Category Archives: Highlights from the Collection

The Archives Department’s First Anniversary at the Udvar-Hazy Center

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On January 10, 2012, the National Air and Space Museum Archives Department officially opened its new reading room at the Steven F. Udvar-Hazy Center to public researchers.  We welcomed six researchers that day, including two who had scheduled a trip from Germany to coincide with our grand opening.

The opening was the culmination of a massive move that took place during the fall of 2011, when the Archives Department consolidated the majority of its collections from the Museum in Washington, DC, and the Paul E. Garber Facility in Suitland, Maryland.  In only a month, the Archives Department transferred almost 17,000 containers, 18,000 reels of microfilm, 13,000 rolls of motion picture film, and 7,000 videos.

Archives Reading Room

Archives Open House at Become a Pilot Day 2012. (NASM 2013-00046)

In the past year, more than 270 researchers have visited the new reading room to make use of our collections.  They’ve pursued all manners of research, including our Captured German and Japanese Air Technical Documents Collection, our in-house photo database,and the numerous personal papers and corporate records collections that we hold.

Sometimes researchers find items in our collections that we don’t even know we have.  This fall, one of our researchers came across a fun photograph of Orville Wright.  According to the documentation that accompanied the photograph, Orville often went out to fly in business clothes and shoes, whereas the mechanics wore hip boots. This test flight of a flying boat had landed in Ohio’s Miami River, so a mechanic carried Orville piggyback-style and put him in the plane so he wouldn’t get his feet wet.

Orville Wright

Mechanic Bill Conover gives Orville Wright a piggyback ride to their aircraft waiting in the Miami River, 1913. (NASM 9A10110)

In June, at least 80 visitors attended our Open House at Become a Pilot Day.  This was a great opportunity to check out some of our more colorful collections, including the Ruth Law Scrapbook and selected documents and photographs from the Dino Brugioni Collection.

Ruth Law was the first woman to loop the loop, the first person to fly a plane at night, and a one-time holder of the Chicago to New York aerial speed record.  Law volunteered to fly for the United States during World War I, but was turned down.  She did, however, fly recruiting tours for the military during the war, earning the right to wear the uniform of a noncommissioned Army officer.

Ruth Law

Ruth Law “bombshell” Liberty Bond advertising leaflet designed to be dropped from her airplane in flight. (NASM 9A01634)

Dino Brugioni is the former Chief of Information at the Central Intelligence Agency’s (CIA) National Photographic Interpretation Center (NPIC).  During his 35 year career, Brugioni helped establish imagery intelligence as a national asset to solve intelligence problems. His aerial reconnaissance work played a major role in providing intelligence throughout the Cold War.  A portion of his collection deals with his work identifying and analyzing missile sites during the Cuban Missile Crisis in 1962.

Guanajay IRBM

Aerial image of Guanajay IRBM (intermediate-range ballistic missile) Launch Site 1 with Probable Nuclear Warhead Storage Site, Cuba, 17 October 1962. (NASM 9A09015)

And that’s just a year of activity in the public reading room.  Behind the scenes, archivists are hard at work acquiring and processing new collections, filling order requests, and answering reference questions from all over the world.

If you’re in the DC metro area and have a research interest in air and space history, consider making an appointment to visit the Archives.  Although we hold large film and microfilm collections, the majority of our records are paper. So in our case, isn’t it fitting that the traditional representation of a first anniversary is paper?

Elizabeth C. Borja is a reference services archivist in the National Air and Space Museum’s Archives Department.

Neil Armstrong’s Apollo 11 Extravehicular Gloves and Visor

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Extravehicular gloves and visor worn by Neil Armstrong when he took his first steps on the Moon on July 20, 1969.

There is a new display at the Steven F. Udvar-Hazy Center near Washington Dulles International Airport.  Along the south wall of the James S. McDonnell Space Hanger, in a large storefront case, are the extravehicular (EV) gloves and visor that Neil Armstrong wore when he first stepped on the surface of the Moon on July 20, 1969.  These three components of Armstrong’s A7-L spacesuit are a small portion of what hundreds of millions of people saw on the television broadcast of his first steps on the lunar surface.  But they are also the most immediately identifiable.  The gloves have the blue silicone fingertips and the stainless steel fabric that wraps the hands with the long white gauntlet with instructions printed on the left one.  The visor is the giant sun goggles that astronauts needed to survive in absence of the Sun-filtering effects of the Earth’s atmosphere.  These objects were placed on display on Tuesday afternoon as part of the Museum’s memorialization of Neil Armstrong’s life.

Neil Armstrong’s Apollo 11 Visor

Neil Armstrong’s Apollo 11 EV Gloves

The first question that might come to mind to many of the visitors seeing the gloves and visor is why these components and not the rest of his spacesuit?   The short answer to that question is that the Museum is trying to preserve Armstrong’s suit and all the other spacesuits in the national collection for generations to come.  When the news of Neil Armstrong’s death was released to the public, I was shopping for a swim team picnic and immediately began to text our spacesuit conservator, Lisa Young.  We both immediately recognized that the significance of Armstrong’s life and his role in the space program called for a significant action on the part of the Museum.  The components of Armstrong’s spacesuit that he returned from the Moon have been on display almost continuously from the time in 1973 when NASA transferred them to the Museum until 2001 when my predecessor Amanda Young made the very difficult decision to remove them for conservation purposes.  Objects in the spacesuit collection are rotated on and off display based on their individual needs as determined by Museum collections specialists. The climate and display conditions in the existing display were not ideal for preserving the spacesuit for decades.  The natural deterioration processes of the synthetic materials; interactions between components of the suit, humidity, light and the traditional upright display position were all contributing to a worsening condition of the suit.  By 2001, Lisa Young had determined that storage conditions of a moderate temperature (60 degrees Fahrenheit or 15.5 degrees Celsius) and low relative humidity (<30%)  are the ideal conditions to maximize the stabilization of the materials in the suit. Once removed from display, Neil Armstrong’s suit was stored under those conditions for 10 years, first at the Museum’s Paul E. Garber Preservation, Restoration, and Storage Facility in Suitland, Maryland, and more recently at the Museum’s modern storage facility at the Udvar-Hazy Center. Lisa and I decided that these three of all the suit components were the best able to withstand the hazards of display outside of their storage containers for a brief period of time.

Neil Armstrong’s Apollo 11 spacesuit, currently in storage at the Udvar-Hazy Center in Chantilly, VA. Photo credit: Mark Avino

Once we made that decision, a remarkable number of Museum divisions had to come into play to make the display happen.  The Exhibits Design and Exhibits Production units had to approve a design and location including approving, editing, and producing exhibit labels.  The Smithsonian’s Office of Protection Services had to ensure that the display conditions met the Institution’s monitoring requirements.  Our chief conservator, Malcolm Collum, swung into action in the midst of moving his laboratory from Suitland to the Udvar-Hazy Center and produced a detailed condition report prior to display.  Our mount maker, Glenn Rankin, had to build new mounts to fit the glove and the visor that met both conservation and exhibit requirements.  Then Samantha Snell, Jeannie Whited, and Jennifer Stringfellow of the Collections Division worked to assure that the transport of the artifacts from storage to the Conservation lab and finally to display went smoothly and without incident.

Neil Armstrong and Buzz Aldrin’s spacesuits were formerly on display together, pictured here in 1999. Buzz Aldrin’s suit is currently on display in “Apollo to the Moon.” Photo credit: Eric Long

The gloves and visor will be on display for about two weeks.  When they return to storage, we hope that it will not be for another decade.  Neil Armstrong’s death has emphasized to all of us at the Museum the importance of sharing our precious collections related to the Apollo program with the public.  The Museum plans to complete a renovation of its Apollo to the Moon gallery on display at the Museum in Washington, DC.  The new gallery, which is planned for 2018, will tell the story of how the United States built the Apollo program in eight years on the basis of 15 minutes of human spaceflight experience.  In that gallery, visitors, including those who have no personal memory of seeing Neil Armstrong and Buzz Aldrin on the Moon in 1969, will see his spacesuit kit and other personal materials on display.  At that time, the suit and its components will be displayed under conditions that will come close to our storage standards.  Once we have established these new display standards for our spacesuit collection, we will be able to share more of our collection with the public while preserving it so that visitors will be able to view it for generations.

Neil Armstrong in his Apollo 11 spacesuit with visor on the table in front of him. Photo credit: NASA

 

Cathleen Lewis is a curator in the Space History Division of the National Air and Space Museum.

All photos by Dane Penland, National Air and Space Museum, unless otherwise noted.

Because of the fragility of the suits, the Air and Space Museum joined with the Smithsonian Institution Traveling Exhibition Service (SITES) to create Suited for Space based on Amanda Young and Mark Avino’s book, Spacesuits: The Smithsonian National Air and Space Museum Collection.  Near full-sized images of spacesuits from the Museum’s collection bring you up close, and x-rays give you the inside-look at some suits and their components. The exhibit is currently showing at the Center for Earth and Space Science in Tyler, Texas and will open at the National Air and Space Museum on the Mall in July 2013.

A Hero of the Titanic in the Files

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Taft & Butt

Photograph by Carl H. Claudy Sr.; Claudy Glass Plate Negative Collection - SI 95-8465

It’s July 26, 1909, and President William Howard Taft (left) has arrived in his superb White Motor Company Model M Steamer at Fort Myer, just across the Potomac from Washington, to watch the Wright brothers’ preparations for the trial flight of their Military Flyer. On the following day, Orville Wright would make a record flight of over an hour, covering approximately 40 miles.

Sitting next to the President is Senator Jonathan Bourne Jr. of Oregon. Taft’s military aide and good friend, Captain Archibald Willingham Butt, is standing in the car. Born in Augusta, Georgia in 1865, Archie (as everyone called him) Butt began his career as a reporter, then served as first secretary to the U.S. ambassador to Mexico. In 1900, Archie received a commission in the U.S. Army. He served in the Philippines for four years, and as Depot Quartermaster in Washington D.C. he met President Theodore Roosevelt in 1904. In 1908, Archie was appointed Roosevelt’s chief military aide, and when Taft succeeded Roosevelt as president in 1909, Archie remained at his post. One of his duties was to stand by when Taft became the first president to throw the ceremonial first pitch at a Washington Senators’ game in 1910. In 1911, Butt was promoted to the rank of major.

Loyal to both T.R. and Taft, Archie Butt was caught in the middle of the growing feud that would lead to Roosevelt’s run for the presidency against Taft in 1912. Worn out and in declining health, Archie requested a leave of absence. President Taft granted it, and in the early spring of 1912, Archie left for a six week European tour, accompanied by his longtime companion, Washington artist Francis Davis Millet.

For his return trip, Archie booked passage in first class aboard RMS Titanic for its first Atlantic crossing (ticket number 113050; fare, £26 11s; cabin number B38) and boarded the ship at Southampton on April 10. On the night of the 14th, he dined with Titanic’s captain, Edward J. Smith, and was playing cards when the ship struck an iceberg at 11:40. There are several stories of Archie Butt’s actions before Titanic sank at 2:20 in the morning of April 15 – he was said to have assisted women and children into the lifeboats; one survivor, Irene Harris, contributed a sensational account:

“He became as one in supreme command. You would have thought he was at a White House reception, so cool and calm was he. When the time came he was a man to be feared. In one of the earlier boats fifty women, it seemed, were about to be lowered when a man suddenly panic stricken ran to the stern of it. Maj. Butt shot one arm out caught him by the neck and jerked him backward like a pillow. His head cracked against a rail and he was stunned. ‘Sorry,’ said Maj. Butt, ‘women will be attended to first or I’ll break every damned bone in your body.’… Maj. Butt escorted me to a seat in the bow… he helped me find a space, arranged my clothing about me, stood erect, doffed his hat and smiled and said ‘Good-by.’ And then he stepped back to the deck, already awash. As we rowed away we looked back, and the last I saw of him he was smiling and waving his hand to me.

Major Archibald Butt and his friend Frank Millet both drowned when Titanic went down; Archie’s body was not recovered.

Archibald Butt

Captain Archibald W. Butt. Library of Congress photograph LC-USZC2-6249

 

President Taft was grief-stricken when he heard the news. At a memorial service for Archie back in Augusta, he said, “If Archie could have selected a time to die he would have chosen the one God gave him. His life was spent in self–sacrifice, serving others. His forgetfulness of self had become a part of his nature. Everybody who knew him called him Archie. I couldn’t prepare anything in advance to say here. I tried, but couldn’t. He was too near me. He was loyal to my predecessor, Mr. Roosevelt, who selected him to be military aide, and to me he had become as a son or a brother.”

In 1913, Archie’s friends dedicated a fountain to him and to Frank Millet - the Butt-Millet Fountain still stands on the Ellipse, not far from the White House.

Allan Janus is a museum specialist in the National Air and Space Museum’s Archives Division

Bringing Buzz Lightyear to the Museum

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When Disney•Pixar approached the National Air and Space Museum about donating the Buzz Lightyear figure that had flown to the International Space Station for 15 months, I was delighted.  As the curator for the Museum’s social and cultural space artifacts, I have the unique job of getting to take toys seriously.

 

Buzz Lightyear

Buzz Lightyear at the Launch Pad

Buzz Lightyear joined the pantheon of famous space characters when Toy Story burst onto the scene in 1995 as the first feature-length animated movie ever made.  But Toy Story did more than just innovate with new animation technology.  Its characters were so well-developed, sympathetic, and real that Toy Story earned an Oscar nomination for best original screenplay, recognition for its excellent story-telling.  In fact, John Lasseter, Pixar’s Chief Creative Officer, received a Special Achievement Academy Award for his leadership of the Toy Story team.

 

John Lasseter, chief creative officer at Pixar Animation Studios and creator of Buzz Lightyear; Lori Garver, NASA deputy administrator and Museum director Jack Dailey hold the space-flown Buzz Lightyear action figure.

Sending Buzz Lightyear into space combined the wide-spread appeal of John Lasseter’s beloved character with the educational inspiration of NASA.  NASA launched the very first “Toys in Space” program aboard the Space Shuttle mission STS 51-D in April 1985.  A second group of toys flew in 1993.  These efforts included simple toys — such as a yo-yo or a ball — that could be used to illustrate science lessons.  For the digital age, NASA and Disney∙Pixar used the flight of Buzz Lightyear not only for on-orbit demonstrations, but also to create online educational games and related worksheets using Buzz Lightyear to get students excited about learning.

Buzz did not simply fly into space tucked into a storage compartment.  While on orbit, NASA astronauts Greg Chamitoff and Mike Fincke conducted science lessons from space with help from Buzz Lightyear.  But Buzz also “had dinner” with the astronauts in the International Space Station.  And it turns out that even astronauts can’t resist playing with a toy!  Having Buzz Lightyear aboard provided some much-needed levity for a space crew whose time was closely scheduled to make the most of their precious time aloft.

When I talked to the people who worked out the agreement for NASA to send Buzz Lightyear to the International Space Station, I was told that the more that they worked together, the more the participants were struck by the similarities between NASA and Disney•Pixar.  Not only were they both large, complex organizations with important centers in central Florida, but also — on both sides of the table — they were people who were absolutely absorbed “by the love and passion of what they do.”  That’s something familiar to us here at the Smithsonian.  That excitement about their missions included a strong commitment to sharing what they did with the next generation.

And indeed, that’s why the National Air and Space Museum wanted to collect artifacts from this educational initiative.  Along with the flown Buzz Lightyear figure, this important donation includes the videos and educational materials produced by Disney and Pixar to inspire the next generation to get excited about science, technology, math, and the space program.  Given that John Lasseter — a pioneer in digital technologies — visited the Museum for the formal donation ceremony for these objects, it’s fitting that these important donations represent the first “born digital” artifacts coming into the collection of the National Air and Space Museum.

 

Buzz Lightyear

John Lasseter, chief creative officer at Pixar Animation Studios and creator of Buzz Lightyear, holds action figure donated to the Museum and points to where it will be on display in the "Moving Beyond Earth" Gallery in the summer of 2012.

The stories that they tell will fit well into a new Museum exhibit, Moving Beyond Earth, which illustrates the Space Shuttle program, the International Space Station, and future human spaceflight.  Pixar’s “Mission Logs” videos will be help educate children and families about rendezvous, re-entry, and space science.  And Buzz Lightyear himself will have a special place in the mockup of the space shuttle’s crew cabin that we’ve built in the exhibit.  Given that Buzz flew into space and back aboard the Space Shuttle Discovery, after which the exhibit’s crew compartment is modeled, we hope that he’ll feel right at home.

If you plan to visit the Museum this summer, make sure that you come down the hall to Moving Beyond Earth to say hello to Buzz!

Above: Archived webcast of the ceremonial presentation of Buzz Lightyear to the National Air and Space Museum. Chief creative officer of Pixar John Lasseter presented the action figure to the Museum and took questions from the audience.

Margaret A. Weitekamp is a curator in the Space History Division of the National Air and Space Museum.

The Rutan Voyager

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Twenty-five years ago, the staff of the National Air and Space Museum held its collective breath for nine days as a seemingly fragile, flying fuel tank made its way across oceans and continents in an attempt to become the first aircraft to fly around the world non-stop and unrefueled. The odd-looking bird had departed Edwards Air Force Base, California, on the morning of December 14, 1986, and the rest of the world was following as continuous sightings and updates flowed to the media, the Museum, and to the flight’s headquarters in Mojave, California. Everyone wondered if you really could fly around the world on one tank of gas?

 

Voyager

"Voyager" departing the coast of California on Dec. 14, 1986, soon to leave behind Burt Rutan in the Duchess chase plane.

As it turned out, you needed 17 tanks of fuel all in one vehicle from start to finish.  Voyager, the ultimate homebuilt, was the brainchild of unconventional designer Burt Rutan and two record-setting pilots, his brother Dick Rutan and Jeana Yeager.  Six years from initial conception on a napkin, as the story goes, to completion of the flight two days before Christmas in 1986, this trio successfully proved that lots of hard work and a little bit of luck could still make dreams come true.  Of course they didn’t do it alone.  A dedicated team of volunteers supported every aspect of the endeavor, but it was Dick Rutan and Yeager who beat the bushes for donations from the general public and corporate sponsors (they never did get a big-time sponsor) and built and tested the aircraft themselves. In the end, their dramatic quest created a public following that rivaled the flight-tracking of Santa Claus on Christmas Eve.

All of a sudden Museum curators were being asked who else had flown around the world, how and when were the flights accomplished, and was this really the last aviation milestone?  We knew the answers to the first two questions: in 1924, Army Air Corps crews flew two Douglas World Cruisers biplanes on the first round the world flight, a six-month marathon around oceans and through the arctic snow and tropical jungles — one of the airplanes, the Chicago, is in the Museum’s Barron Hilton Pioneers of Flight Gallery.  Then in 1957, three USAF B-52B bomber crews made the first non-stop flights around the world aided by aerial refueling.  No one seriously considered it possible to accomplish the flight without some sort of refueling, until Burt Rutan did.

The sheer audacity of assuming it could be done had to wait for dramatic changes in aircraft construction material and an out-of-the-box thinker. Weight, the ever-present penalty for aircraft, was the ultimate problem to be conquered.  How could you squeeze in enough fuel to fly nearly 25,000 miles and yet keep the aircraft light enough to even take off? Carbon fiber was the answer, making the aircraft half the weight of conventional aluminum construction, but as strong as steel.  Burt Rutan’s design certainly turned heads with its forward canard and graceful wings connecting two out-rigger booms, all of which contained 7011.5 pounds of fuel.  Every effort was made to keep the aircraft light, and thankfully Yeager weighed only 95 pounds. The two pilots were crammed into a phone booth-sized barebones cockpit and they would be there for nine days.  That alone earns gasps when people first see the aircraft but add the fact that, unbeknownst to the public, the pilots had not been getting along very well and you have a truly incredible feat.

 

Dick and Jeanna

Dick Rutan and Jeana Yeager in Voyager’s cramped cockpit

The Rutans and Yeager made it clear they expected success and they wanted to see the aircraft hanging at the Smithsonian.  The Museum adopted a wait and see attitude; given the long delays in the program and the dangers and pitfalls of the proposed flight, would this ever really happen?

Ultimately, determination and perseverance prevailed as Voyager and its crew endured the loss of its winglets on and just after  takeoff, a typhoon, thunderstorms that flipped the craft to a 90-degree bank, fuel starvation in one engine, and severe physiological and psychological stress.

The Museum followed the nine-day trip in the Air Transportation gallery but there were still questions — was it really one of the last great records of aviation?  By the time Rutan and Yeager landed back at Edwards AFB at 8:05am PST on December 23, 1986, it was clear that history had been made.  Not only were they the first to fly non-stop non-refueled around the world, they also set eight absolute or world class records.  Winning aviation’s prestigious Collier Trophy settled the discussion. While the press lavished praise couched in holiday cheer, the Museum began planning for a new addition to its collection.

In the summer of 1987, Voyager was dismantled for its trip by trailer from California to the Paul E. Garber Preservation, Restoration and Storage Facility in Suitland, Maryland.  While Voyager received accolades at the Experimental Aircraft Association Convention in Oshkosh, Wisconsin, structural engineer and curator Howard Wolko calculated how to get this huge aircraft into the building.  After a midnight wide-load ride from the Garber Facility to the west terrace of the Museum in Washington, DC, our team of specialists moved the center section onto dollies.

Then the carefully laid plans came to a halt. Just inside the west doors a replica aircraft carrier deck which held our Grumman Hellcat protruded a little too far, and it was clear that Voyager would not pass.  In the wee hours of the morning, a solution was found: elevate and tilt the center section with a hydraulic lift, inching it over and past the offending carrier deck.  After barely sliding by the Air Transportation gallery, the center section was rolled into the South Lobby at dawn.  Thankfully the assembly of the wings, empennage, and engines was routine and our able but tired staff suspended Voyager using scissor lifts and winches in time for our 10:00 a.m. opening.  The near catastrophic loss of the winglets on takeoff proved fortunate for us by reducing the wingspan by two feet and allowing the aircraft to fit snugly into the South Lobby. On the first anniversary of the flight, Burt and Dick Rutan and Jeana Yeager reached their final goal of seeing Voyager suspended in the south lobby of the National Air and Space Museum.

Dorothy Cochrane is a curator in the Aeronautics Division of the National Air and Space Museum