Conservator Lauren Horelick, Post-Graduate Conservation Fellows Anna Weiss and Peter McElhinney, and retired treatment artisan Karl Heinzel continue to prepare the Horten jet wing to move to the Mary Baker Engen Restoration Hangar at the Steven F. Udvar-Hazy Center in Chantilly, VA.
In 1898, Walter Wellman led an attempt to reach the North Pole using ship and sledge via Franz Josef Land, a group of uninhabited Russian islands in the Arctic Ocean. A journalist who had already made an unsuccessful polar attempt in 1894, Wellman also hoped to discover what had become of Swedish explorer Salomon A. Andrée, who had attempted to reach the Pole via balloon in 1897. Many notable names provided funding for the expedition, including President William McKinley, Vice President Garret Hobart, J.P. Morgan, and William K. Vanderbilt. The expedition arrived at Franz Josef Land in July 1898 and built their headquarters, “Harmsworth House.” Wellman sent Evelyn B. Baldwin, a meteorologist with the United States Weather Bureau and a veteran of one of Robert Peary’s Greenland expeditions, ahead north to establish an outpost to be used in the spring for their push to the Pole.
Led by object conservator and project leader Lauren Horelick, the National Air and Space Museum staff continues preparing the Horten IX V3 center section to move early in January (weather and roads permitting) to the Mary Baker Engen Restoration Hangar at the Steven F. Udvar-Hazy Center where it will eventually be joined to the outer wing panels that are already displayed in the hangar.
With the depredations of Nazi Germany dominating the international memory of the middle decades of the twentieth century, many German social, cultural, and technical contributions not associated with the tainted influence of the Third Reich have been forgotten or overlooked. One of the individuals who contributed significantly to the prospects of regular transatlantic air service before open warfare ended such endeavors was Wolfgang von Gronau.
In 1987, the historian Michael S. Sherry published a groundbreaking and controversial book titled The Rise of American Air Power: The Creation of Armageddon (Yale UP, 1987). Sherry in effect reinterpreted the history of American air power in a way that was more contextually based and fiercely critical. The result was not to every military historian’s liking because it deviated so dramatically from what was considered the master narrative of American air power, which traditionally had focused on combat tactics and weaponry, and which had neglected the broader implications of air power and its employment. Moreover, Sherry upset the “Good War” narrative (mistakenly from Studs Terkel’s ironically titled The Good War: An Oral History of WWII) that emphasizes the heroic side of war and downplays its destructiveness, death, and tragedy. Thus, The Rise of American Air Power could be seen as representative of what has been termed the “New Military History,” an attempt to bring military history into line with other academic historical endeavor.
What flies using power from the Sun, at the speed of an ultralight, on wings longer than a Boeing 777 airliner? Answer: Solar Impulse! A team of Swiss entrepreneurs, engineers, pilots, and enthusiasts began to design the Solar Impulse in 2003 with the goal to demonstrate flying day-and-night powered only by the electricity that more than 11,000 individual solar cells generate. The electricity is stored in batteries when not used, and spin the propellers on four 10-horsepower electric motors when in flight.
When Secretary of the Navy William J. Middendorf II commissioned the USS Smithsonian, CVM-76, on June 28, 1976, he announced in authentic navy parlance that “the floors are now decks, walls are bulkheads and stairs are ladders. "Welcome Aboard!” Visitors to the gallery may not realize that exhibits artisans built the gallery using the decks, bulkheads, ladders and other parts removed from five famous American aircraft carriers.
Visitors to the National Air and Space Museum don’t often get to see the work that goes on behind the scenes. This is especially true in terms of the labor that goes into collecting and caring for our artifacts. Many may wonder where all the air and space stuff (we call them artifacts) comes from. The answer is from a variety of places, including the United States Air Force, NASA, and the general public. These artifacts vary; some are large (aircraft and spacecraft) but many are relatively small (aircraft equipment or military or commercial airline uniforms and insignia, for example, or items of popular culture—air and space toys and games).