From Earth to the Solar System

For the month of June, 30 beautiful images of the solar system are on display on the terrace by the Independence Avenue entrance.  They are part of the From Earth to the Solar System exhibition developed by the Smithsonian Astrophysical Observatory/Chandra with the NASA Astrobiology Institute.

 

Titan

The Mysterious Titan: A Moon of Saturn. This moon may hold the answers to other forms of life. Take "A Myriad of Moons Tour" and learn about how it differs from our own planet’s development.

Make connections between our home planet and the rest of our solar system and take an exciting journey from the soil of our planet to the far reaches of cold space. If you aren’t able to make it to the National Mall this month to see the exhibition, a preview is available online, and it will be traveling around the world over the next year.

The amazing images in this exhibition show our efforts to explore other worlds to uncover their secrets. Let’s take a quick tour. Starting with our understanding of the Earth and moving outwards, we apply this knowledge to each world we encounter opening a new window to the limits of our solar system. We begin our investigation with Australian stromatolites, ancient rock structures created by microbes. Next, studies at Mono Lake, CA have revealed a different possibility that life can sprout from unexpected sources such as arsenic. These examples provide two points of reference when studying solar system objects. Titan, compared to an early Earth, may be the home to methane/ethane-based organisms similar to the organisms at Mono Lake. These are only a few connections. More exploration and study reveals ever-increasing intrigue existing between our own experiences on Earth and the many diverse planets, moons, and other bodies within our solar system.

Each weekday of June, we will offer two 15-minute tours at 9:40am and 9:45am. Take a tour about the theme Cosmic Weather and find out about other solar system bodies with seasons. Created and presented by intern Lauren Bittle, this tour discusses the connection between atmosphere and weather on Earth as well as throughout the solar system. Highlights of this tour include solar activity, volcanic Io, and the great storms of the solar system. What would our moon look like if it were covered in volcanoes? Take the A Myriad of Moons tour, created and presented by intern Ameé Salois, and learn the answer, along with many other facts about the diversity of moons in the solar system. Highlights of the tour include investigations into our own Moon; Io and Europa, moons of Jupiter; and Titan and Iapetus, moons of Saturn.

 

Lauren Bittle

Lauren Bittle visits her favorite moon, Io, on the "Cosmic Weather" tour.

Please come join us for one or both of these exciting journeys through the solar system.

 

Ameé Salois

Find out about ice skating on Europa in "A Myriad of Moons" tour by Ameé Salois.

 

From Earth to the Solar System is a continuation of the 2009 exhibition From the Earth to the Universe, created for the International Year of Astronomy, which visited the Museum that summer. The National Center for Earth and Space Science Education is helping coordinate exhibit locations.

Lauren Bittle and Ameé Salois are astronomy education interns this summer.

 

 

Getting “Enterprise” Ready for Prime Time

Early on the morning of March 1, 2004, a small band of preservation specialists consisting of Anne McCombs, Steve Kautner, and Ed Mautner walked into the James S. McDonnell Space Hangar at the Steven F. Udvar-Hazy Center.  There was but a single artifact in that huge hangar — OV-101, Space Shuttle Test Vehicle, Enterprise.  The hangar was scheduled to open to the public on October 20, 2004. We had eight  months to clean the exterior and interior; repair and repaint damage to the faux tiles that covered the nose, belly, vertical stabilizer, and rudder; then strip and repaint the center fuselage and payload bay doors.  There we stood with buckets of water, gallon jugs of Amway LOC, which was recommended by NASA and their contractor United Space Alliance (USA), boxes of cotton rags, and a few ladders that would only elevate us 3-3.5 meters (10-12 feet) above the ground.  The size and scope of our task was truly daunting as Enterprise was 37 meters (122 feet) long with a wingspan of 24 meters (78 feet) and a vertical stabilizer that topped out at nearly 18 meters (60 feet) above the floor.

Space Shuttle Enterprise

The Space Shuttle "Enterprise" was the first spacecraft to be moved into the Steven F. Udvar-Hazy Center's James S. McDonnell Space Hangar in 2004.

Enterprise was originally planned to be an orbiter but was never fully outfitted for spaceflight.  In 1977, it served first as a test vehicle atop a modified 747 in a series of drop and glide tests from about 7,620 meters (25,000 feet).  When its primary test programs ended in 1979, it languished and its appearance began to deteriorate.  In 1983 it was refurbished with a fresh coat of paint and new markings for the 1983 Paris Air Show and the 1984 World’s Fair in New Orleans.  NASA transferred Enterprise to the National Air and Space Museum in 1985 where it was stored outdoors for two years and in a non-climate-controlled hangar for 17 years. During this time it became dirty and its paint continued to deteriorate.  After it came to the Museum, Enterprise continued to be a test bed for NASA. They performed launch vibration tests, facility test checks, arresting barrier, and emergency crew egress tests.  These last tests scarred the paint on the forward fuselage and payload bay doors.   Our job was to restore it to its  former pristine appearance.

 

Space Shuttle Enterprise

Space Shuttle "Enterprise" flew into Washington Dulles International Airport on November 16, 1985 atop a modified Boeing 747 carrier aircraft. Using cranes, the "Enterprise" was removed from the top of the 747 and lowered to the tarmac at Dulles on November 17. On December 6 the National Aeronautic and Space Administration transferred title of the "Enterprise" to the National Air and Space Museum at a black tie gala at the airport.

The ladders made the decision of where to start easy — hit the low hanging fruit — landing gear, wheel wells, and the belly.   As the month progressed we received high lift equipment which gave access to most of the top portions of Enterprise. We also received an additional member, Tony Carp, to clean and repair the vertical stabilizer and rudder. Tony also coordinated the removal of the OMS (Orbital Maneuvering System) pods, which were sent back to the Paul E. Garber Preservation, Restoration and Storage Facility for restoration.  Once finished with the exterior, we cleaned the cockpit, payload bay, and aft power plant bay.

Our next task was to scrape and sand off the deteriorated paint on the center fuselage and payload bay doors, an area measuring over 372 square meters (4,000 square feet). We did this from scaffolding erected on June 17th.  This structure enclosed and bridged Enterprise, allowing us to safely reach all of the upper areas. With the clock ticking, additional members were allocated on August 9th to do the final sanding, scraping, and paint prep, which we finished on September 2nd.

 

Space Shuttle Enterprise

The Space Shuttle "Enterprise" surrounded by scaffolding that allowed our collections specialists to safely reach all the upper areas of the spacecraft.

Our donated aerospace paint and primer arrived September 17.  Due to the space hangar’s filtration system and health and safety concerns we had to use rollers and apply the paint between 5:30 p.m. and 6:00 a.m.  PPG-DeSoto, the paint donor, provided an additive that “flowed” the rolled-on paint to give a smooth, sprayed-on appearance.  We finished the prep, priming, and white top coat in the wee hours of September 29.  The scaffolding came down the next day and we were left with just our original team of four plus two part-time volunteers to remove masking; do final clean-up and equipment stowage; touch up many of the polyurethane foam faux tiles; and restore the markings, “United States,” NASA “Worm” logo, and the name Enterprise on the forward payload bay doors.

 

paint

Preservation specialists, Tony Carp (top left) and Bob Weihrauch (bottom right), paint the Space Shuttle "Enterprise" as part of its restoration in 2004.

Long before work began, several curatorial decisions were made. First, Enterprise did not need a full restoration.  It was structurally intact and had no signs of serious corrosion.  So it would be cleaned, signs of corrosion or deterioration noted, and deteriorated paint and markings would be replaced.  The second decision was to return it to its appearance in 1985. To achieve this we carefully traced all of the markings before paint removal began.  When we had sanded through the top layer of paint we discovered earlier markings similar to those of 1985, but with slightly different shape, location, and color shades.  We traced and made notes of these for future reference.  Once repainted, we retraced the markings in pencil then hand-painted them as had been done originally.  While doing this a contract crew was assembling the barriers around Enterprise in preparation for the “Grand Opening” just days away.  We finished clean-up and detailing on October 18, 2004.

While we never let our eyes slip from our target date, there were interesting diversions that made a challenging project pretty enjoyable.  We were tasked to assist NASA and USA in several of their planned visits to inspect or work on Enterprise.  One day, Col. Joe Engle, one of Enterprise’s command test pilots, came to visit his old craft, inquire about our work, and congratulate us on our efforts.  Another highlight was a visit from Col. Pamela Melroy, USAF.  Col. Melroy was an Air Force test pilot and would become a two-mission space shuttle pilot (STS-92 and 112), and mission commander (STS-120). We met her while she was still a member of the Shuttle Columbia accident investigation team. We escorted her through Enterprise and she also expressed pleasure with our efforts.

The Enterprise project was grand in scope; interesting and exciting every day; and very rewarding in terms of personal gratification.  Our small crew worked without a budget, and with limited resources, personnel, and time.  For so many reasons, I recall looking forward to getting in to work on it every day.  It was an exciting environment that literally put us on a stage where the visitors were always viewing us from barriers at the front of the hangar and from the hangar overlook.  And when the scaffolding was assembled, there was the ever-present element of danger.  Everyday, several times a day, we had to free climb 9-12 meters (30-40 feet) straight up the rungs to the platforms next to or over the shuttle.  Once on top, we could attach our safety harness tethers to the scaffold structure. In eight months we had only one injury.  One of our members slipped off the top of the payload bay doors.  Due to the harness and tether, he suffered only a banged knee.  Our constant discussions about safety and the use of fall protection certainly paid dividends.

 

Enterprise

The Space Shuttle "Enterprise," before and after its restoration.

During our days working on Enterprise we received several recurring questions about it from docents and visitors: is it real and did it go into space?  What does it look like inside and will the Museum let visitors walk through it?  Well, it is quite “real.”  It was the first shuttle of the first batch or “block” of three and with the demise of Challenger and Columbia, it is the sole survivor of that block.  Discovery, Atlantis, and Endeavour constitute the second block of shuttles.  However, as Enterprise was never fully fitted-out to be an orbiter, the payload bay is a maze of structure and framework that poses too many hazards to permit public entry.  The cockpit, bare of instrumentation, is very small and it would be difficult to route the more than one million visitors who might wish to enter it each year. Furthermore, the National Air and Space Museum has not in the past opened accessioned aircraft or spacecraft for public entry due to preservation concerns.  For all of these reasons the Museum decided not to permit access into Enterprise.

 

crew

Left to right: Steve Kautner, Dave Wilson, Bob McLean (background), Ed Mautner (foreground), Bob Weihrauch, Will Lee, Anne Mccombs.

 

Space Shuttle Enterprise

The Space Shuttle "Enterprise" is the centerpiece of the James S. McDonnell Space Hangar of the National Air and Space Museum's Steven F. Udvar-Hazy Center

On the morning of October 19, 2004, members of the press began to arrive to photograph, video, and write about the opening of the John S. McDonnell Space Hangar and its most prominent artifact, the Space Shuttle Enterprise. The public got its first glimpse the following day.  The space hangar and Enterprise were received with praise and excitement by NASA and Museum staff, the media, and the visiting public.  In addition, our small team received one of the two prestigious Peer Awards presented by the Museum for 2004.  Was it a rewarding project? You bet.

Ed Mautner is a preservation specialist in the Collections Division of the National Air and Space Museum.

Try Out our New Online Activities

If you’re looking for some online fun, try out several Web activities from our newest exhibition, The Barron Hilton Pioneers of Flight Gallery.

The exhibition introduces some of the colorful aviation personalities from the 1920s and 1930s.

Tingmissartoq Interactive

"Tingmissartoq" Interactive

  • Help Charles and Anne Lindbergh pack for a trip across several continents in their airplane the Tingmissartoq.  The plane can only carry 6,105 pounds, so you must choose supplies carefully.  You need to anticipate possible emergency scenarios like landing on the icecap of Greenland or landing in the middle of the ocean.  You will be going from cold, icy climates to tropical climates and will be visiting remote Eskimo villages and fancy diplomatic receptions.  You can compare your decisions with what the Lindberghs really packed.
douglas world cruiser interactive

Douglas "World Cruiser" Interactive

  • Plan a flight around the world for the U.S. Army – it’s 1924 and no one has flown around the world before.  First, you must figure out the logistics – which countries will welcome you and where will you be able to refuel?  Your planes can only fly so many miles before needing to refuel. Next you must adapt the airplane for the trip. Your Douglas DT-2 torpedo bomber needs to meet the demands of your journey.  Finally, while you may have tried to plan for the unexpected, you encounter the unexpected anyway.  Face six crises that the real World Cruiser crews encountered – will you make the same decisions they made?
design an air racer interactive

Design an Air Racer Interactive

  • Design an air racer.  You are entering the air races and want to win!  Design a racer that will be the fastest sea plane and will help you win the prestigious Schneider trophy.  Or, design a land plane and win the Pulitzer trophy. Will you make risky decisions and try some of the latest technology or will you play it safe?
Tuskegee Airmen Interactive

Tuskegee Airmen Interactive

  • Fly a bomber escort mission as flight leader of the 332nd Fighter Group in Italy.  World War II is raging and the Tuskegee Airmen are gaining a reputation as top-notch aviators.  As an all African-American group, they must constantly prove their skills.  The American military is segregated and the group’s reputation lies on the decisions of each of its members.  Wrong decisions could cost lives and equipment, and damage the reputation.  Will you make the right decisions and prove that you have the skills required to fly with the best?

A lot of effort and careful research went into each one of these activities.  We first generated a list of possible ideas. We narrowed the list by asking which ideas make the best use of the technology to teach specific content.  We hired a Web developer to help us.   The interactives need to be thoughtfully integrated into the surrounding exhibition content.  After we decided on the scenarios, we did some additional research.  We had to track down photos of the World Cruiser flight and film footage of the Lindberghs.  Our photographer took photos of objects in the collections – we wanted to display some of the interesting items that the Lindberghs packed on their trip.  These objects had not been on display before.  In some cases we also consulted with outside experts, including some of the Tuskegee Airmen themselves! What were the main decisions made by flight leaders on escort missions?  What happened when things didn’t go well?

Once our designer had a prototype activity, we took it onto the floor and asked our visitors to test it.  Some of the interactives, the Lindbergh one for example, went through major design changes.  We wanted to ensure that people find them engaging and easy to complete.  Do they take the right amount of time or are they too complicated?  Will they attract the right age groups?  We also tested the activities with some of our toughest critics, our National Air and Space Museum colleagues.  They all had an opportunity to weigh in on the activities.  When we completed usability testing and made sure visitors were getting the messages we wanted to convey, we went into final production.

So give them a try and let us know what you think.  Which did you like the best?  Did you learn anything new? And, if you have a chance to visit the Museum, please be sure to view the Barron Hilton Pioneers of Flight Gallery.

Tim Grove is Chief of Education at the National Air and Space Museum’s Mall building.

The Airplane and Streamlined Design

To American industrial designers of the 1930s airplanes were not simply machines of transport, but emblems of technological innovation and progress. The National Air and Space Museum’s newly redone Barron Hilton Pioneers of Flight Gallery includes a unit devoted to “The Airplane and Streamlined Design,” which demonstrates how industrial designers appropriated the imagery of the modern airliner for their products.

streamline

The dynamic look of streamlined aircraft captured the imagination of industrial designers in the 1920s and the 1930s, who translated that look into a new design expression. They borrowed motifs from the airplane’s curvilinear appearance and incorporated them into railroad locomotives, automobiles, architecture, appliances, and household objects.

From the time of George Cayley, a nineteenth-century British aeronautical experimenter who coined the phrase “solid of least resistance,” aircraft designers had searched for a shape that would create the least drag—the resistance to a body’s movement through air. The ultimate result was the Douglas DC-3 (an example of which is on view in the Museum’s America by Air exhibit at the National Mall building), the most advanced in a line of streamlined designs that went back to the Deperdussin Racer of 1913. The DC-3 boasted several important technological advances, but its shiny metallic look, with a pronounced parabolic curve, suggested speed and motion.

In his 1932 book Horizons, industrial designer Norman Bel Geddes wrote that “when the design of an object is in keeping with the purpose it serves, it appeals to us as having a distinctive kind of beauty. That is why we are impressed by the stirring beauty of airplanes. The underlying principle of the emotional response that the airplane stirs in us would seem to be the same as that which accounts for the emotional effect of the finest architecture—the form, proportion, and color best suited to that object’s purpose.”

And in 1940 Walter Dorwin Teague spoke directly of the DC-3 as an example of the pleasurable connotations of modern aircraft and cited “the constant ratios of proportion” and “the quality of line which we find most highly developed  … in a Douglas transport plane, where you see the same type of form repeated in the engine and in the fuselage, in the wings and the tail—the same line recurring again and again; that long line with a sharp parabolic curve at the end, which we have come into the habit of calling ‘streamline.’”

Bel Geddes and contemporary designers like Teague, Raymond Loewy, Henry Dreyfuss, and others began to apply the functionality and imagery of aerodynamics to the design of cars, trains, and mass-produced merchandise. These artist/businessmen wanted to take advantage of the DC-3’s streamlined look to create a new design expression as a way to sell products and services during the Great Depression. The unstated message of streamlining was an optimistic one: advanced technology as exemplified by modern streamlined aircraft would help to move the country out of its economic despair.

Streamlined Automobiles

In 1933, the Chrysler Corporation undertook the design of the first truly mass‑produced streamlined automobile, the Chrysler Airflow, under the leadership of Carl Breer. The Airflow had a welded, trussed-box frame construction (designed by Alexander Klemin, head of the Daniel Guggenheim School of Aeronautics at New York University) in which girders and body panels were integrated into a shallow frame, yielding a highly rigid but sturdy structure. The Airflow’s style grew out of hundreds of wind tunnel tests that were completed on models of the automobile by the design team to reduce drag and noise and to improve stability; these features were promoted in advertising as growing out of its functional design.

Streamlined Trains

In 1936, Raymond Loewy and the engineering staff of the Pennsylvania Railroad designed the K4S streamlined shroud for the steam locomotive that pulled the famous Broadway Limited train. In 1938, Loewy collaborated on the design of the S‑1 locomotive, a sleek horizontally lined machine reputed to be the “largest and fastest high‑speed steam engine ever to be placed in service in this country.” Henry Dreyfuss worked for the New York Central Railroad to design the J3A locomotives that hauled the Twentieth Century Limited. These, however, were after-the-fact imitations of the Union Pacific Railroad’s truly innovative M10000 City of Salina (1934) and the Chicago, Burlington and Quincy Railroad’s Zephyr (1934). Both were powered by diesel-electric locomotives, wind tunnel tested, and, like modern aircraft, designed with monocoque construction (i.e., a hollow structure without internal bracing in which all of most of the stresses are carried by the skin).

Streamlined Consumer Products

By the middle to late 1930s, streamlining was also becoming common in a number of consumer goods. Designers employed the metaphor of streamlining to design refrigerators, radios, electric clocks, and other goods, using such elements as speed lines—three parallel lines in metal to connote motion; rounded corners; teardrop shapes; new materials—polished metal alloys, bakelite, vitriolite, and glass block; and metal stamping and casting processes. (Examples of these, such as the Petipoint Flat Iron, Firestone Air Chief Radio, Kodak Bullet Camera, designed by Walter Dorwin Teague, Westinghouse Table Fan, and Sunbeam T9 Toaster, are shown in “The Airplane and Streamlined Design” pictured above.)

The New York World’s Fair

Aquabelles

Modern aircraft played an important part in the 1939-1940 New York World’s Fair, the showplace of the streamline style in American culture. Here, the Aquabelles, a group of swimming performers, and U.S. Army Air Corps officers pose on the wing and streamlined engine nacelle of the Boeing XB-15 long-range bomber.

The 1939-40 New York World’s Fair in Flushing Meadows was the showplace and culmination of the streamline style in American culture. Among the fair’s many streamlined buildings was the General Motors Pavilion, designed by Albert Kahn Associates and Bel Geddes. In the pavilion’s Futurama exhibit, a visitor could board a rubber-tired train and embark on a 15-minute simulated airplane flight westward over a vast futuristic diorama of  the U.S. in 1960. This was a streamlined country of 14-lane superhighways divided into 50-, 75-, and 100-mph traffic lanes with a metropolis dominated by streamlined skyscrapers.

The fair’s utopian prospect of a better future through technological progress did not materialize. The threat of an impending world war hung palpably over the Flushing Meadows fairground, and concerns of world survival had by 1940 begun to take precedence over the promise of a streamlined future.

Dominick A. Pisano is a curator in the Aeronautics Division of the National Air and Space Museum

The National Air and Space Museum at the Smithsonian Folklife Festival

National Air and Space Museum staff contribute to many larger Smithsonian efforts during any given year. For example, this year the Smithsonian Folklife Festival staff came calling. The 2010 Festival running June 24-28 and July 1-5, features the “culture” of the Smithsonian. “Smithsonian Inside Out” allows visitors to interact with Smithsonian experts and get a glimpse behind-the-Castle-doors, so to speak.

  • Ever wonder how we hang those huge airplanes? Museum specialist Samantha Snell will tell you.
  • Do you have questions about spacesuits? Division of Space History staff will provide some answers.
  • What kinds of skills are needed to produce a large exhibition? Hear one of the exhibit teams talk about the gallery, Moving Beyond Earth.
  • Did you know that our designers often create 3-D models of exhibitions? See some models and talk to our design staff.
  • How does Smithsonian staff collaborate with visitors? Help Smithsonian educators, including some from the National Air and Space Museum, test a variety of exhibition components.
  • What’s the latest news from Mars? Meet some of the scientists in the Center for Earth and Planetary Studies and hear about their latest research projects.
Andy Johnson

Andy Johnston of the Center for Earth and Planetary Studies talks about satellite images of Earth at the Smithsonian's annual Folklife Festival.

Jennifer Carlton

Designer Jennifer Carlton shows designs for the new Pioneers of Flight exhibition at the National Air and Space Museum.

So, grab a water bottle, some sunscreen, and a hat, and visit us at the festival. Don’t miss this rare opportunity to see a different perspective of the Smithsonian. Check the Festival website http://www.festival.si.edu/2010/smithsonian_inside_out.aspx for specific schedules.

Tim Grove is chief of Education at the National Air and Space Museum’s Mall building.