The Donor Making The Difference: The Eagle Is Being Restored

Even in their retirement at the National Air and Space Museum, the Apollo-era artifacts lead busy lives and are counted amongst the Museum’s most popular objects, as Gar Schulin can attest to. Throughout his life, Gar has put on many “helmets” at the Museum, having been a docent, researcher, and now, a supporter as he contributes to the restoration of the Lunar Module 2’s descent stage.

Gar Schulin became one of the National Air and Space Museum’s youngest docents at the age of 15.  Needless to say, Gar wasn’t your average teenager in the 1970s – he grew up with the Space Age and studied many NASA technical publications; even Apollo Training Manuals received from Engineers who had worked in the program.

“I do not recall anyone else near my age giving tours or being turned loose to meet and greet the general public, ” he recalls, “ but it was a joy for me to share my enthusiasm with citizens from across the world, and turn their casual museum visits into a thrilling learning experience.”

Being a young, enthusiastic docent had its perks – such as stick-and-rudder flight training in an employee’s World War II PT-17 trainer, or befriending the legendary Paul Garber and listening to his firsthand accounts of the Wright brothers. Gar could certainly appreciate the good fortune of knowing men who witnessed flights by Orville Wright and men who flew the first Apollo lunar landing mission.

Gar’s work for the National Air and Space Museum didn’t stop on the museum floor.  He later mapped lunar geology as a Research Assistant in the Museum’s Center for Earth and Planetary Studies,  assisting Dr. Farouk El-Baz, the distinguished geologist who trained the Apollo astronauts in the art of visual and geologic interpretation from lunar orbit.

Today, Gar continues his involvement with the Museum through his financial support of the Apollo Lunar Module 2’s restoration, adding his story and perspective to its history.  The LM-2, a cousin of the Lunar Module 5 “Eagle” that touched down on the Moon during Apollo 11, was built for an unmanned earth-orbit test flight, a flight deemed unnecessary after the great success of Apollo 5.

These days, the descent stage of the LM-2 is dressed to resemble the Eagle during those first historic moments, complete with two astronaut mannequins beginning their lunar walk.   And while the aluminized plastic film wrapped around the LM-2’s descent stage may be fit to withstand space exploration, the rigors of museum exhibition over the last 30 years have resulted in its deterioration.

Gar Schulin lends a hand to the LM-2 restoration.

In offering his support, Gar recognizes the LM-2 as “an important icon, not only representing one of America’s greatest engineering and scientific achievements; it remains a tribute to the extraordinary efforts of over 400,000 engineers, technicians and scientists who made the promise of Project Apollo possible.”

Now, on the eve of the 40th Anniversary of the Apollo 11 lunar landing, Gar and his wife Kathryn are proud to help refurbish the LM-2, so that all Museum visitors can experience this “giant leap for mankind” as if it were July 20th, 1969.

Carolyn Stewart is a Development Associate in the Office of Development at the National Air and Space Museum.

What We're Working on in the Restoration Shop (Part 2)

In addition to the high-priority Barron Hilton Pioneers of Flight aircraft being refurbished at the Garber Facility (described previously), we have a number of other projects progressing at a slower pace:

The item to notice in this picture is not the engine, but the stand behind it. Volunteer Maurice Goodwin is working on a long-term project to build sturdy engine stands that can be rolled into position in a work area or stacked on heavy-duty shelving. The expensive casters are set into sockets and are reusable on any of our many stands. And, since some readers will want to know, the engine is an experimental Continental XR-1740-2 sleeve-valve radial engine, 875 HP, built in 1941 but never flown.

Volunteer Bill Pellegrino is fitting new copper-colored Kapton outer layers to the ATS-6 Earth viewing module. The welding shop added extensions to the stand to provide access to the bottom of the satellite – notice Bill’s wheeled work seat underneath.

Forerunner of today’s ultralight and light sport aircraft, this Curtiss-Wright CW-1 Junior is being restored by a team of volunteers headed by Joe Fichera, a retired Museum restoration specialist. The fuselage is nearly complete; current work is focused on the wings and wing struts (not shown). The wings will attach above the cockpits, just below the silvery fuel tank, with engine and pusher prop behind them.

The Junior’s engine, a three-cylinder Szekely. The Szekelys had the unfortunate habit of occasionally blowing cylinders completely off the engine while in flight, due to bolt or cylinder base failures. This one has the factory-installed “fix”; straps running between the cylinder heads to hold the cylinders on.

This immense one-piece wing from the Heinkel He-219 occupies the center of the shop. Visitors to the Udvar-Hazy Center can see the fuselage, one engine, and other components already on display. The exhibit designers assure us that the airplane will still fit in its gallery when assembled, but it’s going to be a tight fit.


At present, this Daimler-Benz DB 603 Aa engine is getting most of the attention on the He-219 project. It needs just a little more assembly, and then it’ll be ready for the cowling. Note that the stand is designed to hold the engine either horizontally or vertically. How do you rotate a 3000-pound engine?


It helps if you have two forklifts and a lot of practice. Here, Jeff Mercer (foreground) and Rob Mawhinney (behind the engine) make it look easy.

Anne McCombs is a restoration specialist in the Collections Division of the National Air and Space Museum.

What We’re Working On In the Restoration Shop (Part One)

The high-priority project these days is the Barron Hilton Pioneers of Flight gallery update, and several of the aircraft planned for the gallery are at the Garber Facility for cleaning, repairs, and preparation for hanging.  Let’s take a quick look:


Patty Wagstaff’s Extra 260 being prepared for shipment.  The team was careful to avoid resetting the “G” meter, which came to us with the needles pegged at +10 / -6 Gs.  The aircraft will be inverted for transportation, assembly, and hanging on the second floor of the museum, a tricky endeavor to say the least.  Here, Matt Nazzaro test-fits one of the brackets used in this operation.


The Extra 260 will be displayed inverted and in a 15 degree bank, as one might expect for this agile airshow star.  At first, the team planned to hang it from the landing gear at points near the tires, but some damage that weakened one gear leg (visible near the top of the leg) made them reconsider.  One of the new hanging points, manufactured on the premises, can be seen just below the damaged spot.

My project, the Curtiss R3C-2 seaplane racer from 1925.  The fuselage has already been cleaned and draped with a dust cover in the background.  We’ve enjoyed admiring those beautiful gold wings, with radiators (for engine coolant) covering much of their surfaces.  Ailerons and one elevator, currently being recovered with cotton fabric, are in the foreground.

This pretty Piper J-2 Cub has been hanging at the FAA Headquarters building on loan for the past few years.


The wings look good in this picture, but restoration specialist John Shatz finds some trouble . . .

The aluminum trailing edge and wing root rib have been crumpled, cut, and just generally beaten up from some past impact.  There’s some corrosion advancing in there too.  The mouse nest has already been removed.

Anne McCombs is a restoration specialist in the Collections Division of the National Air and Space Museum.

Restoration of the Starship Enterprise

The original studio model of the Starship Enterprise used in the television series “Star Trek” came to the Smithsonian Institution thirty-five years ago, donated by Paramount Studios in 1974.

When the television show ended in 1969, the starship had been crated and stored at the studios.  Over time, heat, cold, humidity and other elements had taken a toll on the structure, the wiring and other internal components as well as the exterior paint scheme.  Before it could be put on exhibit, extensive restoration was required.

The hull and one nacelle of the Starship Enterprise as it was received by the National Air and Space Museum from Paramount studios on March 1, 1974.

The first Smithsonian restoration took place shortly after the starship was received and was completed by July 29, 1974.  This restoration was coordinated with Matt Jeffries, one of the original designers of the starship, and Gene Roddenberry, the creator of Star Trek.

The Starship Enterprise during its first Smithsonian restoration. SI Neg # 74-3977

A second restoration was done ten years later, between August  8, and September 11, 1984.  And a third restoration was carried out in the Winter of 1991.

The Starship Enterprise during its third Smithsonian restoration, December, 1991. Frank H. Winter, Photographer

In addition to these restoration and conservation efforts, on June 22, 1999, the starship underwent X-Ray analysis at QC Laboratories, Inc., in Aberdeen, Maryland.

The Starship Enterprise undergoing X-Ray analysis at QC Laboratories, Inc. Frank H. Winter, Photographer.

X-ray , detail.

X-ray photograph, detail.

In the 35 years that the National Air and Space Museum has held it, the Starship Enterprise has gone through in-depth conservation and restoration, making it one of the more extensively preserved and studied objects in the Museum’s collection.  It is currently on display in the lower level of the National Air and Space Museum Store, where every year it is seen by millions of people from all over the world.

Gregory K. H. Bryant is Museum Registrar in the Office of the Registrar at the Smithsonian, National Air and Space Museum.