When the Museum’s Apollo Lunar Module (LM-2) moved to a prominent place in our Boeing Milestones of Flight Hall last year, it was an opportunity for us to examine the artifact in fine detail. We spared no effort to preserve, refurbish, and document the iconic object before it went on display in our central gallery in 2016. With careful research and close examination of photography from the Apollo 11 mission, we have been able to refine the accuracy of the external appearance of our LM-2 to more and more closely represent the appearance of LM-5 (Eagle) on the Moon.
Many are familiar with images of Neil Armstrong and Buzz Aldrin standing beside the Lunar Module (LM) Eagle during the historic Apollo 11 Moon landing. The story of how the LM was developed and tested is a little less familiar. Here are six highlights from a recent talk.
Throughout the Apollo program, a range of artists were given unrestricted access to NASA’s various facilities in order to collect usable reference materials. Many of these artworks were donated to the Museum and form a valuable lens through which to examine the cultural impact of twentieth century spaceflight and aviation.
The last time Neil Armstrong's gloves and helmet were displayed, in 2012, visitors asked us about “grey spots” on the right glove. We're conducting research and examining historical documentation to find out why.
On July 20, 1969, Neil Armstrong stepped onto the lunar surface, and the U.S. Treasury turned to America’s newest space heroes to fundraise. In 1970, the Advertising Council began one of the Treasury’s longest running Savings Bond promotions, “Take stock in America.” One of the first posters produced for the promotion is a photographic assembly depicting the United States’ conquest of the Moon.
The Museum’s Lunar Module LM-2 represents a dilemma, at least for the current generation of Smithsonian curators and conservators. What stages of its history are most important, and how should it to be presented to the public?
In partnership with the Smithsonian Digital Program Office (DPO), we all now have access to the most detailed view of the inside and outside of the command module Columbia. Using state-of-the-art 3D scanning and photogrammetry, DPO captured the real artifact in such high detail that every bolt and thread can be seen.
“We know it will be a good ride,” Astronaut Neil Armstrong said. He was responding to well wishes from the NASA launch operations manager just 15 seconds before automatic sequence. And he was right. It was a good ride.
A few years after graduating from Earlham College with a BA in Mathematics, Margaret Hamilton soon found herself in charge of software development and production for the Apollo missions to the Moon at the MIT Instrumentation Laboratory. Her work was critical to the success of the six voyages to the Moon between 1969 and 1972. In a male-dominated field, Hamilton became known as the “Rope Mother,” which was an apt description for her role and referred to the unusual way that computer programs were stored on the Apollo Guidance Computers.
I recently shared that we uncovered handwritten notes and markings inside the Apollo 11 Command Module Columbia—the spacecraft that carried astronauts Armstrong, Collins, and Aldrin into lunar orbit and home on their historic voyage of July 1969. As part of our collaboration with the Smithsonian’s Digitization Program Office to create a detailed 3D model of the spacecraft, we had access to previously inaccessible areas for the first time in many years. We found notes written on a number of locker doors and even a small calendar used to check off days of the mission. We did our best to imagine the circumstances surrounding the creation of these markings. In the weeks that have passed, I have been working with an extraordinary team of experts to see what we can learn about each of the markings we documented, especially the more technical numerical entries. Today, we are posting the Apollo Flight Journal (AFJ) website, a detailed account of all the information we’ve gathered so far.