The Museum periodically performs a thorough, physical check of all our objects. We open panels and cases and closely inspect each object for any sign of deterioration due to light, humidity, vibration, or just the march of time. We always hope there are no surprises. But when conservator Robin O’Hern, gallery inventory coordinator Erin Ober, and their colleagues opened a large chamber in the Apollo to the Moon gallery, they got a shock; an acrid chemical smell.
Gary Kerr’s lifelong love affair with Star Trek and the starship Enterprise studio model has lead him down a number of interesting paths. Last year, this fascination lead the “Trek-xpert” on an epic quest to find just the right hardware, the actual nuts and bolts, that make up the Enterprise studio model.
Much like medical triage, conservation triage analyzes the risk posed to an object and the hazards associated with not taking immediate action. Triage conservators ask questions such as: Can the object be handled safely by staff and researchers? Will the degradation of the object continue if it is not treated immediately? What treatment can we do, with the resources at hand, to keep this object stable as long as possible?
Every week or two we see news of another museum digitizing its collection and making it accessible online. The Smithsonian is no exception, and efforts are under way across our campus to scan artifacts, works of art, documents, and films and put them on our websites. These projects take months if not years to complete, but it is our high priority to open the museums to visitors beyond our walls, and digitization is a key part of our strategy. The National Air and Space Museum, working closely with the Smithsonian’s central Digitization Program Office, already has made a pioneering step in this direction by scanning the iconic 1903 Wright Flyer in 3D and creating a number of “tours” that enable online visitors to examine the aircraft as a whole and take detailed looks at many of its features. We have just scanned Charles Lindbergh’s Spirit of St. Louis and are preparing the auxiliary content for online access.
Following months of preparation, members of the Collections Processing Unit moved the center section of the Horten Ho 229 V3* from the Paul E. Garber Restoration and Storage Facility to the Mary Baker Engen Restoration Hangar at the Udvar-Hazy Center last Friday.
Museum staff recently transported Neil Armstrong’s Apollo 11 spacesuit to the National Museum of Natural History for a CT scan. Curator Cathleen Lewis shares her experience as one of those staff members and explains how CT scanning can help in preservation efforts.
On April 24, we passed another milestone in preparations to move the Horten 229 V3 center section from the Paul Garber Facility in Maryland to the Mary Baker Engen Restoration Hangar at the Steven F. Udvar-Hazy Center in Virginia.
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.
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.
One of the primary objectives in the Museum’s previous collection surveys has been to identify artifacts which are actively deteriorating and require stabilizing treatments prior to being relocated to the new storage facility at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. These artifacts with active corrosion, mold contamination, hazardous materials, and physical insecurities were set aside for a team of three contract conservators to perform specialized treatments.