Preserving and Displaying the “Bat-Wing Ship” – March Update

Horetn

Close up of the acrylic canopy being analyzed by our conservation staff and Smithsonian’s Museum Conservation Institute (MCI).

Waiting for an update on the conservation and restoration of our Horten H IX V3 “Bat-wing Ship?” Here’s the latest! Our conservation staff, in collaboration with curator Russ Lee, is working with the Smithsonian’s Museum Conservation Institute (MCI) to figure out the materials and technologies used to craft the Horten H IX V3.  For example, the transparent canopy was analyzed with a portable Raman spectrometer and determined to be a polymethyl methacrylate (PMMA) plastic.  PMMA was developed by Rohm and Haas in the mid-1930s in Germany and the United States, and the material is reputed to have been incorporated quickly into aircraft canopies, gun turrets, and transparent noses. It is lightweight, impact resistant, relatively easy to form, and transmits light even better than glass.  In this instance, identifying the canopy as PMMA confirms what we already expected from our research of trade literature from that period.  It also shows how studying our collection, visually and with analytical tools like MCIs Raman spectrometer, provides direct physical evidence of an aircraft’s manufacture, which enriches our understanding of the history of early plastics in aviation.

Raman spectroscopy identifies materials by shining a laser beam at a surface and measuring the energy distribution of inelastically scattered light.  It is potentially non-destructive and does not require removing a sample from the aircraft.  MCIs spectrometer weighs only 6 lbs. and fits in a convenient “carry on” sized suitcase for trips out to the Udvar-Hazy Center and other Smithsonian museums.

Lauren Horelick is a objects conservator in the Collections Department of the National Air and Space Museum.

That’s One Small Step. . .

These suits have come a long way. True, it’s only 37 miles from Suitland, Maryland to Chantilly, VA. On a good day, that’s less than an hour’s drive on the beltway. But today, like 42 years ago, these suits are worlds away from where they came.

 

Neil Armstrong's Spacesuit

Neil Armstrong’s spacesuit, flown on Apollo 11, is inspected and prepared for shipment at the Paul E. Garber Preservation, Restoration, and Storage Facility. From left to right, Amelia Kile, Samantha Snell, Lisa Young, and Stephanie Harris. Photo by Eric Long

On December 6th, the spacesuit that Neil Armstrong wore as he took his first steps on the Moon made the giant leap from outdated storage facilities to new, state-of-the-art collections storage at the Steven F. Udvar-Hazy Center. About 200 suits are being relocated from the Paul E. Garber Preservation, Restoration and Storage Facility in Suitland, Maryland this winter. These include Michael Collins’ Apollo 11 suit and many more used to develop spacesuit technology and train astronauts.

 

Garber

Spacesuits are loaded onto the “Big Blue” tractor-trailer in Suitland, MD. From left to right, Stephanie Harris, Scott Wood, Pat Robinson, and Christine Cannon. Photo by Eric Long.

Museum staff sometimes calls the Steven F. Udvar-Hazy Center “the promised land.”  In some ways, the place is a museum worker’s (and culture buff’s) dream come true. The reason for this name? Conditions are ideal for the long-term preservation of these national treasures. Temperature, relative humidity, exposure to light, the elements, and pollutants can all seriously affect the life-expectancy of these beloved artifacts, but each can be tightly controlled at the new facility. Simply having a permanent, secure building with modern infrastructure and adequate physical space for each spacesuit ensures that the National Air and Space Museum’s comprehensive collection of spacesuits will survive for years to come.

 

Hazy

Spacesuits are delivered to the new storage facility. From left to right, Cathy Lewis, Amelia Kile, Stephanie Harris, Christine Cannon, Katherine Watson, Samantha Snell, Scott Wood, and Pat Robinson. Photo by Dane Penland.

In the relatively short time I have worked with the Museum, much progress has been made in preparing this collection to move to its new home, as curator Cathy Lewis explained in a previous post. Many collections staff, volunteers, interns, contractors, and more than one curator and conservator have worked with purpose and diligence in the last decade toward this day and this goal. It opens a new chapter for the Museum, begun earlier this year with the framed art collection. Now this collection will be more accessible to researchers and staff, and in turn, the public. I am honored to participate in this moment.

This is one of many “small” artifact collections being relocated to the Steven F. Udvar-Hazy Center in the next several years, so check back for updates on our progress.

Amelia Brakeman Kile is lead move contractor in the Collections Division of the National Air and Space Museum

Preserving and Displaying the “Bat-Wing Ship” – August Update

This post is a follow up to Preserving and Displaying the “Bat-Wing Ship” published on June 24, 2011.

The Smithsonian Museum Conservation Institute (MCI) Conservators and National Air and Space Museum staff spent July and August continuing to investigate the Horten H IX V3 jet fighter for preservation and preparation for display.  Senior Conservator Melvin Wachowiak took the following detailed photographs on Tuesday, June 21, 2011.

Conservators are attempting to determine if the degradation of the plywood is caused by a failure of the adhesive or by biological deterioration of the wood.  Understanding the cause of the deterioration will guide their immediate and long-term preservation strategies.  One of the greatest challenges in this treatment will be in determining the most appropriate adhesive and finding effective methods of getting the adhesive to penetrate into deep areas of delamination. Photos 1 and 2 (seen below)—show 11 sheets of 5 cross-laminated plies each.

 

Horten

Photo 1. Artisans have built airplanes with plywood since well before World War I because crossing each layer, or ply, counters the weakness of a single sheet when bent with the grain rather than across the grain (Melvin Wachowiak /Smithsonian MCI photo).

 

 

Horten

Photo 2. (Melvin Wachowiak /Smithsonian MCI photo).

 

Horten Wing

A robust network of welded steel tubing frames the right outer edge of the H IX V3 center section. Behind the tubing lies a maze of plumbing for one of the Jumo 004 jet engines, the fuel system, and other equipment (Melvin Wachowiak /Smithsonian MCI photo).

 

Horten

German artisans formed the wood around the nose of the H IX center section using steam to make it soft and pliable, and then bending it to shape. Said Melvin Wachowiak , Senior Conservator, Smithsonian Museum Conservation Institute, "I am still impressed by the bending of the laminated plywood into a conical section without cracks. Nearly 70 years on! The degradation of the broken plys is more like a form of brown rot, but we will have to see what turns up (after further analysis)." (Melvin Wachowiak /Smithsonian MCI photo).

 

Horten

This photograph by Kenneth S. Kik shows the outer wing panels attached to the center section of the H IX V3 now in treatment at the Paul E. Garber Facility. (Photo credit: Mr. Kenneth S. Kik, 1950. Copyright unknown)

 

Russ Lee is a curator in the Aeronautics Division of the National Air and Space Museum, and Melvin Wachowiak is a Senior Conservator at the National Air and Space Museum.

 

Preserving and Displaying the “Bat-Wing Ship”

Early in June, staff of the Paul E. Garber Preservation, Restoration and Storage Facility slowly and carefully moved the center section of the Horten H IX V3 all-wing jet fighter from storage into the restoration and preservation shop.  This is a significant event because many people have clamored for decades to see the H IX.  In a few months, after conservators and treatment specialists from the National Air and Space Museum and the Smithsonian Museum Conservation Institute (MCI) have prepared the fragile center section, Collections Processing Unit staff will move it to the Mary Baker Engen Restoration Hanger at the Museum’s Steven F. Udvar-Hazy Center for eventual public display.

 

Horten H IX V3

The center sections of the Horten H IX V3 being moved from deep storage to the preservation and restoration shop of the Paul E. Garber Preservation, Restoration and Storage Facility.

 

Horten H IX V3

Horten H IX V3 in the preservation and restoration shop

 

Horten H IX V3

Center section of the Horten H IX V3

The Museum’s Horten H IX V3 is the only extant example of the world’s first all-wing jet aircraft.  Artisans finished the first prototype as a glider.  Two Junkers 004 jet engines powered the second prototype and German test pilot Erwin Ziller completed two test flights at the controls of this aircraft, called the H IX V2 (“9-vee-two”), but he died during the third flight when one engine failed and the jet crashed.  At a workshop in west central Germany in mid-April 1945, Allied ground forces recovered the center section of the H IX V3, or “Bat-Wing Ship” as one intelligence officer described it.  This prototype was under construction at the time and missing its outer wing panels.

U. S. Army Air Forces Technical Intelligence specialists shipped the wing to Freeman Field, Indiana, with intermediate stops in Farnborough, England, New York, and Newark, New Jersey.  The Allies had managed to recover a set of H IX outer wing panels and technicians attached the panels to the H IX V3 center section before the wing was transferred to the Smithsonian during the late 1940s.

 

Wings

Front to back, the right and left outer wing panels that we hope to attach to the center section of the H IX V3

 

framework

When attached to the center section, the outer wing panels covered the open framework on both sides

The Museum’s Chief of Conservation Malcolm Collum and artifact treatment specialist Bob McLean, along with Melvin Wachowiak (Senior Conservator), Donald Williams (Senior Furniture Conservator), and Jennifer Giaccai (Conservation Scientist) from the MCI, will spend the next few months carefully examining and analyzing the many different materials and techniques used to construct the jet more than 65 years ago.  The team’s goal is to stabilize the artifact so that the Museum’s Collections Processing Unit staff can move the fragile center section to the Udvar-Hazy Center where the outer wing panels have been stored since January.  If the team concludes that the wings and center section are strong enough, then specialists will attempt to join the three major components.

The team plans first to analyze the paint colors found on the jet, and identify the wood filler putty and the interior wood sealant.  Conservators will compare plywood samples from the center section and the wing panels to determine their origins and whether the wing panels were skinned with plywood during the war by the Germans or after by U. S. Army Air Forces personnel.  They want to determine the type of wood, ply thickness, adhesive type, adhesive additives, and how the German artisans glued the plys together.

The Museum’s long-term goal is to prepare the aircraft for permanent display but the immediate objective is to stabilize the fragile center section.  Museum and MCI staff will search the literature for similar projects, and then experiment with various materials to build a protective structure around the center section.

Reimar Horten designed the Horten IX and in the early 1980s near the end of his career, he claimed to have used techniques and materials to render it difficult to detect with radar.  Smithsonian conservators will search for evidence of special radar absorbing compounds in the plywood skin that cover the leading edges of the center section and the outer wings.  They will document each stage of the project using multiple media formats and blog about any new discoveries so please check back.

Russ Lee is a curator in the Aeronautics Division of the National Air and Space Museum.

 

 

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.