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tv   Richard Nixon Presidential Library and Museum Re- Opening  CSPAN  November 20, 2016 8:00pm-9:39pm EST

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telling us, what is the most urgent issue for the next president and congress to address in 2017? it is open to all middle school and high school students grades six through 12. students can work alone or in a group of up to three to make a documentary on the issue selected. a grand prize of $5,000 will go to the student with the best entry. $100,000 in cash prizes will be shared between 150 students and 53 teachers. the deadline is january 20, 2017, inauguration day. for more information, go to our website. announcer: the richard nixon presidential library and museum in yorba linda, california recently completed a major renovation. up next, exhibit and website designers discuss the museum and how the revised museum telemark
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complete story about president nixon and his administration. the museum now includes a replica oval office, a gallery on nixon in china, and updated interactive displays. this is just over 90 minutes. >> ladies and gentlemen, welcome to the new richard nixon presidential library and museum. today's program will be introduced by ronald h. walker , chairman of the richard nixon foundation, and david ferriero, the archivist of the united states. [applause] >> thank you, and good morning, everyone. over the last four decades, richard nixon's career and -- and -- in public service, there was talk about many new nixons. but this museum, which opened yesterday -- most of you were here -- is truly the newest and i think you'll agree with us,
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it's the best of nixon, all. this morning we'll be hearing from the thinkwell group, which we're really pleased with, and the cortina productions, who designed and executed the new library and museum. and from the woo, the creators of our new website. how many of you got our web site ? it is terrific. they will explain how to get it. in any project of this complexity, there are many without whom people whose involvement and contribution were vital in every way to the success of this completion. unquestionably, the new nixon library, most importantly without whom is my friend and very dear partner in the
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planning and building of this new nixon library museum. and now it is my distinct pleasure to introduce the archivist of the united states of america, the honorable david ferriero. [applause] mr. ferriero: thank you, and good morning. yesterday, when we were on the podium, i reminded folks of fdr's vision when he created the presidential library system, his faith in the capacity of the citizenry to learn from the past, that they can gain in judgment to create their own future. one of the most important ways we do that, continue to fulfill that mission, is through our exhibit programs across the presidential library. i like to describe our goals as to educate, to enlighten, to entertaining, and to inspire.
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and my not so secret agenda is to inspire young folks to devote their lives to public service , and the exhibits provide a way for us to celebrate public service. a lot has changed since 1990 when this library open, and more papers have been processed and declassified, resulting in new scholarship. eric and his book "who owns history" writes about history as a process not casts in stone, but rewritten each new generation, and that is based on this discovery and rediscovery which president nixon himself talked about when opening this library and museum. technological innovations have transform the museum visitor experience, digitization have provided opportunities to share and reuse content in new and innovative ways, and most importantly, visitor expectations have changed. we now have limited attention spans. [laughter] we rejectro:
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over-texted exhibits and the expectation of interactive opportunities have revolutionized the business of exhibition design. all of these factors help shape our design and redesign of presidential library exhibits , and each time we do one, we learn. each new project raises the bar. lbj, fdr, bush 43, and nixon build on the successes of the past, very much a collaborative process, cracker jack consultants on the technology and exhibit design, stellar historian panel and foundation and national archive staff and not to be overlooked generous supporters who believe in the mission and have invested in the future. it really does take a village. my thanks and deep appreciate madeor all of you who have this possible and helped us invest in the future. [applause] >> please welcome from thinkwell group, the chief executive
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officer and the chief creative officer. >> good morning. thank you all for coming out today on a nice cool saturday. it's great when the national archivist steals all of your morning material. [laughter] hanna: literally the first thing i was talking about this morning is how audiences have changed and it is harder than ever to communicate with them. whether you have one or not, most everyone has some sort of mobile device with them. their noses are added all the time, taking pictures with it, looking up things -- i don't know what -- i'm going to sound like an old guy. i don't know what my kids are up to on these darn devices. but it really creates a whole different mindset for how we need to communicate with audiences. the job used to be a lot easier.
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once upon a time, we did not get out much as a people. we could not travel as easily as we can today. just getting to europe was a seven or eight day steamship crews. cruise.ship now we hop in a plane and we are into by on a thursday. to present easy objects that no one had or could see and be amazed by them, right? back in the day, you put stuff on display and everyone appreciated it because they had no other way to see it. today, we have a plethora of opportunities on how we are going to get information, whether it is on that ubiquitous device, on the internet, getting on a plane to be able to go and see the authentic thing and its in it'stion -- and -- home location. we engage people today -- we
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utilize technology today to engage people in a different way and allow them to go deeper. image and weis say, oh my gosh, it is science fiction, but wednesday night of this last week at 9:00 p.m., a major company sold for the first time at major retail outlets a home version of this device that is going to really be ubiquitous in a few more years, and virtual reality will allow us the opportunity to explore anything and everywhere as if we were really there. what does that mean for museums? we contend that it means primarily to things -- one, we all crave to do things socially together, so regardless of sitting at home and being able to see the greatest movie we could ever see on the nicest display with the best surround sound, i still want to come out with my friends and say, oh my gosh, wasn't that amazing? and the other thing is, the more we can do online, on our computers and see virtually
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things, the more, we contend, you want to see the real thing, and it makes the real more important. so, the importance of something like the richard nixon presidential library and museum, is we can see these amazing items from the national archive, on display up close, things that the president himself touched and used. we're able to tell stories in new ways that, socially, we can do together. hey, come take a look at this, did you know this about the president? and that kind of engagement changes the way we look at things now, and it makes our jobs harder, don't get me wrong, but it also forces us to look at things in a new way. so if you can't beat them, join them. you can't get the device out of their hands, so let's encourage its use, and whether it's an app like the brand new mobile app that is here at the museum, or whether it's other technologies
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to create a connection between that device and the thing they're looking at in the museum , is one tool at our disposal. before, weas i said all have to take pictures of everything all the time and share them, whether you like it or not, with everyone else. joe and i sat in a meeting with the head of social media for the smithsonian. first of all, she was a lot younger than i am. [laughter] mr. hanna: she said we do three things with social media -- we say, i am here, here is the thing, and i am here with this thing. [laughter] mr. hanna: and nothing else. , oh my gosh,ut it she is right. so we have to make sure that in today's age, we provide photo ops. seems ridiculous, but we do. as you go through the exhibition today, you'll see a few, some selfie moments that you can do
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on your own, and others that you will hand your camera over to somebody that knows how to use it, and they can take a picture of you, as well. hopefully we can bring those moments from nixon's life to life and a whole another way that allows us to engage with a whole new audience in another way. last but certainly not least, being able to talk to different audience segments is really important as well. including the differently able. how do you see mona lisa, for example? these are just great examples within our industry of different ways people are doing different things to engage audiences in new and unique ways. it, i would like to turn over to joe, who is going introduce the rest of our team that worked on this project and our partner, as well. >> thanks, greg. well, we're honored to have been selected to work on this
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project. we've been working on it for nearly three years and it's a long journey and a very complex process that requires the efforts of dozens of people. but today, we are going to have the lead creative who are involved in grading the exhibit here and will kind of deconstructed and talk about smoke the moments and how it came together. first, i would like to introduce kate mcconnell, the creative director. [laughter] mr. zenas: a project like this needs deep divers, someone who can understand everything. we like to put ourselves in the shoes of the guests who will be coming their. as david said, how do we get the next generation of people to care? kate is that generation we want to talk to. she knows as much about nixon as i think anybody in this room does. she will go one-on-one with any of you.
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kate has the words in the concept and presentation, just like a film that needs a production designer of how it all comes together, chuck robert is is our art director. [applause] mr. zenas: chuck has worked on numerous museums and entertainment projects, the lincoln library. is, how do you take a really complex story, the life of a man, all the details, and put them into a visually pleasing way that you instantly get when you walk up what the topic is or how you want to tell a story? and that is chuck's job. i would also like to bring up our partner for all the video and media, cortina productions. we like to say we like to create emotional souvenirs. you want somebody to feel something. as craig said, putting out information is not enough. for this story, having the
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emotional power of the moment to really carry the journey was really important. amy is principle and partner of cortina productions. [applause] mr. zenas: how many presidential libraries have you done? >> this is our seventh. i am tired. [laughter] mr. zenas: you have not seen the exhibit yet. the emotional power behind the video and films and the stories is phenomenal. i also need to have a shout out for the rest of our team, who is not here, but we also have the producer project manager, the conductor of the train. [applause] mr. zenas: this would not have happened without him. a little bit about thinkwell. when we got hired for this job, there was a mandate very early from the richard nixon foundation that richard nixon loved cutting-edge thinking and
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wanted to lead with creativity at its best. we are not that traditional museum design firm. clients that come to us want something more interactive, a different way of telling the story, because we work not just in museums but entertainment, corporate environments, we do buildings and urban development. but it is always about connecting a guest with an intellectual property or person or story with something they do emotionally in the physical world. we are based in los angeles. we are a 15-year-old company. we have about 200 employees. they range from being architects and master planners and story tellers and feeder designers, technicians, video editors, and all of that comes together for these projects that we work on. we also have offices in beijing and abu dhabi. a lot of the projectwe do our round the world.
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you may not have heard of us, but you may have seen some of our projects. just last year, on your left, we opened up in atlanta, georgia, the center of puppetry arts and museum, the largest collection of puppets donated by the henson family. you have a very successful puppet theater, but they want to be an american repository of puppets and the stories that go behind these. this is an ancient art form and our job is to engage children in creativity and tell the stories of these collections. also in atlanta, we opened up a children's exhibit four years ago, and natural history museum. it is situated on the largest urban old-growth forest, and our goal there was, how do you
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connect kids with nature, again? when we studied the demographics in atlanta, there was the inner-city kids who are scared to go in the forest, or there were the public skids who came in and their parents -- or there were the privileged kids whose parents did not want them to get dirty. i learned from nature by , andring it and playing kids were not getting the experience. so we created a 7000 square foot exhibit where you did that indoors. no text panels, but it was all creative learning and physical activity. also at the museum of science and industry in chicago, we designed an exhibit sponsored by google on robotics. on the historyw of robotics and where it is going in the future. one of our most known projects in 2012 in london was the making of harry potter. we worked with warner bros. at
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the studio. this was about 150,000 square-foot factory tour of where the films were made, a very immersive way of telling the story of the craftsman, the 10 years of filmmaking, how you make the film. if you were a harry potter fan, you get to go and touch all the sets and costumes and see behind the scenes how the magic came off. we have been working for the last number of years in dubai on the world expo in 2020. and expo is a museum. how big is the site there? >> 500 acres. >> 500-acre city they're basically building. we were involved in the content and entertainment master planners. you will have an architect that his master playing, and our job is to master plan the do. what are the opportunities within the space? the project that launched us into the museum world was a
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small touring exhibit called sesame street presents the body that was for little kids, teaching them how their body works. it was meant to go into museums for about three years and be on the road for 10 years. that is really where we focused and got to know how kids and younger audiences learn and use the space. that became a very important launching point for this facility as well. have you engage a younger audience to care, to want to dive deeper and want to learn? amy? >> thank you. i thrilled to be here and be working with thinkwell on this amazing project. i will tell you a little bit about cortina productions. we are a media design and production company located in virginia. classic american dream story, three of us started in a basement. and today, we have office space, we have signed a long-term lease. [laughter]
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we have about 50 employees, programmers, graphic designers, writers, researchers, storytellers, filmmakers. the bulk of our work is for museums and cultural heritage spaces, so that is what we focus our attention on the last 15 years. i will run you through a few of our projects. we are honored to have been a part of the new smithsonian museum of african american history and culture that opened last month. we produced 25 exhibits for that , a combination of films, interactive audio scapes. my particular favorite is joined the show now. this uses gesture technology t and visitors come up to these very large monitors, taller than i am, and you participate -- i'm not going to do it for you, but you can travel to d.c.
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it is wildly popular and a fun way to celebrate the culture of african american history. the next project i will talk to about is the san francisco 49ers. down at levi's stadium, we produced their interactive media and films and are particularly proud of their learning lab, where they used football to teach science, technology, engineering, and math in an interactive lab, and they take 60,000 students a year through this program at the 49ers stadium, and we just love using technology and story telling to open up young people's minds to new ideas and new careers , possibly. next is the muhammad ali center in louisville, kentucky. the focus of this project is to use muhammad's life to teach concepts such as dedication and confidence, speaking up. another one of our successful
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partnerships. been veryned we have of seveno be a part presidential libraries. i will list them in alphabetical order. clinton, fdr,r, lbj, and reagan. what is particularly important to us, for me as one of the owners at cortina, i was raised by two journalists during the heyday of print journalism, and they were also very clinically involved, and i grew up at the dinner table hearing about the importance of democracy and the office of the presidency. and we have been -- it's been so important to us to work on these, now our seventh presidential library, to reach out to young people to use technologies that joe and craig talked about to open up young people's minds to the history of
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our culture and our country. lastly, i'll talk to you about a mobile app that we did that i i think is perhaps our most visited exhibition, and we have the nixons to thank for that. because it is the pandas that have made this project so popular, and i will leave you with a shot of mrs. nexen with the pandas in china. in our wonderful zoo and washington, d.c. i'm going to turn it over to chuck, and you are going to her a lot about partnerships today, and chop is going to introduce us to a couple of partners that helped us create this immersive museum. >> thanks, amy. [applause] >> good morning. i am going to talk to you about studio eis.
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not i-c-e. studio eis is a company in brooklyn, and they did the original figures for the hall of leaders here at the library in 1990. and they -- i've wanted to work with these guys for 30 years, i think. maybe 25 years. they do, i think, the best museum figures that i've ever seen. they work in bronze and other materials. but they are just extraordinary. the thing i think they bring more than anything, a lot of people, you see sculptures and statues and the likeness is good but it is very stiff. they have gotten better and better at just bringing a sense of life and natural -- you feel
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like you understand the character and the feeling of who this person is. when it came time to do the figures for our lincoln city room and put nixon in a chair, it was just a no-brainer to go with these guys. but --her examples, too, we are going to talk for a moment about the fabricators for our exhibits. in case you are not completely clear about how this stuff works, we have architects and facility contractors, who did a beautiful job on this building. most of the walls, a lot of what you see in the exhibit, was done by the facility contractor. ,hat gets carried over by malti who did the exhibits. as an art director, i do not always get to choose who we are going to go with. i did not know these guys.
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i knew smith their work, but we finally get into the room as we are getting close to production, and they are sitting there, and we start to eyeball each other. -- iflooking at me like you can draw at all, we will probably be ok. it became a partnership. there is a couple of people i would point out. the project manager got under the hood with me on everything. we worked out the details. from my point of view, nothing in this museum is arbitrary. there is no -- maybe it would be ok. it is all carefully thought through, carefully planned. lynn stuck with me on all of this. there are things i wanted, and he was like, no, i am not, and he was right. [laughter] mr. roberts: he was awesome. and another person was hired by malti to do the site install.
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exhibits are arriving from new jersey and toronto, stuff is coming in huge grades and boxes. up -- what istuff this, where does this go? it is organized, but it is such a challenge to figure out how to build a museum when it is coming in box after box after box, and he managed to put it all together, things that were missing, he put in place, build them himself. amazing, heroic effort, so i want to point him out as well. chuck.k you, [applause] a card game now. we have defined all the cards in the deck, and now we are going to play the game. we have talked about the
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partnerships. a project like this is so challenging because there are so many pieces that have to come together and some of the stakeholders who have to approve and have an important voice that has to be heard. the team is going to go through the exhibit itself and peek behind the scenes on house mothers came together. >> >> -- on how some of this came together. >> that is a polite term for let's do a little sausage making. everybody loves sausage but don't like to see it made. but you can't leave, so we are going to do it now. one of the things when we started this project was to understand the man, his times, and the world he lived in and take another look at the president. we always start our process by putting ourselves in our visitors shoes and thinking, what did they bring to the table when it comes to any experience we create? in this case, we said as we started off, everyone has a kind
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of a one dimensional notion of richard nixon, including all of us, which was watergate, resignation, the end. i will admit, that was where i started personally from this. and we can't ignore it. we don't want to ignore it. it's not fair to ignore it. it's not honest to ignore it. so we chose instead to hit the nail on the head. when we sat down and had our initial brainstorming, we said, all right, let's think about the baggage we bring as visitors. let's think about the things you would expect to see and the things you would see surprised to learn. in the course of that discovery that we did as a collaborative group, we found some kind of key things that came out of it. the first that we said, and we imagine the visitors could say coming to a new exhibition, is i , didn't know he did so much.
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and we were astonished to see the breath and depth of things that the president had done during his tenure in office. next, we next, we said we thought our visitors would say, i did not know he was so interesting. hadt of all, the man hobbies and passions and sports and other interests, including an outside of his role in office. we thought, well, that really shows the human being behind this at the time, one dimensional person and that will really help open him up into a three dimensional person for all of us to see and appreciate much the same way the people who knew him and his family knew him and . least, was i
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didn't know he did so many important things. this is something that i think was a turning point for us in our understanding of this man. we wanted to make sure we presented those things as well. out of that, we began developing the concept. we had naysayers. we had presidential buffs. we had young people, families, senior citizens, all of which we have to talk to in different ways. we really do find audiences in three other ways as waders, swimmers, and divers. casual person who is going to
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come here on president's day is going to be, like, richard nixon, i heard about him. those are the waders. is somebody who may be lived through his presidency. somebody who went to college and studied history at the young adult and has a deeper appreciation or understanding or interest in the president and those times. they will have a different approach to wanting to navigate the exhibition. last, but not least, are the divers. you will read every word that kate wrote, every piece of information that was edited, look at every object the national archives brought into the exhibition. the diver is the hardest one to get because it is easy to scratch the surface.
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it is hard to make sure you appeal to and get enough for the diver. that is where a lot of the interactive's come in -- in.ractives come that is for the website comes in. the sausage making begins with knowing who your audience is, understanding the different audience segments and the different types of audiences you have to deal with and that sets the stage for us to begin to explore how we are going to -- what stories we're going to tell and how we will tell them and how physically we will put all of that together. you forgot one audience segment. the mer-people/urde .
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they go really deep. we start with the audience. we start with the guest expectations. we are digging into the man, and to his life, reading books, watching documentaries. trying to discover who this man is, and we are seeing 1913 when he was born, feels really far away. it feels really distant to us. and he is elected president in 1968 and there is all of this turmoil happening in the country , excitement, passion, that is both distant -- something a lot of people forget about -- but also something that can really grab you. we thought, that is where we need to start. we need to start in that moment when he is about to be elected. of course, we have a problem.
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we started in the middle of things and how do you get back to the beginning? we're brainstorming and we are thinking, wait a second, here at the next library, they have a unique treasure. they have nixon's actual birthplace right outside. there are these windows, some of which were not opened up. what if we could have this time when he is born fall in the exhibit right there so you can look at those windows and see the birthplace and you will be encouraged to go outside and visited? -- and visit it? we had those two points and that gave us enough so we could form the structure of the exhibit. we are starting to make our concept art and create some of out those and flesh
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times in between. we have to come full circle and come back around. i wanted to show you -- this is a little bit of the magic for me. i am only surprised when i see this even though we have done this before. it's always really cool to me. to start with, this is a early concept sketch. we thought about, all right, in the vietnam gallery, we wanted to capture kind of the emotion of the difficulty of that war, the soldiers on the ground, the men and -- in danger on the combat.in action, in and we wanted to capture the turmoil at home, the protests against the war, the conversation that was going on and we wanted to juxtapose those and put them together. so you see this early concept
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sketch and then we have our artist and designers, they're using the program calling sketch -- this 3-d program called sketch up. and then you have a work in progress installation photo and now it is coming to life. you can see the concept has come to life. . >> another aspect of the process that we all engage in is really integration. visitors today are very sawvy. -- visitors today are very savvy. we have the savviest visitor we have ever experienced and they are growing as i speak. they are getting smarter than we are. and so we hope you noticed that it is part of our approach, that media and the fabrication of objects are integrated.
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we have two stand alone theaters, really we have one big theater and there's a smaller theater where we see the domestic policy video. everything else is integrated using all of the skills that we can bring to bear on this story. we'll hope you see that as you move through. and this -- when you get to lincoln sitting room, you'll notice it has everything in it. we'll talk more about that later. but first, this is really in the sausage making. apologizeven going to for it because it is so critical and it is called research. [laughter] as soon as they request for proposal comes into our e-mail inbox, we are already starting our research process because we love storytelling. may haves up for you
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dimensionality to it, it first has to be all rooted in story and stories have to be rooted in research. and so we begin our research process by reading every book that we can find and some authors are in this room right now that we've heavily from and pulledur work -- we heavily from and read your work. we think it is important to look at the entire story, cross-reference facts and dates and get multiple sources. we also look at hours and hours of raw video. documentaries. and very important, in case you do not know it, we are in a national archive. the nixon papers and documents are housed here. we go to those primary sources during our research process.
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we also rely very heavily on archivists and curators here to help us tease out the story. lastly, i want to make sure you all know that we did not write the exhibition alone or in a vacuum. we are very happy to say that all the content was rigorously that it with four independent -- vetted with four independent historians. we are proud that this project went through that rigorous level of vetting. one of the things that came up for us in our research, and thursday, and some of you docents are over there, we discovered in our research of richard nixon that he used yellow notepads to articulate
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his thinking, to provide himself thoughts on his actions, to strategize. he has done this most of his professional life. we discovered this as a team and we were riveted by this information and we were allowed to read the yellow notepads. we were thrilled to be reading them. we believed the visitor needed to discover this as well. you will hear us talk about discovery because something happened in the mind of a human being when they discover something for themselves. it engages them and inspires them to go learn more. we do not want this exhibition to be the beginning -- sorry, the end of the visitor's discovery. we wanted to be the beginning.
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itpepper it, we use throughout the exhibition, starting in the orientation film . there are interactive stations for visitors. and in the lincoln sitting room, where nixon himself wrote on these yellow notepads. this is a way we use research to bring it forward for the visitors so that they are able to see an authentic element of this particular manner -- particular man, richard nixon. when we decided on 1968 as a starting point, and we knew we wanted to engage a younger audience, we said, how do we establish the context of the time? we will talk a little bit about the intro physical space and how we do it there.
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we decided the best way to immerse people in understanding the time to get their heads around the context of all of the things, the chaos and tunnel that was going on in the country was to do a film, and the music, the sound, the visuals, that talk about everything that was going on here and in vietnam really help establish all of that and really set the stage and that became kind of the opening volley for us in terms of the exhibition. before you even step your feet in the door, we needed to set the stage in a way where we could focus you and deliver this message about win all of this was happening -- about when all of this was happening right up front. >> one of our goals here is to empower guest to make their own decisions.
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we wanted to lay out all of the information, the son of view, the primary sources, and place guests kind of into the moment for themselves and allow them to come to their own conclusions that way. we felt this was in the spirit of what richard nixon himself wanted for this library. when he opened the library in 1990, he said this quote, "they can be passive, dry repositories of books and documents, i hope that the nixon library and birthplace will be different. a vital place of discovery and of investigation and contemplation of study, debate and analysis. and that is what we really wanted to do. into that theater itself, we wanted to set the stage and
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exhibite the sort of they would be going into. to do that, we could not have a typical theater like this. you guys are so far away, it is very presentational. it is talking down at you. if wanted to create a smaller, or intimate space, rap that wrapn around you -- that screen around you, kind of immerse you in that space. now, the nixon library had this beautiful big atrium space and we took it away from them. but we gave them a very lovely theater in its place. >> back to this thing called research, as we were learning about richard nixon, there was a particular quote that left out
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of this and i will paraphrase it. he said that richard nixon had many facets. and this really interested us. many of us -- many of our one ors will come with as many as three think they think they know about this topic. and when we heard that he was multifaceted, we thought, let's just go see. it,tarted talking about cross referencing the things that we were reading, looking back at documentaries, looking more at scholarship that authors had used when they had come to the archives. indeed,found was that richard nixon is multifaceted, and we wanted to convey that to the visitor because we saw things like, and we've heard and fighterngs, he was a and he was empathetic. he could beat half, but he had
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-- he could be tough, but he had compassion. there were these dichotomies and we wanted the visitor to get a sense of that. you an example. in terms of empathy, richard nixon passed legislation to return lands to native americans. this is because he empathizes with the loss of their land and he believes they have been treated unfairly. this is something that comes from his heart. that was very interesting to us. why did he pass this legislation? we developed a story arc around that. do you want to talk about why we narration?o go into divideoes back to the between the audience and the screen. think about your typical museum
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film narration. we did not want that. there are too many discussions. there are too many disagreements about history and its interpretation. i used to amuse myself all i was researching by going and reading all of the amazon reviews for different biographies of richard nixon. if you want to see the extent of disagreement and the many opinions that people have, just read those reviews. we thought instead of a single narrator, let's have a lot of them. people.it goes to young if you have a young person in your life, and i do, he has very little interest in what i have to say as an authoritarian. authoritarians and it does not work anymore. i had to learn a new way. we had to learn a new way as
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film makers. we went out and found people .ome storytellers there is a combination of them. some of which were in the nixon white house, people who knew richard nixon. we have scholars and historians .ho have studied richard nixon and then we went all the way to oxford to get a lady who had a particular interest. the other thing the storytellers contextualizes to the times. we did not just ask questions about richard nixon and his presidency. we also asked about the time and we asked our storytellers to share with the audience what was going on in that time in our history so that our visitors had a larger view and could put the presidency in the context.
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part ofeally important the film that i want craig to , aboutout for a moment what we needed to do with this film. >> if we are going to go for this, we need to be audacious in our presentation and concepts. we said, it would be pretty audacious to do the unexpected. a visitor might think you are going to sweep watergate under the carpet. let's not do that. and blowh the plunger up that idea and start with watergate and the resignation and from there, we have shown you exactly what you did not think you would see and we can move on to talk about the legacy
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and the man and the career and all of the achievements that were there. not sweeping it under the rug at all but hitting straight between the eyes exactly what you are coming in in the back of your head thinking. that became the starting things for the intro film. what is the primary thing of visitor thinks they know? job,one who worked on this the average age is 32. they had not lived through the nixon presidency but they knew about watergate or they knew about nixon and pop culture. by starting with watergate, we acknowledged the one thing they know and then we are able to move from their and thing that and thingfrom there
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that inside the presidency. >> before you head into the exhibit, you might download the app on your phone. >> at the nixon library, your app can do these things for you. , butal visitor information there are two things i want to highlight. it connects to the web. as you move through the galleries, if there is a particular topic that you are most interested in, and for me it is title ix, i am able to hit a button that says learn more and it will send the information via e-mail on title ix. what is important about this aside from giving the visitor the deeper dive, visitors today want to continue their
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relationship with the content after they leave our exhibit. the app allows our visitors to do that. i want to point out to you the app is in three languages -- english, spanish, and mandarin. what is so important is that it harkens back to the authentic story and part of the nixon legacy, which is our relations with china. galleries into the themselves. we start with this area, this is about the 1960's and the turmoil and the chaos people were stepping into and we did want to create a space that was a little bit of an assault on your senses. >> i would love to get off that stool. [laughter] i want to -- this is one of the
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original concept pieces that we did. obvious. it is notd that smooth and easy, it is jagged and fractured and we have problems and that really accounts for the shapes of the walls you are seeing. the library itself is very symmetrical and as you step into this gallery, everything starts to be a little fractured. and the color. it took us quite a bit of time to figure out what images we were going to use. bands ofnotice the color and the way we use the images, they are to one side or another. the place feels unstable.
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as you wander through here, and especially the visuals amy has brought in here, and the cacophony of sound, which is brilliant because it leaves you through the space -- leads you through the space. by the time you get to the end of the hall, you wonder, why would anybody want to be president? it is just crazy. >> so let us walk you through in case you don't recall, all the the things that were going on. three assassinations -- president kennedy, dr. martin luther king, bobby kennedy. those are covered in the gallery. the march on washington for jobs. of course, we have vietnam, soldiers in vietnam, and protest . we also have the draft. we are becoming aware that we
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are damaging our environment. the democrats were in a mess in 1968 and we cover chicago. >> you come to the end of the corridor and you turn the corner and you see the inauguration and you step into the oval office. the original library did not have an oval office and we thought it was a really important piece as a guest expectation, guests want to wander around and they want to sit down at the desk. >> there we are. all right. what i want to tell you about largely office, this is their work, all the walls and everything you are seeing here, this is a highly accurate
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recreation of nixon's oval office. this, to me, looks like, you know, and historical photo. it is not. there is just so much we have gotten in here that is accurate to the original office. >> from the blue and gold colors, the carpet, the rug was designed by pat nexen, the california blue and gold. let me tell you how hard it is to find that kind of gold upholstery fabric these days. >> we started to look at this and thought, is this going to work? the other thing i want to point windows, thet, the view, the way the room is handled, it has life just because of how -- we picked the time of day, late afternoon, and it just feels live.
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>> we have a lighting designer on staff who is a certified genius. everything in this exhibit -- it would not look as good as it does. >> the other great thing about the oval office and truly unique part of it, you can walk through the whole office. you can sit in any chair. parentsild, you are all . up toay, you might grow be president. now your kid can go and sit the hind the president's desk, get their picture, post to social media. what an empowering moment for a girl or a boy to say, this is what it is like. i might want to consider doing this in my life. what a great opportunity for young people. >> [inaudible]
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>> the only library where you can explore the only oval office. >> the china gallery was a really important one for us. one of the landmark pieces of nixon's presidency truly changed the global landscape and we wanted to create a space that really honored that. >> some of you have probably nixon in china. history.e it from we are stealing it back. by.o, we were inspired >> i keep forgetting. felt like the right way to do it.
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all of the elements you are seeing, the big red panels, were based on the huge red banners at the airfield when the nixon's arrived. we have used those as a backdrop to be able to the elements on and tell the story of the trip. >> i want to point out, if you're looking at a photo of this thing that happened, it would never occur to me to take those banners and use them to create a space. to create kind of the structural forms that organize that space and allow us to organize the information within it. it's just a really beautiful thing that he took this historical photo and turned it into, you know, the thing that i can put my text on and ruin it. [laughter] you.w i'm red, thank that's great. >> one of the things that we're,
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again, for the visitor, that we're so happy about, is that the visitor gets transported in this museum to many places. and this is one of the places that they go. that one of the spaces that they get to visit. >> yeah, literally a portal. >> and take the picture on the great wall of china. >> yeah. >> so, in the gallery outside of that, one of our presidency galleries, we have one of the moments that is -- has already become one of the most photographed spots in the exhibits. great selfie opportunity, as craig mentioned earlier. and i love this because it's another one of chuck's audacious ideas. >> okay. so, it's a fun idea, but i just want to point out some things here. the main inspiration for me was when i saw the space suits at the library originally, they had "please don't touch" signs on their chests and i just thought, i love nasa, i love the show, the missions.
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let's not do that, let's find a way to display these better. putting them on the wall was a fun idea, but i want you to understand for a second what it took and what this -- the level of integration that has to occur just to do something simple like this. there's many examples throughout the museum where all sorts of integration has happened. but the architect needs to agree that we're going to do this and that he's willing to do the engineering to get the steel in the wall to support the space suits, and then really where do you want those plates and so forth to hold those feet? i don't know, you want the normal space suit distance apart, right? you know, it's just something -- we'll just do that and no one understands what that is. we scenically had to get some sort of panel on the wall that wouldn't deflect. the folks from nara had to clean the suits and then they dusted them again with moon dust so that they both felt like they were, you know, part of the scene.
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the mount maker had to do this thing so they're not just hanging in gravity, but they feel like guys grounded on the moon and it's natural. nick lit this and found positions where we could have these single shadows. all of this came together really nicely and it just -- it took a lot of people and it just kept happening over and over at this place and i'm just -- it was really fun to get to do this. >> yeah. yeah. related to that -- >> right. related to space, we've talked about it. this is one of the opportunities for visitors to have access to content that's here at the archive. there are listening in stations throughout the presidential galleries and this is one of them on space, where visitors touch the ipad, pick up the phone and listen to president
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nixon speak to, or speak about one of the apollo 10 through 17 missions. and this isn't the only -- i have to tell this one story that i love. there are other listening ins and one of them is over at equal and expanding rights. and i told you that we got to listen to hours of material and in this listening of materials, one of the things that came up was a story, a busing, around desegregation. and it's julie nixon calling richard nixon, her father, and it goes something like this. "daddy?" "yeah?" "are you terribly busy?" "no." [laughter] "listen." and then they go on to have this conversation about how she should answer a question regarding busing. and she's asking for her father's advice.
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and i have to tell you people, aside from the interesting fact that under richard nixon, it was 80% of schools were desegregated in the south in four years, the story that leapt out for me that created one of those moments where i saw this president as a man and as a father is in this telephone exchange, and i hope you go listen to it because when he answers her, you know, are you terribly busy, no. if you are a working parent like i am and you've ever gotten the phone call from your child, when the world is blowing up around you, or so you think. and i was really touched by this, and it's another opportunity for the visitors to come here and listen to this, themselves. now, how they walk away, their emotion may be very different than my own. what's important for us is that we provide an opportunity. >> and this goes back to something that craig was talking about earlier that there's always going to be a place in
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museums for the real, because that's what people want. they want to come and have that authentic connection to the real thing, and the national archives have this incredible collection. there are thousands of hours of these phone recordings and audio recordings and, you know, anybody can come in here. you can go downstairs and get your researcher card and you can dig through the archives and find all of this stuff and that's a lot of work, so we've done some of that work for you and put a lot of it in the exhibit, and the team here at the archives, the archivists and curators were so amazing because they know their collection and they would come to us and say do you know about this document? do you know about this photo? have you heard about bunny? this is one of my favorites. we don't show this in here, so i'll just say bunny is this great artifact. we never heard about it. when nixon was running for senator, they were creating an ad and they asked his daughter
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to say "vote for nixon" and she had this little stuffed bunny. instead she said "vote for bunny," so we have bunny in the exhibit. and that makes me really happy. [laughter] so, it's that real authentic thing that people can then engage with and come away with however they feel. >> yeah, and that reminds me about another big change that we have in museum collections. craig talked about it. when museums first started, they were objects, and i went to a museum and i saw an object. an artifact. today, and it's been going on for about 60 years now, maybe a little more, one of our primary objects in today's world are media. video. audio. and i'm happy to say that of the hour and 45 minutes of content that is in the museum, about 80% of it, 80%, is media as artifact.
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so it's like looking at a vase that's original. >> yeah, absolutely. so, the pat nixon area inside the presidency area. i'll tell you, i was a little resistant at first to kind of having a space that was just about pat nixon, and that's because you see this in other presidential libraries. here's the presidential library then here's the first lady's space. and i wanted to integrate her throughout the exhibit and that's really what we've done , because she was so present and active as a first lady. so many firsts to her name. traveling to war zones. traveling as a good will ambassador, as a representative of the president. so, we did end up creating this space and i love it. i came around. to really kind of focus on, create this sort of intimate moment where people can interact. we've got some incredible artifacts in there. there will be a rotating collection of apparel on display.
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i love these notepads, or these stationary pieces. she was an inveterate note writer, always wanting to respond to people personally, so we have some of her stationary in there. and then we have this incredible interactive from cortina. >> yeah, thanks. well, first, i'm going to point out to you that i think you are the first to have an interactive inside a suitcase. [laughter] and from what i'm seeing, the visitor loves it, because they walk up to it and they say, oh, i had a suitcase like this or my mother had a suitcase like this. so, now the visitor is connected to this story. and they're connected to this suitcase, and so now they're connected to mrs. nixon, and that's what we want them to do. in this particular exhibit, you pick up a puck that's off to the side. it has an rfid signal on it. you set it in the suitcase and it activates content for that particular visit. mrs. nixon went to peru, africa,
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the national parks tour. you put the puck down and it activates the interactive screen and brings up content on that particular visit. you're able to peruse through a photo album. my personal favorite, you can see mrs. nixon's passport. above that is a mirror with video in it, and i hope that you stop and look at it because looking at hours of footage of mrs. nixon, she is so loved, and she radiates love as she goes out and meets with people around the world. and it was one of the things we didn't know. we did not know, and i discovered it. and now i tell everybody about it, because i'm a discoverer. >> so, one of the things we discovered, of course, during our research process was the incredible amount of domestic achievements. the epa, title 9, desegregation, the war on cancer. i mean, just so many things that
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kind of blew my mind when i realized that they happened, you know, during this period under richard nixon was really incredible, but, of course, he was most well known as a foreign policy president. so that, we really wanted to create these great spaces that told that story, especially because when you think about the cold war, it's really hard to communicate for an audience that might be really distant from that, you know, what was the threat, what was the feeling of that time? you think of duck-and-cover drills, you think of the threat of imminent nuclear disaster. so, we needed to create these spaces that told that story. so we started with, chuck put a giant missile in there. that kind of communicates pretty well. it's looming over you, this kind of threat, possibility, and we're establishing here's the cold war, here's what's at risk. but then we move on right next to it to the signing of the
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s.a.l.t. treaty, the treaty nixon negotiated, himself. a nuclear arms treaty with russia, and that's the first detaunt, the first step in breaking down the barriers of the cold war and that's why immediately next to it we have the berlin wall. we have this kind of corner on our foreign policy area that really takes us through that journey that all happened during those years of nixon's presidency then carried forward after him to finally end the cold war. and one of the pieces that tells the overall foreign policy story is this really cool interactive that i love. >> yeah, the interactive -- so we talked about waders, skimmers and divers, so, if you engage with this interactive just on the main menu, you can see all the dots and right away, these are all the places president nixon went. i don't even have to go any further to get that primary message. this guy was on the move around the world. when i do dig down deeper, i can touch all the locations, get
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photographs, dates, find out what the objective was of that particular journey that the president went on, and so it begins to paint an overall picture of nixon's foreign policy. then, of course, we talked about the yellow note pads. president went on, and so it begins to paint an overall you can explore these on interactive stations throughout the galleries. >> one very important part of these, guests can explore these personal papers of nixon that you wouldn't have been able to see before, but, of course, the handwriting not necessarily the easiest thing in the world to parse. cortina has done a lot of work with the archivists here to translate that handwriting, and there's a handy little transcribe button so that you can actually read those and not struggle through. so, you leave the presidency area, and we head into the watergate gallery. now, the watergate gallery had been redone a few years ago before we were brought onboard.
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and so, in the lifetime of a museum exhibit, that's not very long, four years or so. so we thought rather than kind of spending the kind of resources redoing that space, let's keep that exhibit as it is and we can move it wherever it needs to be within the exhibit , especially since now we're doing this new structure of things. in the old space, the watergate exhibit came at the very end. you went through the watergate exhibit, you came out and you went to the eagle's nest to the study, then you were at the funeral and that was it. so you were sort of left with this, that was it? and if that's all you know of the story, you know, that's kind of what you come away with. so i never realized walking through that first exhibit that there were 20 years of work after that watergate exhibit ended. and this incredible contribution as an elder statesman and nine books written.
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so, when we created this structure that had a flashback in it and started in the middle of things, it enabled us to put the watergate exhibit into the context of the full life. so by physically moving it, it kind of exists within a larger context rather than kind of being the period at the end of the life. so that was one of the changes that happened with watergate exhibit. then the other was as we got closer to the end of design, we were looking at the older exhibit and realizing all the content is fantastic, it's the single largest exhibit space within the whole gallery that's dedicated to one topic. but it doesn't look like anything else that we've done. it's -- you step out of it and hey, we're in a different world, then we step back into our exhibits. so, we reskinned it, basically. we took all the existing words and media and images exactly as they were and we added our own , sort of, fonts and colors and graphic layout to make it look like the rest of the exhibits.
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and that takes us to one of the spaces that is one of our personal favorites. when nixon opened this library, as we said, he didn't have an oval office. what he did have was a replica of the lincoln sitting room because it was a space that was so important to him. >> so, this is truly my favorite part of the whole exhibition because it combines all of our work into one integrated and seamless moment, but it also brings to life, like, so many things. because it combines all of our the president has resigned, and you have to sit and ask yourself, what was going through his head? what must have he been feeling? and so, we wanted to create a moment of contemplation where we could sort of try to put ourselves in his shoes a little bit. we also wanted to bring this notion of the yellow pads to life in a different way than the interactives do. so, as the president is sitting in his favorite chair in the lincoln sitting room, writing notes on a yellow pad, those notes come to life in his own
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handwriting as projection on the wall, sort of magically coming off the page for us to read. and we hear nixon's voice going through these various thoughts and as we hear his voice, the images out the windows change to correspond with those thoughts. so, it's sort of a little contemplate contemplative space, and for a brief moment, you feel like you're stepping into what must have been going on perhaps inside of him at that time. >> yeah, and i think it's really exciting for that for a couple reasons. one is thinking about the sort of outside journey that we've taken when we're in the presidency galleries, we're really looking at what did he decide, what were the actions he took, what were the challenges he was facing, that sort of public voice. and then once we hit our flashback and we're going back into his past and through this journey that ends with the lincoln sitting room, we get to go a little bit inside his head and inside kind of that inner journey of the man, himself, less than the public persona.
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so, i think that really captures that. and the other reason that this space is really inspiring to me is we talked a lot about integration and collaboration between the teams, and in this space, you see every single partner that we worked with, every single person on the team. we've got a studio figure. we got cortina's beautiful media in the windows and projections on the walls and audio overhead. we've got graphic design on our wallpaper. we have amazing lighting from nick. the walls and the environment. this is sort of everything coming together in that teamwork. >> and we have an interactive moment for the visitor. we are seeing a lot of people taking photos of themselves with the president. >> yeah. >> so, of course, as we said, nixon went on after his resignation for 20 more years of work and service to his country. >> right. so, you leave lincoln sitting
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room, we find out that after the resignation, it was the darkest time of the president's life, but what is so remarkable to us from the human story, and something that we think people can relate to, or if they choose, i certainly have chosen to relate to it. nixon in that quote tells us it's his darkest time and if a person doesn't have something to live for, he dies -- i'm paraphrasing -- spiritually, emotionally and physically. and this is a man, and you see this in the last 20 years of his life, who chooses just like it starts in the film, he had his -- he would win. he would lose, and he would come back up. he was the consummate fighter. and in the last 20 years, we see that he makes a conscious decision to be of service in the way that he can be in that elder statesman role. and we think that on this last part of the galleries, you come up to epilogue and the president
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tells us, i believe in the american dream because it's happened in my life. and i want it to happen in your life. and he talks about the highs and lows of life, about his life, that there have been victories and defeats, and that he chooses to come back up, and he ends by telling us that's the story of my life. this up and this down and this up. and that's where we wanted to end the story, because we think it's such a remarkable , multifaceted story about this president. >> thank you, amy. so, we gathered our information and had our own discoveries and learned about this man and changed our perceptions. and hopefully that other people coming here will be able to make their own decisions, as kate said, about president nixon. for thinkwell, and i will speak for cortina for a moment, it has
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been a real honor to have had the opportunity to work on this exhibition. we were thrilled when we found out that we were going to do it , and it has been truly an amazing collaboration in the annals of 15 years of thinkwell work, we have worked with wonderful clients and terrible clients, and we've wrestled with some and we've wrestled here, too, but in the end, the experience working with the national archives and working with the richard nixon foundation has been nothing but extraordinary. and we're really honored to have had a chance to be here today. so, thank you to the thinkwell and cortina team. thank you, all. [applause] and thank you guys. so, as i said at the very beginning, connecting with
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visitors isn't just about engaging them in the physical space. we have to extend that visit through the app and through an online presence so you can begin your journey before coming to yorba linda, and that journey can continue and that exploration and learning can continue after. to talk more about the website, here's al herrera and david bushnell from the wuoo. [applause] >> good afternoon, everyone. first off, thank you, guys, so much, and a big thank you to the richard nixon foundation for inviting us to this very prestigious event. we're so honored to be here. to really celebrate the life and the legacy of president nixon. i'm al herrera. i'm the account supervisor and woo, a director at the boutique design agency in california. we specialize in creating
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digital experiences that really create lasting bonds with people and brands. and so when the nixon foundation approached us about the website, we were honored and really eager to get the project started. so, the challenge that we face was we had to create a website that was interactive and welcoming to a new generation of users that have a pretty finite idea of who richard nixon was and what his legacy is, but also we had to remain cognizant of an older generation of people that were very familiar with the president and his life, both inside and outside of the white house. so, we partnered with cortina, thinkwell and the richard nixon foundation to create a website that was both visually stunning, interactive, and really brought the best elements of the life in the arena exhibit you'll see here today. and the key strategy for us we had to create a website that was mobile first, so as you see on the tablet and the phone, it's optimized to be viewed on mobile devices and especially because 50% of all internet users access
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the internet only on their phones. so, that's -- it was a really interesting fact that we had to come up with. so basically, the site now acts as an aggregator of information and research that most importantly can be accessed by anyone of any age, generation, and most importantly, from anywhere around the globe. so to speak about the research and how it has the global reach, we pass it over to dave. >> great. thank you very much, al. and i do want to echo what al said that it really was an honor to work with the foundation and on a personal note, it was a real pleasure to work with those personnel. so, i really personally want to thank you guys for working with us and for bringing us here today. so like thinkwell, for us, it was a real journey of discovery, and a journey that was full of surprises. and in addition to the circumstances and the details of history, i learned two very surprising things. and i just want to share those with you right now.
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and i just have to share this because this happened literally last night. i turned on the television, a comedian was making the point that students today don't retain anything about history. it's all just a big gray blur to them. and so here's what he said. he said, this is verbatim, he said "a fish crawled up on land, some stuff happened, nixon, then here we are today." [laughter] this happened last night. but he was making a very important point that even for people to whom history is a big gray blur, that one name stands out above everybody else. and it's the truth. that was one of the surprises for me, is that there is this huge fascination with the man. not just here in the united states, but globally. so, we, with this website, are addressing a global audience of people fascinated by that man. the second thing is that probably because of the first thing is that there is a wealth of information out there, tons
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and tons of data exist out there. now, just like thinkwell, we had to address the three different stages of swimmers. we have the waders. these are the people that just need the top-line information. the eighth grader who needs to write a paper on nixon, let's say. we have the swimmers, the journalists, the people that need to write maybe a little different, more in-depth paper. and then you have the divers, these are the historians. the professors that need to create their class syllabuses, okay? so, how did we satisfy these people? first of all, there's a challenge. all these people, they go to google first, google is kind of a dead-end journey, because you google "nixon in china," you get a list of results, you go to the first result and it's an end point. okay? you land on an article, there's nowhere to go from there. now you're on an archive newspaper somewhere. now you have to go back to your
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results and you have to google the next thing and go to the next result and like this. what we've done is we have crawled a number of authorized reputable sources on data for nixon. and i'm talking about news articles, i'm talking about blog posts, i'm talking about videos. how many of your children and grandchildren prefer video to reading? just a show of hands. yeah? okay. i would say probably most of you. sound files. a wealth. thousands and thousands of hours of actual oval office conversations among, who at the time, were the most powerful people in the world. we have cataloged all those on this website and using the world's most popular content management software, we have put them all under one umbrella. so now they all participate in the same taxonomy. so, the website you see today is, we're very proud of it, it is a work in progress because
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now the foundation has a strong foundation. to continue into the future, building content, adding content to the website, and categorizing, okay. so what you saw in the video here is that these people who know nothing about history except that nixon did something about watergate, maybe that's their in to the website. so they'll come to the website, they'll land on an article on watergate. now over on the side, they'll see, here's some key words touched on in this article, here's some similar articles. now their journey of discovery begins. so they click on these key words and find white house tapes where they discuss these topics. they watch videos of an actual event happening. so, we've really presented a wealth of research to these people. in addition, the interface to this website is designed to be welcoming of research. as you visit nixonfoundation.org, you will see that it's hard to go very hard without having a search bar
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sort of thrust in your face. and when you search, you get categorized results. things like historical articles. nixon's impact today. and just as amy said, media as artifacts. you will land on a section of artifacts. thousands and thousands of pieces of media. these are white house tapes. these are videos. these are documents. and these are historical articles. so, that's in a very, very brief whirlwind tour what we've created for nixonfoundation.org. as we say, we extend this discovery of research and wealth of surprises into a global audience. so i want to -- i don't want to gloss over this quote here, so let's just take a quick look at this. the richard nixon foundation believes the more you learn about richard nixon's leadership and policies, the greater the opportunities there will be to
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carry his lessons into today's challenges. al and i wasnt to -- want to thank you for being here today. we want to leave you with a couple of case studies of typical users who are now able to access this wealth of information. thank you. >> thank you. >> hi. i am talking to you from madrid, spain, where i live. i have just finished high school. and now i'm in the university studying mechanical engineering. i'm always interested about all the things of debates, american politics. so, the other day i was checking on the internet, something about the debate between trump and clinton, and it was when i found the web page of nixon's library. so now i'm going to show you the
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favorite part of the web page. all these videos and information is available for all kind of students. students in america, east spain like me, or all over the world. so, it's my favorite part because of that. we have a lot of articles with insight. and young people like me, love to see videos and learn with that kind of material. i wish i was there in person and i can't wait until november when i come back to california. everyone, enjoy the rest of the events and the opening of the national presidential library. and now i turn you over to martin in china. have fun. [applause] >> hello, everyone.
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my name is martin. i'm from beijing, china. i'm right now an intern in the company china star, and i used to study in the beijing institute of fashion technology. i majored in english. i've always been fascinated about the politics between china and america. and that's why i've been exploring a little bit in the websites of the new nixon library. first of all, it has a very good frontal page. i've studied design and art a little bit, so i really like the design of the website. and then when i go in, you can see a lot of different stuff. the resource center is very useful, i think. it has a lot of historical articles. about the little details of the historic trip of nixon to china.
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i think it's very important for all the people to see this because it is, indeed, one of the very major events for both of our countries to get connected. i'm very excited that this resource center is online right now. i believe the center can bring chinese people and people from the u.s. much closer. i can't wait to visit nixon library in person. i hope all of you enjoy it and have a great day. bye-bye. [applause] >> now, please welcome president of the richard nixon foundation and mike ellzey, director of the richard nixon presidential library. >> do you think our producers and collaborators deserve a shout-out? thinkwell. [applause] cortina.
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the woo. great organizations. i think you also can see how excited we are about being able to take this story about richard nixon's life and times. to yorba linda, to the world, via the internet and via a new exhibit. we are more than thrilled with that opportunity. you all have something to be very proud of from that. lastly, i'd like to repeat what our chairman and the archivists said about the collaboration and cooperation between nara and the foundation. it's that collaboration that made all this possible, and we appreciate it very much. mike? >> well, this has just been a real special morning, and a very special presentation. i wanted to thank and acknowledge our creative partners, the foundation for selecting such outstanding and outstanding partnership team.
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i've been involved in a number of public projects like this, and i think this team is absolutely the finest. and so, to you folks, congratulations. you've done outstanding work. but what's most exciting here is that the special opportunity to hear and see how this whole thing came together pales, quite frankly, in comparison to being able to go next door and see it alive. i mean, i think that's what everybody is telling us this morning is this is how it was done. okay, this is a great presentation and it really gives an idea of how this thing came together. but now we get to go next door and our visitors get to go next door and enjoy this in an extraordinary way. but i did want to close before i announce our next event, i wanted to close by sharing a special appreciation to the creative team because having had
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a lot of experience working with creative teams on public/private partnerships, i really do appreciate the creative energy that this team brought to the table. i really love that kind of dynamism. i really appreciate that. the commitment to the mission, i think, bill, i think mr. walker and the foundation board dynamism. i really appreciate that. as client and the national archives as partner really appreciates that commitment to mission and i think that that's been fully satisfied. and also, something that might go unnoticed, and that's the responsiveness. the team has always shown a level of responsiveness to the demands of not only the content managers, if you will, but also to the national archive's piece of this puzzle and the executive review we brought to the table.
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so, thank you for that. that responsiveness is real key. i'm also supposed to announce the next program which is the 12:00 noon lunch in the east room, where there's a discussion with the authors for recent books about richard nixon. they're here today and it's going to be just a very outstanding opportunity to see what's going on out there in the literary world about the 37th president. irwin gelman is going to be here. luke nectar, i see here. evan thomas and doug showen. and my colleague, mark uptergrove, the director of the lbj library in austin, texas, will moderate. so please join us for that. and thank you very much and good morning. [applause] ♪
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