A Nation of Speed 

Content Document 

   

Exhibition #1

Working Title: A Nation of Speed Target Opening Date: 11/2020 Duration of Exhibition: 10 years Size of Gallery: 5,311 sq. ft., ceiling height 25 ft. Gallery Location: NMB Gallery 203 Subject Areas: Technological innovations and achievements Target Audience: General Target “Design-to” number: $7,682,457.00 Needed Services: Exhibition Design, Image Research and Acquisition

NASM Project Number: E-061-15-007 Speed Exhibition #1 – A Nation of Speed

This gallery will define “speed” as the act or state of moving swiftly within the context of the historical period in which individuals and groups operated fast-moving technology. The focus is not on what constitutes extreme speed today, but to rediscover the people, the technology, and the times in which these stories took place and their social and cultural ramifications. The content in this exhibition will be supported by a display of key artifacts (models and actual) over the course of the nineteenth and twentieth centuries by air, rail, water, roads and highways.

Exhibition Space Gallery 203 is a windowless gallery approximately 5000 square feet with a 25 ft. ceiling and a single entrance/exit. All galleries will be delivered by the Revitalization project to the design team as black boxes with open ceilings and a lighting grid. The electrical and IT will be updated facilitating more cutting edge interactive and visitor experiences. Final electrical capacity and specific material finishes have not been defined and the contractor will be responsible to coordinate with the COTR the final black box details which are being developed. Contractor shall be responsible for verifying that they have the latest version of the Black Box description.

Exhibition Scope The National Air and Space Museum seeks the services of talented and creative exhibit design professionals to assist in the conceptualization, transformation, and creation of new exhibition galleries and visitor experiences. The following scope of work identifies the exhibition work at a “high/broad level.

The breakdown of the work will involve the following items to be identified at a minimum: Engineering Studies will be need to be performed to identify the requirements to install and support the large artifacts (human scale) scheduled for display for this exhibition (i.e., wall display of large engines to be suspended on the west wall; Automobiles (race cars, muscle cars, to be displayed on the gallery floor). In addition, the large artifacts that will be on display throughout the exhibition will require custom supports (i.e. internal bracing within the building walls and ceilings and floors to support the suspension of these objects. The floors will need to reinforced to support the weight of equipment (i.e. fork lifts, JLG’s, etc.) to install the large objects scheduled for display (floor, wall and ceiling displays). This engineering study will also need to evaluate the support required for delivery of these objects from the street into the building proper. The gallery space will need to be flexible to accommodate the installation, removal, move of all objects, especially the large in a sequential and non-sequential, situation. This will enable artifacts that may require removal before the exhibition closes due to loan agreements.

The medium to small artifacts (i.e., racing helmets, steering wheels, railroad ties, artifact models) will require glass display cases that may require individually temperature controlled environments and security. This will need to be determined depending on the requirements of the objects scheduled for display. Overall this exhibition will require cameras, sensors and a robust barrier protection for the objects (i.e. automobiles that will be displayed on the floor. The galley flooring will need to be durable/long lasting and healthy for the planet, people and the artifacts. It must also be capable of withstanding high traffic by our visitors and the occasional use of our equipment (i.e. forklifts, JLG’s). There will a few environments on display to include a Speed Shop, Classroom and Toll Booth. The Speed Shop is envisioned to be a fully interactive display. The main door and the rolling shop doors will be accessible by the public and is envisioned to support an interactive display of tools and education programming. The Classroom will be a three dimensional presentation of actual Child’s school desk (“Duck and Cover”), Fallout Shelter signs, static in nature. There will also be a human scale facsimiles of the Pennsylvania Turnpike Tollbooth Façade There will be several interactives (i.e. CI’s, MI’s and video’s) that will be developed and scheduled for display that will require audio visual equipment (i.e., monitors, sound). To effectively “seal in” the sound of each interactive a minor sound soak acoustical treatment (panels on the walls and/or ceiling) will be necessary in order to prevent bleed into other areas during the operation of these interactives. All of the interactives will require evaluation testing prior to final installation.

Below is a representative list of some of the interactives identified for this exhibition: The team has considered both digital and mechanical interactives to best reach the numerous learning styles and generational experience of visitors. They have been listed as individual units in the outline to reference their location, but we want to stress that these are still in the development phase and the specific content and final number of interactives is subject to change. The eight interactives that are currently under consideration are:

• Race for Speed: Comparing Unaided Human Speed to Technology-aided Speed.The purpose of this interactive is to allow visitors to better understand the relative speed of different things and how ultimately technology increases the ability of things to move faster. Visitors will be able to compare their speed to the speed of other things (e.g. professional sprinter, racehorse, cheetah, racecar, airplane, etc.), possibly on a video wall showing these other things (or objects) racing against visitors. Visitors might select a particular thing to “race” against. On a cue from the interactive the visitor and the object could race down the length of the screen. The interactive could then show the speeds of both the visitor and the object, giving the visitor the opportunity to compare speeds. This would most likely require a large footprint and would cost much more than a normal computer interactive. This type of interactive would, however, address a different type of learning style (i.e. kinesthetic) than many of our other interactives.

• How Fast?: Measuring Speed

The purpose of this interactive is to help the visitor understand how the exhibit defines speed in the context of the gallery. For this exhibit, the artifacts and stories are specifically referencing physical speed. A key to understanding physical speed, however, is understanding the instruments used to measure speed. This interactive will showcase items such as speedometers, airspeed indicators, and pitot tubes, and explain how different vehicles measure speed on the ground, in the air, and in space.

• Take the Controls: Drive or Fly the ArtifactsThe purpose of this interactive is to allow the visitor

to experience what it is like to be inside one of the many vehicles on display, as well as possibly those which it would not actually be possible to ride on in real life. Some examples include Winton Bullet No. 2 Racing Car, Spirit of America Jet-Propelled Car, 1984 Pontiac Grand Prix NASCAR Racer, Swamp Rat XXX Top Fuel Dragster, Turner Meteor Thompson Trophy-Winning Air Racer, Lockheed XP-80 Shooting Star Lulu Belle, Titan I ICBM, and the NASA X-43 Scramjet Hypersonic (Mach 9.6) Research Vehicle Model. The interactive could allow the visitor to attempt to control the object at a very high-speed to showcase how difficult it can be. The interactives use of a range of objects from the early 1900s to today would showcase how the concept of “going fast” has changed as machines have changed.

• Evel Knievel Engineering: Calculate Knievel’s speed, angle, and thrust to see whether his

motorcycle lands correctly on the opposite ramp or crashesThe purpose of this interactive is to allow the visitor to see that the stunts of Evel Knievel were more than just pure sportsmanship where speed was a crucial factor. The Knievel motorcycle from the NMAH collection is currently designed to hang in the entrance of the gallery to welcome visitors to the exhibition. This interactive will help showcase the motorcycle’s connection to the thrill of speed. In order for a motorcycle jump to work, numerous factors need to be taken into account such as friction, the angle of the ramp, and the speed at which the motorcycle leaves the ramp in order to travel the right distance. This interactive will showcase the importance of understanding the physics of speed in a way that may not be obvious to most visitors. The interactive could include clips from actual jumps if they can be located in sufficient resolution.

• Need for Speed: Visitors use an interactive display to bring up media examplesThe purpose of

this interactive is to allow the visitor to see just how much of an impact the “need for speed” has had on American popular culture. This interactive would allow the visitor to view clips from popular movies and TV shows, as well as hear music, which all specifically speak to the desire to go fast. Examples include science fiction shows like Star Trek and the use of a “Warp Drive”, music of the Beach Boys, Jan and Dean, and The Rip Chords, films from Steve McQueen such as Bullitt (1968), On Any Sunday (1971), and Le Mans (1971), as well as automotive journalism and car magazines.

• Built for Speed: Choose a source of power, see how it works, and build yourself a fast vehicleThe

purpose of this interactive is the showcase how some of the engines on display work, and that the engine within a vehicle is the key to speed. The exhibit design currently includes a “Wall of Power” on which automobile, boat, aircraft, and rocket engines will be places side by side and stacked on a wall. Without a powerful engine, a vehicle cannot move fast. The size of an engine,

however, can also cause problems as more weight can create more drag and actually result in slower speeds. This interactive will allow visitors to weigh several variables and choose an engine for different vehicles. The interactive could include brief animations showcasing how the various engines on display work. The visitor could weigh several variables and choose a specific engine, and each decision could produce different results and highlight some of the engineering difficulties that often need to be overcome in the pursuit of speed. The interactive could include tactile representations possible through 3D printing of engines, such as a V-8 automobile engine or a rocket engine turbo pump, in order to provide numerous types of experiences.

• Tactile or Mechanical Interactive Showcasing Use of ToolsThe purpose of this interactive is to provide visitors with an opportunity to work with some of the tools which are used to help increase the speed of many of the vehicles shown in the gallery. The interactive could allow visitors to see how quickly they could change a NASCAR tire, or see what it is like to torque lug nuts on a wheel or cylinder head or work on a jet or rocket engine. This interactive could be accompanied by different materials as well, such as titanium from engine parts or fabric from fire resistant racing clothing. The interactive is meant to provide visitors with a tactile experience which is not regularly available elsewhere.

• Wall of Power Auditory Interactive

The purpose of this interactive is to focus on the sound of engines included in the Speed exhibition Wall of Power and allow visitors the opportunity to compare and contrast (e.g. jet engine vs. rocket engine vs. piston engine) the different sounds of engines on the wall. The interactive could consist of simple buttons next to engine names and/or images (or tactile samples) on a wall mounted display in the middle of the wall and below a directional speaker, so sound from this interactive doesn't bleed into other parts of the exhibition. Visitors would push a particular button, which would in turn play an audible sample (e.g. 10 seconds) of the related engine, while a light next to the related engine would light up revealing which engine on the wall they were hearing (or potentially some kind of spotlight system to light up the specific engine the visitor was hearing). In addition, it would add to the experience if we could provide some way for visitors to "feel" the power of the engine.

Big Ideas:

• Innovation – How did we learn to fly? What people and ideas contributed to the invention of the airplane?

• Industrialization: How did technical change and improvement occur, 1903‐1914? What factors led to technological advance? How did aviation grow to become an important industry?

• Globalization: A technology without borders ‐ what role did government play in fostering aeronautical progress? What impact did varying levels of government support have on aeronautical progress in different nations? Was early aviation a global technology? What elements promoted technology transfer?

• Technology: Why did Americans have the desire to be the fastest, whether on land, sea, air, or space, in the name of commerce, war, power, and prestige?

Exhibition Goals The Exhibition core team is imagining a space where millions of museum visitors will: • Share the excitement of early flight with visitors.

• Help visitors understand the birth of the relationship between government and the aeronautical industry.

• Underscore the extent to which aviation was a global enterprise. • Understand the broad social, cultural, economic and political impact of flight on the world. • Explore factors supporting innovation and technological progress.

July 23, 2015

Description of Proposed Exhibition

A Nation of Speed: America’s Pursuit of Going Fast

Exhibition Statement

The quest for speed is a crucial part of American culture.

Exhibition Abstract

The United States is a nation of speed. Since the founding of our country, we have shaped

our lives and our world by embracing time- and distance-shattering technologies. Americans

have desired to be the fastest, whether on land, sea, air, or space, in the name of commerce, war,

power, and prestige. In the process, they overcame the natural world, endeavored to expand its

borders, and competed with each other and the rest of the world in the marketplace, battlefield,

and sporting arena. The spectacular success of people using fast ships, locomotives, automobiles,

airplanes, and spacecraft fueled the popular enthusiasm for the myriad forms of speed at all

levels of American society.

The success and enduring appeal of speed in the United States reveals that it was a quest

wrought with consequences. The enthusiasm for the fastest technologies shaped national,

organizational, cultural and individual choices. The dependence on petroleum as a single energy

source, poorly integrated or incomplete transportation systems, environmental impact, legal

limitations on freedom of movement, boundaries based on nationality, gender, and race, shaken

perceptions of national pride, and damaged economies and personal lives also shaped the

American “need for speed.”

This gallery will define “speed” as the act or state of moving swiftly within the context of

the historical period in which individuals and groups operated fast-moving technology. The

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focus is not on what constitutes extreme speed today, but to rediscover the people, the

technology, and the times in which these stories took place and their social and cultural

ramifications. As expressed in the April 2015 NASM Exhibition Plan and Guiding Principles and

expressed in staff discussions, two exhibition spaces will be dedicated to shorter-term or smaller

exhibitions and/or as the flexible space for testing of exhibit ideas or other experimental efforts.

The first short-term exhibition will be A Nation of Speed. The projected duration of the

exhibition is ten years. It is also a collaboration that will rely upon the expertise and collections

of the Aeronautics and Space History Departments at NASM and the Work and Industry

Division at the National Museum of American History (NMAH). At NASM, the new exhibition

would explore the central themes of technology, business, culture, power, and people presented

in the Milestones of Flight gallery. Overall, A Nation of Speed would support the perspectives

presented in the Institution’s Grand Challenges Consortia centered on the Age of Man, or the

Anthropocene.

Scope, Unit Topics and Discussion of Major Elements in Each Unit

Unit 100: Introduction

The introduction will present the A Nation of Speed concept and outline the major units

through the following themes:

The pursuit of speed is a part of American national identity.

Americans used science and technology to develop fast vehicles.

The American fascination with speed is a cultural movement.

Competition was a driving force behind the pursuit of speed.

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Artifacts:

The Fastest Cars on the Road Today Indicate that Speed is still part of Our Culture

Artifact: *Contemporary Supercar like a 2019 Ford Mustang GT or Tesla Roadster

[* denotes need to acquire artifact.]

Unit 200: Connecting a Continent

Americans used time- and distance-shattering technologies to connect and overcome the

vast distances of the United States as well as reach out to the rest of the world. They did so in the

name of commerce, Manifest Destiny, and a belief in the power of technology to shape their

world. In the process, speed became a part of the national fabric over the course of the nineteenth

and twentieth centuries through the following modes of travel:

By Water

Canals: Altering the Landscape to Increase Opportunity

C&O Canal, Erie Canal, Panama Canal

Artifact: Panama Railroad tie

Clippers: Sailing Ships Connecting East and West

Artifact: Builder’s Half-Hull Model of Clipper Red Jacket, 1853

By Rails

The Creation of a Transcontinental Railway Network

Steam locomotives

Artifact: *New York Central 999 Locomotive Model

Diesel engines and streamliners

Artifact: Pioneer Zephyr Streamlined Train Model, 1934

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Electrification

Artifact: *Pennsylvania Railroad GG-1 Locomotive Model

Railroad Safety

Grade crossings and train wrecks

By Roads and Highways

Making Cars Go Faster

The Introduction of the V-8 engine and Power for the Masses

*Artifact: 1932 Ford V-8 engine

Detroit’s Horsepower Race in the 1950s

*Artifact: 1949 Oldsmobile Rocket V-8 Automobile

Superhighways

Origins of the Superhighway, 1940s

Artifact: Pennsylvania Turnpike Tollbooth Façade

Artifacts: Car and truck models from GM Futurama highway, 1939-1940

Interstate Highways, 1970s

The Increasing Cost of Speed on American Roads

Speeding Tickets, Crime, and Speed Monitoring, Control, and Enforcement

Air Pollution and Emissions Regulations

The Fuel Crisis of the 1970s

Artifact: 1970s Gas shortage sign

Artifact: 1960s Gas pump

Decline of the iconic 1960s American “Muscle Car”

Artifact: *1965 Pontiac GTO [from Henry Ford Museum] and/or

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NMAH 1963 Corvette Stingray Sports Car

By Air

Overview of American Domestic and International Air Travel

Reference America by Air

Supersonic Transport (SST) as a High-Speed Dream Unfulfilled

Artifacts: Prototype American SST Models [Reference UHC artifact]

Will the Fastest Aircraft in History Point Us toward a High-Speed Future?

Artifact: *NASA X-43 Scramjet Hypersonic (Mach 9.6) Research Vehicle Model

Interactive: Comparing unaided human speed to technology aided speed.

Making Speed Safe

In the process of connecting their world and facilitating ever faster automobiles and

aircraft, Americans worked to make the technology safer. This sub unit reveals the

interrelationship between aviation and automobile safety from the 1920s to the late twentieth

century. A central figure in this section is U.S. Air Force flight surgeon John Stapp, a pioneer in

both aviation and automobile safety.

John Stapp and the Quest for Safety

Artifact: Sonic Wind I Rocket Sled

Aviation Safety

Making Jet Aviation Safer

Artifact: USAAF Experimental Hard Helmet, Goggles, Mask

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Artifact: Convair B-58 Hustler Ejection Pod

Auto Safety

Redesigning Cars to Make Them Safer

Artifact: *Ford Model A smashed safety windshield

Artifact: Chevrolet collapsible steering column

Packaging Motorists

History of seat belts

Artifact: Volvo 3-point seat belt and seat

Artifact: Crash Test Dummy

Measuring Speed

Operators of fast vehicles need to know how fast they are going. This section presents the

history of how automobile and aircraft manufacturers devised ways of measuring speed over the

course of the twentieth century. The “speedometer” and “airspeed indicator” enabled users to

control their vehicles to meet any desired level of performance.

Automobiles

Artifacts: Speedometers and Tachometers

Aircraft

Artifacts: Airspeed indicators and pitot tubes, 1920s

Artifact: Kollsman Mach 1 Machmeter

Interactive: How do you measure speed?

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Unit 300: The Need for Speed

During the twentieth century, Americans harnessed speed for a competitive edge in both

the sporting arena and in the military sphere. Individual achievement in motorsports reflected the

passion of speed-hungry drivers, racers, and pilots who wanted to be the best at their chosen

niches on land, air, or sea. Along the way, spectators participated, too, as they cheered on their

heroes and the technology they mastered. In the military sphere, the need to speed to the “high

ground” before the enemy led to extraordinary aeronautical engineering achievements like the

celebrated and still-futuristic Lockheed Blackbird spy plane. That need also led to American

culture living in the shadow of nuclear war as the speed of ICBMs increasingly compressed the

time it took to destroy the world. The cultural context of the role of speed in motorsports and the

Cold War are explored in this unit through the stories of people and artifacts.

The Winner’s Circle: Motorsports in America

Americans expressed their competitive “need for speed” through the following areas of

motorsports:

On Land

History of Auto Racing and Time Trials in the United States

Artifact: Vanderbilt Cup, 1904

Artifact: Paving Bricks from Indianapolis Motor Speedway, 1909

Barney Oldfield (1903)-Pioneer American Race Car Driver

Artifact: Winton Bullet No. 2 Racing Car

Glenn Curtiss (1907)-Ormond Beach Speed Trials and Land Speed Record for Motorcycles

Artifact: Curtiss V-8 Motorcycle

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Donna Mae Mims (1963)-First Woman to Win a National Auto Racing Championship

Artifact: 1959 Austin-Healey Sprite Sports Car from Private Lender

Elwood “Pappy” Hampton (1960s)-Karting and Easy Access to Racing

Artifact: Racing kart

Craig Breedlove (1965)-600 mph Bonneville Speed Record

Artifact: Spirit of America Jet-Propelled Car Model

Paul Newman (1969)-Race Car Driver/Team Owner and Hollywood Actor

Artifacts: *Racing Suit and Helmet

Mario Andretti (1969)-World Champion Racer and Indianapolis 500 Winner

Artifact: 1968 Brawner Hawk/Ford STP No. 2 Indy Car

Leonard Miller and Black American Racers, Inc. (1972)-African-Americans and racing

Artifacts: *Jackets, helmet, card

Janet Guthrie (1979)-First Woman to Race in the Indianapolis 500

Artifacts: Racing Suit and Helmet

Richard Petty (1984)-Seven-time NASCAR Champion and 200 Race Victories

Artifact: 1984 Pontiac Grand Prix NASCAR Racer

Big Daddy Don Garlits (1986)-World Champion and First to Exceed 270 mph

Artifact: Swamp Rat XXX Top Fuel Dragster

Sam Schmidt (2014)-Paraplegic Race Team Owner and Driver

Artifact: *Arrow Electronics Semi-Autonomous Motorcar (SAM) Corvette Race Car

Latinos in Auto Racing

Artifacts: *Helmets, racing suits

In the Air

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History of Air Racing, 1909-2009

Artifact: Thompson Trophy

Artifact: Bendix Trophy

Artifact: Starter Flag, Dole Air Race, 1927

Artifacts: Air Racer Models [Reference UHC artifacts]

Roscoe Turner (1939)-Cleveland National Air Races Trophy Winner

Artifact: Turner Meteor Thompson Trophy-Winning Air Racer

Artifact: Gilmore the Flying Lion

Artifacts: Flying Uniform

Steve Wittman (1954)-Goodyear Trophy Winner and 23 year racing career

Artifact: Wittman Special 20 Buster Midget Air Racer

Jacqueline Cochran (1961)-Pioneer Woman Aviator and Speed Records

Artifacts: Helmet, Flying Suit, and Boots

Darryl Greenamyer (1969)-Reno National Championship Air Races and Record Holder

Artifact: Conquest I Unlimited Class Air Racer

William Ivans (1984)-Sailplane speed records and Unpowered Flight

Artifact: Schemmp-Hirth Nimbus II Sailplane

Bob Sharp (1999)-Most Successful Air Racer at the Reno National Championship Air Races

Artifact: Sharp Nemesis Formula I Air Racer

Artifacts: *Racing suit, helmet, gloves, and boots

Artifacts: *Collection of Trophies won by Nemesis

On the Water

America’s Cup Yacht Race-Sailing Yachts and the Oldest International Sporting Trophy

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Blue Riband Trophy, Fast Ocean Liners, and Crossing the Atlantic

Artifact: *S.S. United States Ocean Liner Model

Unlimited Hydroplane Racing

Artifacts: *Racing Suit and Helmet

Making Racing Safe

Increasing speeds and safety concerns shaped innovations in motorsports technology. The

need to protect and rescue drivers led to technologies that helped motorists in the everyday

world.

Artifacts: *Flame retardant suits and protective helmets

Artifact: *Portion of Catch Fence and/or Crash Barrier

Artifact: “Jaws of Life” safety equipment

Spectators

Spectators and fans are an overlooked, but crucial, element in understanding the role of

motorsports in American culture. Their enthusiasm made professional motorsports possible,

created a fan-centric memorabilia industry, and shaped our collective national memory of speed.

Artifacts: *Race Memorabilia (Tickets, T-shirts, etc.)

Speed and the Cold War

Kelly Johnson (1945)-The Lockheed Skunk Works and American military speed

Artifact: Lockheed XP-80 Shooting Star Lulu Belle, America’s First 500 mph airplane

Artifact: SR-71 Pressure Suit, Helmet, and Gloves, Transcontinental Record Flight

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Artifact: Lockheed SR-71A Blackbird and Starter Carts Model [Reference UHC artifact]

Making High Speed Military Flight Possible

X-series research airplanes

Artifacts: NASA High Speed Research Airplane Models

Operational Cold War fighters

Artifacts: Century Series Fighter Models [Reference UHC artifacts]

Thirty Minutes to Live: America Lives in the Shadow of Nuclear War

Artifact: Mark 4 Re-Entry Vehicle for Titan I ICBM, early 1960s

Artifacts: Child’s school desk (“Duck and Cover”), Fallout Shelter signs

Artifact: Saturn V Turbopump

Interactive: Drive or Fly the artifacts in this unit

Unit 400: Speed and the Popular Imagination

This unit bridges “Connecting a Continent” and “The Need for Speed” through its exploration of

speed in American culture. The subunits detail the interrelationship between speed and youth,

leisure and play, music, literature, and film, automotive design, and spectacular demonstrations.

The unit ends with a focus on hot rod culture and its importance as a defining element in

American culture after World War II.

Youth Culture

Youth Racing and Unpowered Speed: Soap Box Derby

Artifact: 1961 Soap Box Derby Racer

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Karren Stead (1975)-First Female National Champion, Soap Box Derby

Artifact: Helmet

Teenagers, James Dean, and Rebel Without a Cause (1955)

Speed and Play

Cars

Artifacts: 1920s-1930s Race Car Toys

Artifacts: *Pinewood Derby, model kits, slot cars, Hot Wheels/Matchbox cars

Motorcycles

Artifact: Evel Knievel Action Figure with Motorcycle and Helmet, 1970s

Airplanes

Artifacts: *Toys, model kits (X-15, Boeing 2707 SST)

Artifact: Viper Control Line Racer

Rockets

Artifacts: V-2, Nike Zeus, Titan, Bomarc, Saturn V Flying Models

Artifacts: Flying Rocket Model Launch Pad and Controller,

Speed in Space: Reality v. Fiction

Leaving Earth’s Atmosphere and Exploring the Solar System

Escape Velocity and Gravity Assist

Artifact: Jupiter C rocket model

Artifacts: Voyager and New Horizons models or images

Achieving the Expectations of the Imagination

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Limits of Chemical Propulsion

Ion, atomic, and other alternative power sources

Science Fiction

Toys and Faster than Light Travel

History of Warp Drive

Artifacts: Star Trek Enterprise Model and *other spacecraft

The Sounds, Sights, and Stories of Speed: Music, Film, and Literature

Music

California Car Culture

Artifacts: *Music of the Beach Boys, Jan and Dean, and The Rip Chords

Film

Steve McQueen and the Image of Speed

Artifacts: *Bullitt (1968), On Any Sunday (1971), and Le Mans (1971)

Cartoons

Artifacts: Fast and Furry-ous (1949) starring the Road Runner (1949), Speed

Racer (1966), Cars (2006), Planes (2013)

Literature

Popularizing Speed: Henry Felsen and Don Stanford

Artifacts: *Hot Rod (1950) and The Red Car (1954)

History of Automotive Journalism and the Car Magazine

Interactive: Visitors use an interactive display to bring up media examples

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Speed and Automotive Design

Aerospace Influence: Tailfins, rocket fins, jet plane motifs

Artifacts: *Car Models

Artifacts: *Automobile hood ornaments and emblems

Spectacle of Speed

Evel Knievel (1975)-Daredevils and the Spectacle of Speed, Jumped 14 Greyhound Buses

Artifact: 1972 Harley-Davidson XR-750

Artifacts: Knievel Jump Suit and Boots

Interactive: Calculate Knievel’s speed, angle, and thrust to see whether his motorcycle lands

correctly on the opposite ramp or crashes

Hot Rods

“Do-it-Yourself” Speed

Interactive: Tactile or mechanical showcasing use of tools

Speed Shops and Speed Equipment

“Tuners” as a modern example

Artifact: *NOS Nitrous Oxide bottle

Unit 500: The Wall of Power

Engines and the power they produce are at the heart of speed whether they are for cars, boats,

airplanes, or rockets. This grouping of artifacts will present to the visitor the myriad forms of

power:

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*1915 Cadillac V-8 Automobile

1915, Curtiss V-4, Miss Miami Speedboat

1930, Curtiss V-1570 Conqueror, Curtiss XF6C Air Racer, Thompson Trophy

1941, Chrysler XI-2220-11, Inverted V-16 Aircraft Engine [first Hemi engine]

1945, Reaction Motors XLR-11 Rocket, Bell X-1 Research Airplane

1947, North American V-2 Rocket

1954, XLR-87 Titan I First and Second Stage Rockets

1958, Pratt & Whitney J58, Lockheed SR-71 Blackbird

1961, Thiokol XLR99 Pioneer, North American X-15 Research Airplane

Interactive: How different engines work through digital animation

Interactive: Choose a source of power and build yourself a fast vehicle

Educational Objectives

A Nation of Speed will ask the following questions that visitors should be able to answer:

1. Why is speed a crucial part of the American experience? (History)

2. How have Americans harnessed science and technology to go faster? (STEM)

3. Why are Americans fascinated with the idea of going fast? (Culture)

4. How has competition driven Americans to set speed records? (Sports)

Possible Interactives

The team has considered both digital and mechanical interactives to best reach the

numerous learning styles and generational experience of visitors. They have been listed as

individual units in the outline to reference their location, but we want to stress that these are still

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in the development phase and the specific content and final number of interactives is subject to

change. The eight interactives that are currently under consideration are:

Interactive 1: Comparing unaided human speed to technology aided speed.

The purpose of this interactive is to allow visitors to better understand the relative speed

of different things and how ultimately technology increases the ability of things to move faster.

Visitors will be able to compare their speed to the speed of other things (e.g. professional

sprinter, racehorse, cheetah, racecar, airplane, etc.), possibly on a video wall showing these other

things (or objects) racing against visitors. Visitors might select a particular thing to “race”

against. On a cue from the interactive the visitor and the object could race down the length of the

screen. The interactive could then show the speeds of both the visitor and the object, giving the

visitor the opportunity to compare speeds. This would most likely require a large footprint and

would cost much more than a normal computer interactive. This type of interactive would,

however, address a different type of learning style (i.e. kinesthetic) than many of our other

interactives.

Interactive 2: How do you measure speed?

The purpose of this interactive is to help the visitor understand how the exhibit defines

speed in the context of the gallery. For this exhibit, the artifacts and stories are specifically

referencing physical speed. A key to understanding physical speed, however, is understanding

the instruments used to measure speed. This interactive will showcase items such as

speedometers, airspeed indicators, and pitot tubes, and explain how different vehicles measure

speed on the ground, in the air, and in space.

Interactive 3: Drive or Fly the artifacts in this unit

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The purpose of this interactive is to allow the visitor to experience what it is like to be

inside one of the many vehicles on display, as well as possibly those which it would not actually

be possible to ride on in real life. Some examples include Winton Bullet No. 2 Racing Car, Spirit

of America Jet-Propelled Car, 1984 Pontiac Grand Prix NASCAR Racer, Swamp Rat XXX Top

Fuel Dragster, Turner Meteor Thompson Trophy-Winning Air Racer, Lockheed XP-80 Shooting

Star Lulu Belle, Titan I ICBM, and the NASA X-43 Scramjet Hypersonic (Mach 9.6) Research

Vehicle Model. The interactive could allow the visitor to attempt to control the object at a very

high-speed to showcase how difficult it can be. The interactives use of a range of objects from

the early 1900s to today would showcase how the concept of “going fast” has changed as

machines have changed.

Interactive 4: Visitors use an interactive display to bring up media examples

The purpose of this interactive is to allow the visitor to see just how much of an impact

the “need for speed” has had on American popular culture. This interactive would allow the

visitor to view clips from popular movies and TV shows, as well as hear music, which all

specifically speak to the desire to go fast. Examples include science fiction shows like Star Trek

and the use of a “Warp Drive”, music of the Beach Boys, Jan and Dean, and The Rip Chords,

films from Steve McQueen such as Bullitt (1968), On Any Sunday (1971), and Le Mans (1971),

as well as automotive journalism and car magazines.

Interactive 5: Calculate Knievel’s speed, angle, and thrust to see whether his motorcycle lands

correctly on the opposite ramp or crashes

The purpose of this interactive is to allow the visitor to see that the stunts of Evel Knievel

were more than just pure sportsmanship where speed was a crucial factor. The Knievel

motorcycle from the NMAH collection is currently designed to hang in the entrance of the

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gallery to welcome visitors to the exhibition. This interactive will help showcase the

motorcycle’s connection to the thrill of speed. In order for a motorcycle jump to work, numerous

factors need to be taken into account such as friction, the angle of the ramp, and the speed at

which the motorcycle leaves the ramp in order to travel the right distance. This interactive will

showcase the importance of understanding the physics of speed in a way that may not be obvious

to most visitors. The interactive could include clips from actual jumps if they can be located in

sufficient resolution.

Interactive 6: Tactile or mechanical showcasing use of tools

The purpose of this interactive is to provide visitors with an opportunity to work with

some of the tools which are used to help increase the speed of many of the vehicles shown in the

gallery. The interactive could allow visitors to see how quickly they could change a NASCAR

tire, or see what it is like to torque lug nuts on a wheel or cylinder head or work on a jet or rocket

engine. This interactive could be accompanied by different materials as well, such as titanium

from engine parts or fabric from fire resistant racing clothing. The interactive is meant to provide

visitors with a tactile experience which is not regularly available elsewhere.

Interactive 7: How do different engines work?

The purpose of this interactive is to allow visitors a chance to understand the numerous

power plants shown within the gallery. The exhibit design currently includes a “Wall of Power”

on which automobile, boat, aircraft, and rocket engines will be places side by side and stacked on

a wall. This interactive will allow visitors a chance to engage with the “Wall of Power” and gain

a better understanding of how the numerous engines work, as well as how different vehicles

require different types of engines for different purposes. The interactive could include tactile

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representations possible through 3D printing of engines, such as a V-8 automobile engine or a

rocket engine turbo pump, in order to provide numerous types of experiences.

Interactive 8: Choose a source of power and build yourself a fast vehicle

The purpose of this interactive is the showcase how the engine within a vehicle is the key

to speed. Without a powerful engine, a vehicle cannot move fast. The size of an engine, however,

can also cause problems as more weight can create more drag and actually result in slower

speeds. This interactive will allow visitors to weigh several variables and choose an engine for

different vehicles. The choice they make will produce different results and highlight some of the

engineering difficulties that often need to be overcome in the pursuit of speed.

Analysis of Work Required for Display

This is a pan-institutional gallery that will also draw upon outside institutions, primarily

NMAH, and the exhibition will require loans, which will require both budget and staff resources.

The work required for display of the various types of artifacts, including automobiles and

aircraft, are discussed below and in detail within the attached budget.

From the Collections Department:

An informal poll among CPU and PRU staff members indicate the current artifact list is

likely too heavy for the gallery, but the artifact lists every possible option rather than a final list.

The relevant engineering studies must be completed prior to final artifact selection, significant

contracted design work, and fundraising efforts. The budget presumes the West End gallery and

terrace are already reinforced to support the combined weight of the truck, artifacts, crane, and

other necessary equipment.

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All aircraft need to be evaluated by PRU to determine if they are suitable for hanging and

if so, appropriate hanging points. Even the Wittman Buster air racer, currently hanging in Golden

Age of Flight, needs an inspection. Preparation for the Sharp Nemesis air racer will include

reproducing a piece of the cowling, as holes need to be drilled through for the hanging cable. A

drawing of hanging beam locations must be generated, possibly by the design firm. These

locations will dictate where craft can actually be suspended.

None of the engines have been inspected for conservation needs prior to this presentation.

We know the XLR rocket engine will require “some” conservation work, and it is probable

others will. At a bare minimum, engines not currently on display will require cleaning. The Wall

of Power support structure will need to be designed, possibly by an engineer. A study must be

done to ensure the building can support the concentrated weight of the artifacts.

The Rocket Sled Sonic Wind 1 has been sitting outside in New Mexico presumably since

it was initially loaned in 1982. It was partially repainted in 2000, and the borrower requested

permission to treat corrosion and repaint in 2013. From the TMS records, it is unclear if that

work was in fact performed. Regardless, the sled’s current conservation needs are unknown, and

a site visit by PRU, DSH, and Conservation is budgeted. A display stand must be made.

We budgeted for Dorfman or similar adjustable mannequins for racing and flying suits.

These mannequins can then be re-used as costumes are rotated. Dressing each mannequin will

take a day for each ensemble. The SR-71 flight suit requires a sturdier mannequin, such as

spacesuits use. Preparation time for this mannequin will depend on the source, but ranges from

two days to potentially weeks.

We currently predict some of the loaned cars and clothing will need to be rotated during

the exhibit’s lifespan. For the clothing, NMAH’s display conditions may restrict light exposure.

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For the cars, lenders may be unwilling to lend for the duration, or the curator may wish to rotate

in a more current model. Any artifact rotation incurs additional preparation and shipping costs, in

addition to staff time.

As this is by design a “short term” gallery, we also must consider the disposition of

artifacts after closing, especially those large artifacts recalled from loans. Will they be displayed

elsewhere? Stored? Sent on loan? The attached budget includes materials to prepare small

artifacts and aircraft for storage.

Walkthrough-The Visitor Experience for A Nation of Speed

Besides the educational objectives, a goal of A Nation of Speed is to engage visitors

emotionally and socially through a multilevel grouping of artifacts in a minimal “environment.”

We will attempt to design the exhibition that appeals to a broad range of audiences, because most

age ranges have some connection, experience, or interest in speed. That goal reflects the

historical, technical, cultural, and visceral strength of the major artifacts as well as the temporary

nature of the gallery. In other words, Baby Boomers, Generation Xers, and visitors familiar with

transportation, motorsports, and military technology (i.e., “gearheads”) will connect strongly

with the exhibition. For Millennials, Generation Z, and general visitors, the individual stories and

personal connections will expose them to American history through the “lens” of speed. Artifacts

chosen from various time periods will help foster cross-generational conversations. Ideally,

members of these groups and generations will find ways to interact with each other. While this

exhibition may be considered a male-oriented environment due to the focus on the “hardware” of

history, we will endeavor to share stories of speed to garner interest across multiple boundaries,

including gender, race, and persons with disabilities.

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Visitors will enter the gallery underneath Evel Knievel’s motorcycle, which will be

suspended as if it were “jumping” off a ramp and into the air. The motorcycle will serve as

distinctive marker to draw visitors in since they will not be expecting to see that artifact in the

National Air and Space Museum. As they move forward through the small hallway, they will

enter the main gallery to see a rich and visually striking assortment of automotive and aerospace

artifacts. Due to the “open” theme of the gallery, the visitor has the choice of either 1) following

the successive units in a counterclockwise direction 2) going straight to the “stuff” they are

drawn to instinctively or 3) a combination of the two. The following description will reflect 1).

“Connecting a Continent” will open with a contemporary high-performance car as

another “draw” for visitors. The text labels and artifact cases will hug the wall as the visitor

moves forward toward the northeast corner following the successive modes of transport

Americans embraced while taking note of the Pennsylvania Turnpike Tollbooth Façade. The

juxtaposition of the muscle car, gas pump, and gas shortage sign would serve a dual purpose. At

one level, visitors can be excited about seeing a thoroughly American car synonymous with

speed, power, and freedom. At another, they will see how world events like the 1970s oil crisis

and other factors like high insurance rates shaped that legacy. Models of ships, railroads,

automobiles, and airplanes will help orient visitors to the idea of how speed brought the United

States together. Visitors will encounter artifacts like the Sonic Wind I rocket sled that they

probably never knew existed beside familiar items like the Chevrolet collapsible steering

column, and the Volvo three-point seat belt. All will showcase the solutions that came about due

to the consequences of speed. A grouping of speedometers, airspeed indicators, and pitot tubes

will allow visitors to see how speed is visualized from the perspective of a pilot or driver.

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“The Need for Speed” unit will reflect the two subunits. The “Winner’s Circle” subunit

will be just that, a central circular grouping of racing vehicles on the floor and suspended above.

Artifact cases and text labels will be interspersed to support and interpret the historic actors and

their related major artifacts. Some of the personalities that visitors can engage with in this section

include Barney Oldfield, Roscoe Turner, Jacqueline Cochran, Donna Mae Mims, Mario Andretti,

Richard Petty, and “Big Daddy” Don Garlits. Artifacts in this area came directly from these and

the other individuals in this section and visitors will be able to make a direct connection to the

history. A digital interactive will allow visitors to drive or fly the motorsports artifacts on display

in a race.

The “Speed and the Cold War” subunit will continue the counterclockwise movement

around the gallery. Visitors will encounter the XP-80 Lulu Belle above, which echoes the

beginnings of American high-speed military aircraft, and then will be instantly drawn to section

dedicated to American life in the shadow of imminent nuclear war. Visitors will find themselves

immersed in a minimal environment that will include a 1950s school desk to practice “duck and

cover” and a Fallout shelter sign to evoke the fear created by ever-faster ICBMs. The inclusion

of the Mark 4 warhead and the Titan rocket engine on the nearby “Wall of Power” will offer a

pan-generational opportunity between those who lived through that and those that did not.

Visitors will encounter numerous models of high-speed aircraft like the SR-71 and X-15, which

will allow us to refer to the actual objects at both the NMB and the Udvar-Hazy Center.

Since “Speed and the Popular Imagination” is a bridge between the two major units, it

could take up its own standalone space and/or integrated into appropriate locations (i.e., Evel

Knievel’s motorcycle). Visitors will find themselves in an environment (at the south wall just

across from the “Winner’s Circle”) invoking a Southern California “Speed Shop” that will house

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the subunits on youth, play, space, popular culture, automotive design, spectacle, and hot rods

and their supporting artifacts such as model rockets, slot cars, control-line airplane, and model

kits of different vehicles.

The goal for the “Wall of Power” is to present the “hardware” of speed in an

overwhelming grouping of car, boat, airplane, and rocket engines. Two possible digital

interactives would show how different engines work through animation or to let visitors choose a

source of power and build themselves a fast vehicle to see if they are successful.

After the “Wall of Power,” visitors will be in the southwest corner of the gallery and will

be able to work their way back to the entrance/exit through the “Winner’s Circle” subunit.

Integrated overall into the exhibit will be cross-unit themes presented in highlight labels.

“The Dangers of Speed” relates to statistics, geopolitical connections, and environmental

awareness. The “Science, Technology, and Engineering of Speed,” “How Things Work,” and

“What is…(a carburetor, speed of sound, escape velocity, speed of light, etc.)?” will provide

more in-depth learning opportunities and information. Finally, reference to other Smithsonian

artifacts, primarily at NASM, will be made through “See Also…” labels.

In addition to the exhibit, the team intends to plan for a Speed Family Day, a one- to two-

day symposium, and to author an accompanying exhibition catalog. We also feel that a web

presence will highlight the individual personalities that are central to understanding the artifacts.

QTVR aircraft and automobile cockpits will be very popular with visitors. For example, the

Swamp Rat XXX drag racer cockpit will be great way to connect aviation and automotive

technology because of the visual similarities. Digital 3D imaging of the numerous and unique

objects will allow long-distance visitors to examine the artifacts up close.

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Proposed Layout and Gallery Views of A Nation of Speed

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Future Schedule

Pending EPPIC approval, the team intends to follow the established schedule as outlined

in the Exhibit Design Process documents. An initial early step after EPPIC approval will be the

creation of a Memorandum of Understanding between NASM and NMAH outlining this

exhibition as a joint project and collaboration based on staff expertise and resources.

Measuring Success

During the script writing phase, we plan to test the themes, stories, artifacts, and

interactives of the gallery with visitors either through the SI Office of Policy and Analysis

(OP&A) or an outside evaluator. Also, the exhibition will convene an advisory group of leading

scholars to review and collaborate on the script and final artifact selection. After opening, the

team will engage OP&A or an outside evaluator in a visitor analysis of the final exhibition.

Key Participants in A Nation of Speed

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Core Team:

Jeremy Kinney, Curator

Brian McGarry, Designer

Jeannie Whited, Collections

Linda King, Project Manager

Michael Hulslander, Educator

Curatorial Team:

Jeremy Kinney

Tom Paone

Roger White, NMAH

Mark Mullen, NMAH

Tom Lassman

Bob van der Linden

Jim David

We are requesting a GS9/11 for this project who would have expertise in pan-institutional

exhibitions, interdepartmental liaison, image research and acquisition of outside rights and

permissions, and demonstrated knowledge in the history of speed.