Since its opening, and until recent years, our Zeiss Model VIa optical planetarium projector has brought the wonder of the night sky to countless visitors. The Zeiss Company no longer services the over 40 year-old model, and though its stars are as sharp as ever, and its skies deep in their dramatic blackness, its celestial motors have become weary, so it has been retired in favor of an ever-improving digital projection system that offers many advantages to meet modern programming needs. The Albert Einstein Planetarium theater itself is also closing as our multi-year renovation progresses through the Museum, but it will eventually reopen as a fully digital experience. Now that we are saying good-bye to its original projector, the Zeiss Model VIa, the question is, of course, how did it get here
What makes a tattered and torn glove worthy of collecting? When it once belonged to the third highest scoring ace in aviation history Günther Rall. The glove (with its thumb visibly damaged from a 1944 air raid in whichRall was hit in the left hand by gun fire), a painted portrait of Rall as a prisoner of war, and his diary from 1942 were all recently donated to the Museum.
In our exhibition Time and Navigation visitors can set their watches by a working cesium frequency standard, commonly known as an "atomic clock." Before the clock was installed, we needed the frequency standard to be calibrated to the national reference time at the U.S. Naval Observatory in Washington, DC.
When visitors enter our Museum, many are awed by the number of artifacts that are on display. We’re often asked, “How do you manage to keep everything clean?” That is a terrific question, especially since there are more than 6,000 artifacts on display at any time on the floor or hanging overhead, with more being added each year. Cleaning and inspecting the artifacts is critical to preserving the Museum’s collection.
Stardate 1604.01: At 12:01 am EDT this morning, the National Air and Space Museum began breeding tribbles. This bold, innovative, not-at-all-ill-advised experiment will run for 24 hours, until 11:59 pm tonight, allowing Museum specialists to study the galaxy’s most adorable ecological disaster in greater detail than ever before.
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.
Last year I wrote about the Armstrong purse, discovered by Neil Armstrong’s widow, Carol, in their home shortly after Neil’s death in 2012. That stowage bag of small (but historically significant) items from the first lunar landing was a reminder that the story of Apollo 11 continues to be told as new details emerge in unexpected places. Recently, we have again been reminded that a curator’s work is never done. During the course of a project to produce a detailed 3D model of the Apollo 11 Command Module Columbia, we were able to observe and record some hand-written notes and markings in areas of the spacecraft that have been hidden from view for more than 40 years.
Through the history of aviation, pilots have worn many types of helmets. Exhibits at the National Air and Space Museum range from Paul Studenski's 1912 era leather flying helmet, to Apollo Soucek's furry helmet, to Mike Melvill's SpaceShipOne helmet. Today, however, in honor of Super Bowl 50, we will remember Robert "Bob" Eucker's football helmet.
The Museum has been tackling a variety of artifact treatments through its Collections Care and Preservation Fund (CCPF) Triage Project. The goal of the project is to stabilize artifacts as they are moved from the Paul E. Garber Preservation, Restoration, and Storage Facility to state-of-the-art storage located at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. The triage project addresses urgent issues affecting artifacts such as active corrosion, pest infestation, biological growth, and physical insecurities.
You may be surprised to know that in addition to the largest collection of authentic aviation- and space-related artifacts in the world, our Museum also has an impressive model collection. Our model collection contains more than 5,700 models of aircraft, balloons, and more. Nearly 1,100 of those models are on display at our Museum and the rest are in storage. Approximately 800 of those models share space with our staff on the third floor of the Museum in Washington, DC. But not for much longer. Last June, we began the time-consuming process of relocating the models from the third floor to storage at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. The move was brought on by a multi-year project at the Museum in DC to upgrade the exterior of the building and the interior mechanical systems. Before construction begins, the models need to be moved. How do you relocate more than 800 delicate models?