994)
Journey to Topaz. Uchida, Yoshiko. (1971)
My Name is America. By Scholastic
ONLINE:
Teaching about the camps, World War II and Immigration
Download interviews, photographs and short lms
Chronology of the camps, before and after
Bibliography
Videography
Links to other on-line exhibits:
A More Perfect Union. (National Museum of American History)
In the Shadow of my Country. (Densho. Roger Shimomuras
exhibit)
Face to Face: Stories from the Aftermath of Infamy. (ITVS
Independent Television Service)
Exploring the Japanese American Internment through Film
and the Internet. (Asian American Media Organization)
Dear Ms. Breed: Letters from Camp. (Japanese American
National Museum)
Digital archives from the National Museum of American History
Links:
1. JARDA: Japanese American Relocation Digital Archives
from CALISPHERE A World of Digital Resources and more.
University of California. Scrapbooks, art in the camps, interviews
and photographs:
www.calisphere.universityofcalifornia.edu/jarda/
2. Utah Education Network, Themepark. Information if each
one of the internment camps, including links:
www.uen.org/themepark/liberty/japanese.shtml
3. National Park Service; Manzanar Camp site:
www.nps.gov/manz/index.htm
4. Densho. Denshos mission is to preserve the testimonies of
Japanese Americans who were unjustly incarcerated during
World War II before their memories are extinguished. We
offer these irreplaceable rsthand accounts, coupled with
historical images and teacher resources, to explore principles of
democracy and promote equal justice for all.
www.densho.org
5. Masumi Hayashis Japanese American Concentration
Camps. www.masumihayashi.com
6. National Japanese American Historical Society.
www.nikkeiheritage.org/index.htm
7. Asian American Media.
www.asianamericanmedia.org
8. Japanese American National Museum.
www.janm.org
9. The Authentic History Center. Primary resources from
American popular culture.
www.authentichistory.com/ww2.html
EXHIBITION:
1. Hand outs tools in different sections of the exhibition
2. Interpretative elements
3. Dialogue tables
4. RFID Radio Frequency Identication
5. Interactive maps
6. Time Line
7. Guard tower
8. Diaries
9. Packing exercise
10. Video wall
11. Remembrance wall
50
Budget
ADMINISTRATION
Position
Salary for Project Manager
Development Ofcers
Staff Administration
Supplies and Equipment
Travel
Opening Reception
Salary for Coordinator
Caterer
Invitation / Announcement / Programs
Salary for Graphic Designer
Materials
Printing
Mailing
Public Affairs
Salary for PR Staff
Press Previews
Printing
Mailing
Advertising
CURATORIAL
Position
Salary for Curator
Research Staff
COLLECTIONS
Manage & Track Collection
Salary for Collections Manager
Acquire Objects
Purchase
Packing & Shipping
Arrange Loans
Insurance
Packing & Shipping
Conservation & Storage
Salary of Conservator
Salary of Collection Recorder
Arrange Storage of Items
Supplies
Treatments
PUBLIC PROGRAMS
Position
Salary for Educator
Salary for Interpretive Developer
Docent Costs
Educational Guides
Salary for Graphic Designer
Salary for Editor
Materials
Printing
Shipping
Translators
Workshops & Courses
Salary for Course Teachers
Supplies & Materials
Brochures / Gallery Guides / Handouts
Salary for Graphic Designer
Salary for Editor
Materials
Printing
Translators
Rights, Fees
Banners / Posters
Salary for Graphic Designer
Salary for Editor
Materials
Printing
Film Programs / Series
Rights, Fees
Website
Salary for Web Developer
Conferences
Salary for Coordinator
Speakers Costs
Performances
Play Rights, Fees
Performance Costs
Production Costs
EXHIBIT DESIGN
Position
Salary for Exhibit Designer
Salary for Exhibit Detailer
Salary for Graphic Designer
Salary for Interactive Designer
EXHIBITS PRODUCTION /
INSTALLATION
Position
Salary for Fabricators/Installer
Salary for Art Producer
Salary for Maintenance Staff
Materials & Supplies
Exhibit Furniture and Components
Graphic Panels and Signage
Multi-Media Components
Mechanical Interactives
51
EXHIBIT DESIGN
Position
Salary for Exhibit Designer
Salary for Exhibit Detailer
Salary for Graphic Designer
Salary for Interactive Designer
EXHIBITS PRODUCTION /
INSTALLATION
Position
Salary for Fabricators/Installer
Salary for Art Producer
Salary for Maintenance Staff
Materials & Supplies
Exhibit Furniture and Components
Graphic Panels and Signage
Multi-Media Components
Mechanical Interactives
Team Report
FEB 14: Class Meeting - Introduction to Class (CLASS
CANCELLED Due to snow )
FEB 21: Class Meeting - Introduction to Class / Meet
with the Curator
Team and roles are assigned
Kyoko Arakawa, Curator
Susan Bergner, Interpretive Developer
Christopher Edwards, Designer
Adriana Rojas, Museum Educator
James Rosolanka, Project Manager
Gained knowledge of curators (Dr. Franklin
Odo) goals and vision for an exhibition on the
internment of Japanese-Americans during
WWII with intended audience of 6th, 7th, and
8th graders
Given potential oor space size and location in
the museum for exhibit
FEB 28: Class Meeting Introduction to Class/
Developing the Statement of Purpose and Big Idea
Discussed team roles, reviewed Dr. Odos
brieng from the previous meeting, and
discussed basic materials given out by Ann
Rossilli
Began discussing over arching interpretive
theme (Big Idea) How much or how little of
Japanese-America history do we go into
Setup website for group internal discussions
MAR 7: Class Meeting Developing the Statement of
Purpose and Big Idea
Solidied audience, and began honing in on
focus of Japanese-American experience (all of
history or just maybe World War II)
MAR 14: Class Meeting Development of Big Idea
and Bubble Plan
Continued work on further development of the
Big Idea and began initial work on the Bubble
with Major Theme (Bubble Plan) and possible
sub-themes
Identied interpretive goals and objectives to
support the Big Idea Anne give her ideas
Began work on content list and educational
programs
MAR 21: Class Meeting Development of Interpretive
Techniques and Floor Plan
Continued development of the Bubble Plan with
sub-themes, and just scratched the surface on
a possible oor plan and layout with the given
space
Continued work on content list and educational
programs
MAR 25: Team Meeting
Further developed the Bubble Plan and sub-
themes, continued the initial layout of exhibit
MAR 28: Class Meeting Exhibit Text and Activities
Continued on development of the Bubble Plan
and the oor layout of the exhibit
View initial label presentations
APR 4: Class Meeting/Team Meeting Preparation of
Presentation of Preliminary Conceptual Exhibition Plan
Provided preliminary discussions on what and
how to give brieng to Dr. Odo
APR 9: Team Meeting
Discussed how the group would give the
preliminary conceptual design brieng to Dr.
Odo
APR 11: Class Meeting Presentation of Preliminary
Conceptual Exhibition Plan to the Curator
Gave preliminary brieng to Dr. Odo who
provided feedback which took about an hour
Had wonderful Japanese treats after brieng
and discussions
APR 14: Team Meeting
Worked on Content listing, Education Programs,
and nal Bubble Plan with Exhibit layout
Began intense writing of Narrative Description
APR 18: Class Meeting Incorporate Curators
Feedback Into Design / Communication and Aesthetic
Design Elements
Had intense group discussion on Dr. Odos
suggestions for the exhibit
Continued work on Narrative Description and
Content list
APR 25: Class Meeting Putting Together of Final
Presentation
Worked on initial outline and layout of Final
Presentation
MAY 2: Class Meeting Production of Final
Presentation
Began putting all pieces together of Final
Presentation got thorough discussion on
Budget section
MAY 7: Team Meeting
Put together the nal brieng for Dr. Odo
MAY 9: Class Meeting Final Presentation to Curator /
Final Class
THE END