Office of Exhibits Central

Uncle Beazley Has Arrived

  
Last Wednesday OEC welcomed a life sized fiberglass triceratops to our place of work. This dino, Uncle Beazley, currently resides at the National Zoo but will be our guest for the next few weeks.
Uncle Beazley has been in need of periodic upkeep and repairs over the many years he’s belonged to SI, and the OEC model shop has been the primary provider of these services. Instead of just patching him up again and working outside as we have always done, we wanted to utilize the new space we have here at Pennsy Drive and do a more thorough refurbishing of this dear old fiberglass beast. With LOTS of coordination and support from transportation, horticulture, the Zoo and building services, we managed to bring him over to Pennsy last week.
After he was thoroughly power washed and cleaned, we brought him into the building, which was very tricky because at 27 feet long, 9 feet wide and 9 feet high, he is at the upper limits of size for moving him around and through the hallways! Now that he is in our shop we are patching holes and cracks and we will soon apply an entirely new coat of UV and weather resistant paint. We’ll refer to early photos of him to try to match what he originally looked like. We hope to have repairs done and Uncle Beazley ready for return to the Zoo by mid March. Carolyn Thome is the model maker responsible for doing this work; and many, many others have helped make this possible!

 

 

Old School to New School

Our very own Carolyn Thome will be giving a presentation at the National Museum of Natural History tomorrow. She will be talking about the various techniques used to recreate artifacts including casting and 3D printing. Don't miss it!

Office of the Chief Information Officer wall mural

A computer-rendered image of the Smithsonian Castle is the centerpiece of a coloful new wall mural at the main entrance to OCIO's offices in Herndon, Virginia.  A recent collaboration between the Office of Exhibits Central (OEC) and the Office of the Chief Information Officer (OCIO), the design consists of a 4' x 8' silhouette of the Castle made up of small "0's" and "1's" representing binary computer code, which is mounted to the entryway wall.  Beneath the Castle are two rows of images of the many Smithsonian buildings, emphasizing the fact that OCIO works with all of the museums and bureaus of the Institution.

The production of the Castle silhouette was an especially interesting part of the project.  "The "0's" and "1's" were computer-cut into a very large piece of pressure-sensitive vinyl in the Graphics Shop at OEC.   All of the vinyl surrounding the characters was then removed, leaving only the "0's" and "1's" on the vinyl's backing sheet, in the shape of the Castle.  A large piece of release-tape, which was the same size as the backing sheet and coated with strong adhesive, was pressed onto the "0's" and "1's", which transferred the adhesive from the tape onto the backs of the characters.  This sandwich--comprised of release-tape, vinyl, and backing sheet--was then delivered to OCIO for installation.

Design drawing for the entrance exhibit for the Office of the Chief Information Officer (OCIO) 

 

In order to ensure that the Castle silhouette would be applied to a smooth surface, OEC's painter, Walter Skinner, first primed and painted the entryway wall at OCIO.  Next, OEC's Graphics Specialists, Rolando Mayen and Theresa Keefe--who designed the exhibit--carefully applied the vinyl.  They temporarily hinged the backing sheet to the wall exactly where they wanted the Castle silhouette to be positioned.  They removed the protective layer on the release-tape, which exposed the adhesive that had been transferred to the backs of the characters, and firmly pressed the "0's" and "1's" onto the wall to ensure that the characters were securely mounted.  Lastly, they removed the backing sheet, revealing the silhouette.

Once that was completed, Mayen and Keefe installed the two rows of images of the Smithsonian buildings, each of which is face-mounted to a piece of Plexiglas.  Finally, they applied the Smithsonian sunburst, and the name of the office in large vinyl letters, on the wall to the upper left of the Castle.

According to OEC's installation team, it was very exciting and gratifying to watch the two-dimensional design drawing come to life as it was being installed.  The muted Castle silhouette is balanced by the vibrant images of the Institution's buildings, and the exhibit, itself, is a clear representation of the rich diversity that makes up the Smithsonian.

"Page Turners" in Paper Engineering: Fold, Pull, Pop, and Turn

Pop-Up mechanisms--which allow certain elements to pop up from the surface of a book page--are just some of the paper construction types highlighted in the Smithsonian Institution Libraries' (SIL) exhibit, "Paper Engineering: Fold, Pull, Pop, and Turn," on view in SIL's gallery at the National Museum of American History (NMAH).  The exhibit, described on the Office of Exhibits Central's (OEC) website in June 2010, includes 44 books that range in date from the mid-16th to the early 21st centuries, creating an intriguing retrospective of volumes, which were designed and constructed with parts that move.

Selected by Stephen Van Dyk, the exhibition curator and Librarian at the Cooper-Hewitt National Design Museum in New York, the books are divided into four primary categories according to each one's paper construction type, as well as the mechanisms employed.  The groups consist of Movables; Pop-Ups; Folding Mechanisms; and Fantastic forms or "Multiple Constructions."  Examples of mechanisms contained in two of these categories--Pop-Ups and Multiple Constructions--can be activated by visitors to the gallery thanks to a clever page-turning device, loaned to the Libraries by Ann Montanaro, President of the Movable Book Society.  Originally constructed by Waldo Hunt, publisher and founder of InterVisual Books, it was used as a prototype by OEC's model shop to construct the page turners that are on display in the exhibit.  Wow! The Pop-Up Book of Sports and The Pop-Up Book of Phobias, donated to the exhibition by Susan R. Frampton, are connected to the devices, and allow viewers to see the paper engineering mechanisms at work, at the push of a button.

The exhibit's page-turning devices are activated by push buttons

 

A windshield wiper-like arm has a small fork at the end which captures the page and holds it in place.  The arm is connected to a low-powered synchronous timing motor that is concealed inside the pedestal on which the device sits, which moves the arm back and forth; as the arm moves, the page follows along with it.  By the time the arm has completed its trip from right to left, the previous page has been turned, and a new page has been revealed; the arm then moves in the opposite direction so that the previous page is visible once more.  The cycle is slow enough that visitors can watch the book's moving parts with ease, as they open and close.

 

 

Wow!: The Pop-Up Book of Sports on the left,
and The Pop-Up Book of Phobias on the right, are connected to the
page-turning devices

"From studying the Libraries' page turner, I had a good idea of how I wanted to construct the device for the 'Paper Engineering' exhibit," said OEC model maker Jon Zastrow.  "A low voltage push button activates a relay, and turns the 120V timing motor to the 'on' position.  The page turner arm swings through its cycle.  A micro switch opens the circuit, turning off the motor each time the arm reaches its 'home' position, until the button is pushed again, thereby conserving energy."  The fabric-covered pedestal on which the page turner sits, has a slot cut into it to provide a free range of motion for the device's arm as it moves back and forth.  The device, itself, is constructed of molded plexiglas which serves as a book cradle.

Visitors to the gallery watch the page-turning devices in action

 

The exacting design and engineering of the various book elements, allow authors to create an infinite number of variations--at all levels of complexity--which work together successfully.  The page turners help viewers see how the mechanisms function, and how the various elements connect to one another.  Due to the great popularity of "Paper Engineering: Fold, Pull, Pop, and Turn," the page turners have already completed thousands of revolutions.  They will, no doubt, continue to delight visitors for thousands more revolutions to come.

Background information on the books and collections is from Stephen Van Dyk, Library Director, at the Smithsonian's Cooper-Hewitt National Design Museum, New York.

Wow!: The Pop-Up Book of Sports by Sara Braunstein and Jennifer Altavilla, with paper engineering by Bruce Foster, was published by Time Books in 2009; The Pop-Up Book of Phobias by Gary Greenberg, with paper engineering by Matthew Reinhart, was published by Rob Weisbach Books in 1999.

Paper Engineering: Fold, Pull, Pop, and Turn exhibit installation

  

The fascinating art of paper engineering is the focus of a new exhibit that is on display in the Smithsonian Institution Libraries' (SIL) gallery at the National Museum of American History (NMAH).  "Paper Engineering: Fold, Pull, Pop, and Turn" includes 44 books that range in date from the mid-16th to the early 21st centuries, creating an intriguing retrospective of volumes, which were designed and constructed with parts that move.  Selected by Stephen Van Dyk, the exhibit curator at the Smithsonian's Cooper-Hewitt National Design Museum in New York, the books are divided into four primary categories according to each one's paper construction type, as well as the mechanisms employed.  The groups include Movables; Pop-Ups; Folding Mechanisms; and Fantastic Forms.  The Office of Exhibits Central (OEC) collaborated with the Libraries on the organization and production of the exhibit.

"Movables" include books with movable parts such as flaps; wheels or volvelles; and pull tabs

 

"Pop-Ups" are comprised of books that pop up from the surface of the page
 such as stage sets or pull-out layers; v-folds; box and cylinder
constructions; and floating layers

 

"Folding Mechanisms" consist of books that fold up such as carousels;
 tunnels or peep-shows; and leporellos

 

"Fantastic Forms" embrace those books which contain a combination of
construction types

 

Drawn mainly from the collections of the Cooper-Hewitt National Design Museum, and the Smithsonian's Dibner Library in Washington, D.C., the books demonstrate the changes that have taken place over time in paper engineering, as well as the continuing use and popularity of many of the oldest types of paper construction techniques.  According to Van Dyk, "Authors, designers, and paper engineers have employed diverse construction methods and mechanisms to create pop-up and movable books that have educated and entertained readers for more than 800 years.  In many cases, movable parts and pop-ups have been the most effective way to teach concepts such as alphabets and numbers to children, or to illustrate the human body by revealing the locations and positions of internal organs."

 

An example of the latter is included in the exhibit, and falls into the category of volumes known as "Movables."  De homine [On man] was printed by Petrus Leffen and Franciscus Mayardus in the Netherlands in 1662, based on the work of Rene Descartes (1596-1650), the French philosopher, mathematician, and scientist.  "Movables" which have parts that are superimposed or layered on the page, include three basic construction types: flaps; wheels or volvelles; and pull tabs.  De homine contains flaps--which were hinged on the surface of the page, and opened like a window, revealing an image below--that were used to illustrate the physiology of the heart.

"Movables" book: De homine [On man]

 

Another work in the "Movables" category is the Astronomicum Caesareum [The emperor's astronomy], the earliest book in the exhibit.  It was printed in Ingolstadt, Germany, in 1540, based on the work of Peter Apian (1495-1552), a German scholar who was famous for his writings on astronomy, mathematics, and cartography.  In the book, hand-decorated wheels or volvelles are used--paper disks which, when rotated, brought images and information into alignment--allowing the reader to chart the positions of the planets.

"Movables" book: Astronomicum Caesareum [The emperor's astronomy]
Book loan: Courtesy Mr. and Mrs. Robert Gordon and the Adler Planetarium, Chicago, Illinois

 

The second category of books in the exhibit, "Pop-Ups," have parts that are attached to the surface of the page which pop up when the page is opened.  "Pop-Ups" include four basic construction types: stage sets or pull-out layers;   v-folds; box and cylinder constructions; and floating layers.  The Elements of Geometrie of the Most Auncient Philosopher Euclide of Megara... is an excellent example of the category.  Printed in 1570 by J. Daye in London, based on the work of the ancient Greek mathematician Euclid, the book contains box and cylinder mechanisms, which were used to create pyramids and other geometric forms.

"Pop-Ups" book: The Elements of Geometrie of the Most Auncient Philosopher
Euclide of Megara...

 

One of the most recent works in the exhibit, In the Beginning: The Art of Genesis, A Pop-Up Book, also falls into the "Pop-Ups" category.  Written and designed by Chuck Fischer with paper engineering by Bruce Foster, and printed by Little, Brown, New York, in 2008, floating layers were used to enhance the story line.

"Pop-Ups" book: In the Beginning: The Art of Genesis, A Pop-Up Book

 

The third category of books included in the exhibit, known as "Folding Mechanisms," fold and unfold in an accordion-like manner, and include three basic construction types: carousels; tunnels or peep shows; and leporellos.  The Sleeping Beauty, for example, is an exquisite carousel book, printed by L. van Leer in Amsterdam, ca. 1950, with illustrations by Roland Pym.  The hidden complexities of its carousel shape, when opened to a 360 degree circle, can be seen from above.

"Folding Mechanisms" book: The Sleeping Beauty

 

Aerial view of The Sleeping Beauty

 

In contrast, Van Dyk noted, "The tunnel book or peep-show, consisting of a series of illustrated cards edged with figures or scenery placed at a distance, one behind the other, creates the illusion of depth and perspective.  A notable example is a beautifully hand-colored peep show called Garden Scene, created by German engraver Martin Engelbrecht (1684-1756), who popularized these curious tunnel books in the 18th century."  Printed in Augsburg, Germany, ca. 1750, the book depicts an elegant dance scene set in a classical garden.

"Folding Mechanisms" book: Garden Scene

 

The fourth category of books included in the exhibit, "Fantastic Forms," incorporates multiple construction types, which range from traditional mechanisms to ever-changing new innovations.  Mega-Beasts by Robert Sabuda and Matthew Reinhart, printed by Candlewick Press, Cambridge, Massachusetts, in 2007, is one of many examples included in the exhibit.

"Fantastic Forms" book: Mega-Beasts

 

While the books are important as works of art, the design and engineering behind their construction is equally significant.  Ensuring that all of the parts that move can survive thousands of manipulations, and that all parts can be contained within the covers of the volume once it is closed, often involves complex planning and testing.  Additionally, the movable parts must successfully satisfy the design concepts that the author is hoping to convey.

 

Moreover, designing and constructing brackets to support the books while they are on exhibit is a considerable challenge.  OEC's plexi specialist, Richard Gould, worked closely with SIL's conservator, Vanessa Haight Smith, to design and fabricate mounts that would protect the books' fragile elements, while at the same time, allow the public to view the volumes as the authors intended them to be seen.  Bee: A Read-about, Fold-out, and Pop-up, by David Hawcock and Lee Montgomery, printed by Random House, New York, in 1994, for example, has folding layers which allow a full three-dimensional reconstruction of a honeybee's body and wings, when the book's covers are brought together back to back.  The book is supported by a plexi bracket that is attached to the rear wall of the exhibit case, which creates the appearance of the bee in flight.

"Folding Mechanisms" book: Bee: A Read-about, Fold-out, and Pop-up

 

A particularly interesting mounting solution was devised for the "Folding Mechanisms" tunnel book, Garden Scene, a detailed description of which is posted on SIL's website.  Following an extensive conservation treatment by Haight Smith to stabilize the book's condition, a slotted rectangular box was fabricated out of plexi, into which the individual leaves of the tunnel structure were inserted.  When looking at the book from the front, the full scene can be viewed, along with its magnificent perspective.  As one walks around the side of the case, however, the scene dissolves into its individual layers, and the author's engineering skills become apparent.

Front view of "Folding Mechanisms" book, Garden Scene

Three-quarter view of Garden Scene

Side view of Garden Scene

 

As well as collaborating on the design and fabrication plans for the exhibit, OEC also worked with SIL on its installation.  While OEC staff placed decks, graphics, label bars, and brackets, Haight Smith carefully installed the books in their individual cases.

Vanessa Haight Smith installs the "Pop-Ups" book, Ricky the Rabbit, with
 illustrations by Vojtech Kubasta, printed by Bancroft in London, ca. 1961

 

Richard Gould attaches a plexi book mount to the back wall of an exhibit case

 

Gould and Stoy Popovich place a plexi vitrine on top of the "Fantastic Forms"
 case base using rubber suction cups

 

The completed "Fantastic Forms" case

 

Popovich installs a header above the gallery entrance

 

Kathleen Varnell and Rolando Mayen install entryway graphics

 

Varnell ensures that the graphic panel is straight by holding a level up to a line of type

 

In addition to the remarkable books that are on view, an equally compelling element of the exhibit is a video component developed by the Libraries.  One of the two films on continuous display in the gallery contains an enlightening interview with book author and designer, Chuck Fischer, and paper engineer, Bruce Foster, who describe the movable book design and construction process.  The second video is a collection of stop-action shots which, when strung together, demonstrate the way in which a number of the books included in the exhibit open and close, revealing the parts that move.  "Working with photographers Don Hurlbert and Jim DiLoreto in the National Museum of Natural History's (NMNH) Photo Services Department, on the stop-action videos was a great pleasure," said Susan Frampton, SIL's program coordinator.  "Setting up each shot took a great deal of time and care, but the result is spectacular.  The books truly look as if they are alive."

 

From their varied subject matter--scientific, theatrical, religious, historical--to their wide-ranging forms of construction--Movables, Pop-Ups, Folding Mechanisms, Fantastic Forms--the books included in "Paper Engineering: Fold, Pull, Pop, and Turn" are multi-dimensional works of art.  The exhibit captures the excitement and wonder, as well as the complexity and sometimes seemingly gravity-defying actions, of these captivating books.

"Fantastic Forms" book, titled One Red Dot: a Pop-Up Book for
Children of All Ages, by David A. Carter, was printed in 2004, 
by Little Simon, New York

 

 

Background information on the books and collections is from Stephen Van Dyk, Library Director, at the Smithsonian's Cooper-Hewitt National Design Museum, New York.

 

 

Faux Finishing in the Smithsonian's Great Hall

The Great Hall is one of the most impressive spaces in the Smithsonian's Castle, which was constructed between 1847 and 1855, using architectural elements that are reminiscent of the late Romanesque style.  The Great Hall's expansive width and dramatic height serve to make it a striking room, and its massive arcades--comprised of columns painted to resemble stone, which support imposing round-headed arches--run the length of the 125'-long hall.

The Great Hall in the Smithsonian Castle

 

When the bases of the arcades' columns recently needed to be refurbished, Richard Stamm, Keeper of the Castle Collection, requested that Walter Skinner, the Office of Exhibits Central's (OEC) painter, undertake the project.  The columns, which are structural elements made of brick, are covered with ornamental finishes that are divided into three segments: a base--the bottom section; a shaft--the center section; and a capital--the top element.  The base, itself, is made up of two parts: the lower portion is black granite, while the rounded moldings above it are made of molded plaster, painted to resemble granite.  The shaft is also comprised of plaster: the flat part of the column is plaster on board; the rounded sections are molded plaster.  The capitals, as well, are made of molded plaster.  While the capitals were found to be in good condition, Skinner was asked to repair and repaint the columns' bases, and to touch up their shafts, where necessary.

View of one of the columns in the Great Hall

 

Skinner's first step was to examine the bases to define the extent of the work, and to determine the best way to proceed.  The rounded moldings on all of the bases needed to be refinished, and a number of black granite corners which had gotten broken off over time, needed to be reconstructed.  Additionally, the shafts, which are currently painted to resemble multi-colored layers of marble, needed to be repaired and refinished, wherever damage had occurred.

The lower section of the column's base is black granite; the rounded moldings
 above it are plaster that has been faux finished to resemble granite; the
shaft of the column is plaster that has been faux finished to resemble
various shades of marble

 

Using color sample books, Skinner carefully matched all of the columns' base and shaft colors on-site, and then took the information back to his shop to begin planning the project.  After extensive color matching, testing, and prototyping, Skinner achieved the results that he wanted.  He then took his painting materials to the Castle to perform a test on one of the columns for review by Rick Stamm.

Skinner prepares a prototype of one of the shades of marble found on the
Great Hall columns

 

 

Skinner's prototypes for the Great Hall's bases and columns

 

Because the Castle is an historic structure, all work completed at the building must be commensurate with the structure's style.  Additionally, the work methods that are employed must conform to health, safety, and environmental regulations.  Latex paints, for example, which are water-based and have a lower petroleum content, as well as lower VOC (volatile organic compound) ratings, have generally replaced oil-based paints.  VOCs are natural or synthetic compounds that vaporize into the air, some of which have a negative impact on air quality.  Using "Low-" or "No-VOC" latex paints can diminish the amount of harmful VOCs discharged into the atmosphere, and can also reduce the need for toxic solvents for paint cleanup, since latex paints are water soluble.

Also, because the building is open to the public, all of the work had to take place at night, after the museum had been closed and locked for the day, and it had to be completed before the building reopened the following morning, so that the Castle's daily operations would not be disrupted.  Skinner began at 6:00 p.m., and worked for approximately ten hours each night, for three weeks.

The rounded moldings above the lower granite bases required the most work, and so Skinner decided to begin there.  He used a 3-M masking machine to cut masking paper in 12" strips, which he adhered to the lower base and column shaft with blue, low-adhesive tape to protect the areas surrounding the painting site.  He also carefully covered the Castle's carpeting with canvas cloths.  Next, because the light levels in the Great Hall are rather low and Skinner was working at night, he set up four portable halogen light stands, which he moved from column to column as he progressed.

As Skinner noted, "The most important consideration when undertaking a painting project is the preparation, which is 80% of the process.  Covering floors and furniture; taping off areas that are not to be painted; assembling the correct materials; testing and prototyping; and creating sufficient lighting, ventilation, and temperature conditions are critical, and determine how successful the painting results will be."  Skinner's mastery of painting comes from his three years of training at the District Council 51 Allied Trade Union Apprenticeship Program, and his subsequent 20 years of work there.  His training incorporated all applications related to designing and decorating a wall, including painting, faux finishing, wood graining, plastering, staining, wallpaper hanging, dry wall finishing, and stucco work.

Once Skinner had prepared the painting site, he began refinishing the rounded plaster moldings by repairing any holes that existed, using "Easy Sand 5" Quick Set, which is a solvent-free joint compound, or hardening agent, that dries in five minutes.  He used a sanding sponge with fine- and medium-coarse grit sandpaper to sand the moldings to make sure they were smooth, and then applied a coat of latex primer.  Reconstructing missing granite corners on the lower bases required two coats of Quick Set which he wet-sanded to form into the correct shape.

The next step was to paint the rounded moldings and repaired corners with a base coat to establish the background color of the granite.  While the base coat was still tacky, Skinner integrated additional colors to achieve the appearance of natural-looking granite.  He used three different trays containing three different paint colors--light gray, dark gray, and beige--as well as small amounts of white and black.  Each paint color was mixed with a latex clear glaze, which made the paint more translucent; the mixture equalled 50% paint and 50% glaze.

Skinner then used an artist's eye to hand-paint the bases to create the appearance of granite by applying the different colors in varying gradations across the surface of the moldings.  Following that, he did "color spotting" which consisted of adding highlights in whatever color was predominate on that particular base to achieve a more natural-looking surface.  Because the glaze thins the paint, it dries fairly quickly.  After one hour, Skinner was ready for the final step, which was to apply a coat of "Stays Clear" gloss--a durable, hard, clear, fast-drying finish that provided a protective layer and created a polished granite effect.  Once completed, each base was allowed to dry overnight.  Skinner finished three to four bases per night before putting his equipment and brushes away in preparation for the reopening of the museum each morning.

View of a column base

 

Skinner maintains a large collection of brushes which he has assembled over many years.  Ranging from 1/4" artist's brushes, which can be used for painting veins in marble, to 4" brushes, which can be used for staining decks, the choice is driven by the parameters of the job.  When using oil-based paints in the past, for example, he preferred to use a Chinese natural bristle brush, which was harder and more pliable; it did not absorb as much paint.  When using water-based paints, however, it is better to use a nylon acrylic brush, which is much more absorbant.  Because oil paint could travel further, it was unnecessary for the brush to absorb a great deal of paint; one gallon could cover 700 to 800 square feet.  With latex paint, on the other hand, the brush must be able to hold more paint in order to achieve the same coverage; one gallon of latex paint covers approximately 400 square feet.  Skinner also prefers to use a square-cut brush, rather than one with bristles cut on an angle, although it generally takes more wrist control to master, especially when painting corners.

According to Skinner, taking care of the brushes is crucial, with cleaning them properly being the most essential step in the painting process.  The brush must be washed thoroughly after each use with warm water.  The next step is to spin the brush by rapidly rolling the handle between both hands a few times--with the bristles pointed down--to dislodge most of the water.  While it is wet, a wire comb should be used to straighten the bristles and smooth them back into place.  The brush should then be stored in the manufacturer's cardboard wrapper in which it came; it can be put into the wrapper while it is still damp.

After Skinner had completed the bases of the Great Hall columns, the next phase of the Castle project was to repair and touch up the shafts, which are painted to resemble various shades of marble.  Skinner followed the same process: taping off, and preparing the painting site; repairing damaged areas; and carefully--but randomly--blending a number of colors to simulate the natural appearance of stone.  While the Great Hall has undergone many transformations over time, the current color range for the marbles consists predominantly of beige, gray, and black.  In some cases, it was necessary to apply latex paint on top of older oil-based paint, which made the project more complex since the consistency of the two paints is very different.  It is sometimes difficult for a water-based paint to adhere well to an oil-based one, for instance.

Detail of one of the faux-finished marble columns

 

Once the work in the Great Hall was completed, Skinner was also asked to do touch-up painting in the Schermer Hall, also known as the "West Range."  Constructed in the mid-19th century, during a period of great popularity for "revival" styles, the Castle's design incorporated references to medieval architectural elements.  The "Lower Main Hall" or "Great Hall" as it is known today, for example, located in the central block of the Castle, was patterned after the communal room that was often found in castles in England and France during the 11th through 13th centuries; the eastern and westernmost sections of the building, on either side of the central block, were laid out as wings that were attached to the central block by "connectors" or "ranges."  The Castle's West Range is currently used for exhibits and to highlight the Castle collections.  Similar to the Great Hall, it contains impressive arcades, along with dramatic ceiling heights.

The Schermer Hall or "West Range" of the Smithsonian Castle with a view
 of the "West Wing" through the open doorways

 

Followng the same process that he used for the Great Hall, Skinner first conducted extensive color matching on the columns, as well as the perimeter walls.  After preparing the painting site, he repaired damaged areas, sanded, and repainted, ensuring that his technique and methods were appropriate for the historic structure.  Because the perimeter walls are so tall, it was not feasible to repaint them from floor to ceiling.  Instead, Skinner repaired damaged sections, and then "faded" or "feathered" the paint that he applied to those areas so that it would blend in with the existing paint and be unnoticeable.

View of a tri-colored column in the Schermer Hall

 

"One of the most interesting aspects of this field of work," Skinner said, "is that every job is different from the last.  I am inspired by great buildings, and get a lot of satisfaction from experimenting with various processes to determine which one is best for each particular situation.  Being able to work on-site in a wide variety of locations also keeps the job exciting, and I like having the opportunity to produce something that people can enjoy."

 

 

Background information on the Castle is from The Castle: an Illustrated History of the Smithsonian Building by Cynthia R. Field, Richard E. Stamm, and Heather P. Ewing (Washington and London: Smithsonian Institution Press, 1993). 

photo credit:  editor

Bracket-making

A significant percentage of the objects that are selected for inclusion in museum exhibitions require brackets to hold them in place while they are on view.  One of the most indispensible steps in the exhibit development process is designing and constructing these often one-of-a-kind support structures, which vary widely in size and complexity.

The Office of Exhibits Central's (OEC) primary mount-maker, Howard Clemenko, follows a carefully thought-out process when developing a mount.  His first step is to gather as much information as possible from the curator and conservator relating to the object's history and fragility, as well as input from the exhibit designer regarding the anticipated design intent for the display of the object inside its exhibit case.  Next, he studies the object, itself, in order to discern its strengths and weaknesses, composition, and most advantageous angles.  He then determines the safest method for supporting the object, and best materials to use to fabricate the mount.  It is imperative that the bracket not alter the object in any way, and that the materials be inert, so that they do not chemically react with the object.  Additionally, Clemenko strives to make the brackets unobtrusive, so that visitors can focus on the important characteristics of the object.

Clemenko, who has been a mount-maker for twenty years, has designed and constructed thousands of brackets during his career.  The diverse list of projects on which he has worked while at OEC is a long one, including artifacts used in everyday life during the Roman era for display at the Smithsonian's National Museum of Natural History; objects for exhibits organized by the Smithsonian Institution Traveling Exhibition Service on the U.S. First Ladies, as well as on Jim Hensen's muppets; bird specimens and mollusk shells for the Smithsonian Institution Libraries, to accompany displays of their rare books; and objects from the Smithsonian's National Museum of American History's Numismatic Collection presenting a comparative study of American coinage over time.

Study mounts for coinage for the "Stories on Money" exhibit from the
 Smithsonian's Numismatic Collection

 

For the Numismatic Collection's coinage exhibit, entitled "Stories on Money," Clemenko prototyped three different types of mounts which are pictured above.  The first--utilized for the large coins at the top and bottom--consisted of three prongs, each of which was constructed of flattened brass, bent at a right angle.  The second type--used for the two medium-sized middle coins--was made up of three different parts: a lower section composed of an inverted brass "V" which had a tyne on each end on which the coin sat; an upper section comprised of a small flat brass pin with a hook at the top which held the coin in place from above; and a stainless steel "Z"-shaped spring which connected the upper and lower sections together, and allowed the pin and hook to move, while providing enough tension to firmly hold the coin in place once it was mounted.  To install the coin, Clemenko grasped the small flat pin and hook with one hand, rested the coin on the tynes of the inverted V with the other hand, pulled the pin and hook up--by stretching the spring--until it reached the top of the coin, and then gently slipped the hook over the coin's upper rim.  The third type of mount--utilized for the smallest coin pictured above--was constructed of three strands of spring-tempered stainless steel, whose front ends were formed and flattened to fit the shape of the coin, and whose back ends were soldered together and inserted into the back board.  The tensile flexibility of the spring-tempered stainless steel allowed the bracket to firmly support the coin.

Side view of study mounts for coinage

 

Clemenko used silver solder with a high percentage of silver content, and an acetylene air torch to heat, bend, and connect the metal materials.  He then covered the metal with a heated powder coating or with B-72, which served to seal the metal with a conservationally-approved inert buffer that prevented the bracket from directly rubbing against the surface of the coin.  The coins were displayed at varying distances from the back board to which they were mounted to enhance the exhibit case's visual interest.  Variations in depth can also be used to highlight a particularly important object within a case. 

View of some of the coins included in "Stories on Money" at the
 National Museum of American History

 

A similar project on which Clemenko worked was the fabrication of a series of mounts for a collection of Greek coins and bank notes, on loan from the National Bank of Greece and the Welfare Foundation for Social and Cultural Affairs, which traced the history of Greece through the images that appeared on its currency.  "Classically Greek: Coins and Bank Notes from Antiquity to Today" was displayed in the Schermer Hall gallery of the Smithsonian's Castle Building in 2008.

View of the installation of "Classically Greek" in the Schermer Hall of the
 Smithsonian's Castle Building

 

Mounts for an exhibit at the National Museum of Natural History, entitled "Going to Sea," were also constructed by Clemenko.  The show examined man's interaction with the sea by surveying the use of, and navigation of, the oceans; it illustrated the history of sea exploration from early navigational voyages, through contemporary discoveries many of which were made using highly-advanced technologies.

Clemenko first studied a drawing of the layout of the exhibit, which was provided by the exhibit designer, to determine where each object would be mounted, and what type of mount each artifact would require.

Exhibit drawing for "Going to Sea"

 

Next, Clemenko carefully removed the object on which he intended to work from the storage vault, and took it to his workshop.

Exhibit objects for "Going to Sea"

 

Clemenko then examined each object, paying particular attention to its condition and fragility.  An especially delicate sea shell, for example (pictured below), required a soft mount, which Clemenko fabricated using small plastic tubing made of polyolefin.  He heated and formed the shrink tube, creating an encircling loop which was the exact size of the sea shell, so that the shell would fit snugly within it.

View of the back of the sea shell and its shrink tube loop

 

Next, he heated the tubing and attached a brass support rod to it, which would elevate the sea shell so that it would be more visible within its exhibit case.  Clemenko then placed the sea shell inside its shrink tube circle.  The shell's fragile appendages were reinforced from behind by the tubing, which was not visible from the front.

View of the sea shell on its brass support rod

 

Clemenko has also constructed mounts for non-accessioned objects, which are sometimes included in exhibits.  "Journey Stories," which was organized by the Smithsonian's Traveling Exhibition Service, examined the intersection between transportation and American society by providing individual stories which illustrated the critical roles that mobility and travel have played in our country's history.  The limited security exhibit, which traveled to small and rural communities, included purchased objects which required less stringent conservation controls.

The non-accessioned objects mounted inside this "Journey Stories" exhibit case included a clay tobacco pipe, dice, and a deck of cards--modern-day examples of items that would have been used by some of the early colonists on board a ship

 

The non-accessioned objects displayed inside this "Journey Stories" exhibit case included cowry shells which were used for bartering, a ceramic jug, plates, and a pressed brick of tea with embossed surface designs

 

Another interesting project on which Clemenko worked, was the fabrication of a complex mount for an important artifact that was included in an exhibit at the University of Pennsylvania while he was working there.  According to Clemenko, "An archaeological dig in the Great Death Pit of the Royal Cemetery at Ur, conducted jointly by the British Museum and the University of Pennsylvania's Museum of Archaeology and Anthropology in 1928 and 1929, yielded a wealth of objects that were traced to Sumerians from the middle of the 3rd millennium B.C., in Mesopotamia.  During the dig, C. Leonard Woolley discovered two lyres of special interest, one of which was a beautifully-carved 'Boat-Shaped' Lyre with a figure of a standing stag on the front."

Silver "Boat-Shaped" Lyre from the middle of the 3rd millennium B.C.

 

In 1997, the lyre was selected for inclusion in the "Treasures from the Royal Tombs of Ur" exhibit, which was organized by the Museum of Archaeology and Anthropology.  It was researched and documented by Maude de Schauensee--one of the exhibit curators at the University of Pennsylvania, and author of the book Two Lyres from Ur--who requested that Clemenko fabricate a mount for the stringed instrument, which required an especially high degree of planning.  The complexity of the mount resulted from a number of factors including the object's fragility; the fact that the lyre was divided into thirteen separate fragments; and the requirement that each fragment needed to be supported independently, so that the pieces could be removed and studied as distinct entities by scholars.

Additionally, each fragment needed to be mounted so that once it was removed for study, the mount would allow it to remain stable and level when placed on a flat surface.  Moreover, because of their fragility, the fragments could not be secured to their mounts in any way; the mounts needed to have vertical adjustability in order for the fragments to align properly for display; and each fragment had to overlap where necessary, but not touch the others.  Clemenko was also responsible for reconstructing the sections of the lyre that were missing, including the strings, and the branches of the copper tree on which the stag's front hoofs were braced.  The new pieces were to be fabricated out of present-day materials with the stipulation that they had to be clearly distinguishable as new, and they could not touch the original artifact.  Lastly, the lyre and its mount needed to be installed on an inclined surface in its exhibit case.

After careful consideration, Clemenko decided to fabricate a custom-formed cradle for each fragment upon which the artifact would rest.  He began by rolling Pliacre--a non-exothermic epoxy putty--between two sheets of plastic wrap moistened with water.  The moisture allowed the Pliacre to move within the plastic sheets so that it could be stretched quite thin.  When necessary, the plastic wrap was rewetted to allow the rolling and stretching process to continue.  When the Pliacre was thin enough, Clemenko placed the lyre fragments face down in a bed of sand.  He covered the backs of the objects with another sheet of plastic wrap to protect them, and then placed the Pliacre on top, gently pressing it to help it conform to the shape of the fragments.

Side view of the Pliacre cradles and brass support rods; the stag's head
and antlers are visible on the left side of the image

 

After lifting the Pliacre "shells" or "cradles" off the objects, Clemenko let them dry for 24 hours.  He then applied a coat of B-72, and let them dry for another 24 hours.  A second coat of B-72 was applied, and allowed to dry for an additional 24 hours.  Following that, Clemenko immersed soft Tyvek--a high-density polyethylene fiber material--in B-72, let it rest overnight, and applied it to each Pliacre shell the following day to create a protective surface that would lie between the Pliacre and the lyre fragments.

The next step was for Clemenko to add more Pliacre epoxy putty beneath the shells to build up a mass to which he could attach the solid brass support rods which would run from the Pliacre cradles to the deck of the case.  After determining how thick the built-up areas needed to be in order to safely support the fragments, as well as the precise height and angle of each cradle, and the length that each brass support rod needed to be, Clemenko fit together the entire mount to make certain that the pieces were exactly as he wanted them to be, ensuring that the sides of the cradles were high enough to keep the objects securely in place on the inclined deck surface.  He then laid the lyre fragments on their individualized cradles to check their relationship to one another.  After removing the fragments, he completed the assembly by drilling holes in the built-up areas of the Pliacre cradles, and permanently attached the brass support rods.  Lastly, Clemenko drilled holes in the deck of the case to accommodate the brass rods.

Drawing showing the built-up area beneath the cradle,
as well as the brass support rod

 

As noted above, some of the project's complexity was derived from the fact that the fragments had to be removable for study.  When fully installed, however, many of the lyre fragments needed to overlap in order to show how the artifact would have originally appeared.  Additionally, the mounts were designed so that they would hold the fragments in a precise alignment when installed.  In order to avoid future handling problems, Clemenko supplied installation instructions for the  mount, which provided a specific order in which the fragments needed to be removed and re-installed following study.  As a consequence, the fragments were less likely to be incorrectly handled.

 

View of the overlapping--but not touching--lyre fragments

 

"One of the greatest benefits of being a mount-maker," Clemenko noted, "is the opportunity to be able to study artifacts in such an intimate manner.  I also enjoy being able to participate in installations, and watch exhibitions come together in the gallery.  Additionally, as a sculptor, I appreciate fine work, and have a strong interest in form and dimensionality, which allow me to display the objects to their best advantage."

The ever-changing nature of designing and constructing supports for an unending list of objects, serves to keep Clemenko fascinated with the art of mount-making.  And combining traditional methods and materials with new ones, as they evolve, ensures that the field remains a fertile environment for the exchange of knowledge and information.

Clemenko adjusts a mount for one of the muppets included in
"Jim Hensen's Fantastic World," organized by the Smithsonian
Institution Traveling Exhibition Service

 

photo credits: 

  photos 1-3:        Editor

  photos 4-8:        Jessica Hostetler

  photos 9-10:       Editor

  photos 11-12:    Two Lyres from Ur by Maude de Schauensee

  photo 13:           Elevation drawing of Pliacre mount by Howard Clemenko

  photo 14:           Two Lyres from Ur by Maude de Schauensee

  photo 15:           (c) The Muppets Studio, LLC.  All rights reserved

Background information on the Boat-Shaped Lyre from the article, "The 'Boat-Shaped' Lyre: Restudy of a Unique Musical Instrument from Ur" by Maude de Schauensee (Expedition, Volume 40, No. 2 [1998]).

Moving Beyond Earth

The Smithsonian's National Air and Space Museum (NASM) recently opened a new gallery devoted to exploring recent human spaceflight during the space station and space shuttle eras, as well as to contemplating future spaceflight possibilities.  "Moving Beyond Earth" includes artifacts such as space suits and astronaut gear; models including a 12' tall space shuttle replica; and interactive components that allow visitors to experience various aspects of spaceflight such as serving as mission control's flight director, equipping a module for use on the space station, manipulating and assembling space station elements, and exploring the Moon and Mars.

The Office of Exhibits Central (OEC) collaborated with the museum on one of the key components in the gallery--a presentation stage intended to be used for live events and broadcasts, as well as for the "Space Flight Academy" quiz game which tests visitors' flight readiness.  The stage was an exciting challenge for the OEC team, which took NASM's original design concept, and turned it into a three-dimensional structure.

CAD drawing prepared by OEC model makers, Vincent Rossi and Adam Metallo 

 

The first step in the production of the stage was for OEC model makers, Vincent Rossi and Adam Metallo, to create a drawing using Computer Assisted Design (CAD) software, which reflected the size and profile parameters that NASM had provided to the team.  Rossi, who served as OEC's project leader, explained the importance of the CAD drawings.  "I knew that everyone would be building from the drawings," he said, "and so I wanted to ensure that they were as accurate as possible.  The CAD drawings allowed for precision in all components.  We were working within a limited time-frame, with little room for error, and it was essential that each element was completed to an especially high standard.  Also, the CAD drawings allowed us to see how the finished structure would look inside the gallery."

Once the drawings were completed and approved by the museum, discussions took place to determine what types of materials would work best for the interior framework and outer skin of the stage.  Because it needed to support equipment, as well as people during live presentations, the stage had to pass stringent Smithsonian life/safety reviews, including receiving engineering and materials approvals from the review board.  Square 3/8" steel tubing was selected as the best material for the frame, since it was structurally sound, as well as relatively easy to work with. 

The team cut the steel--which came in 20' lengths--to the desired sizes with a band saw according to the CAD drawings, and carefully labeled the pieces so that they would know exactly where each custom-made segment belonged.  The steel tubing for the curved perimeter of the frame was sent to an outside contractor, who was able to bend it to the correct degree of curvature in order to get the round shape for the stage that was specified in the CAD drawings.  The OEC team then cut the curved tubing to size, as well, and labeled the pieces.

View of the steel framework at OEC

 

The CAD drawings called for the steel frame to be supported by fifteen posts, which were also custom made at OEC.  The posts were fitted with interior plates that could slide up and down threaded rods which were to be secured to the museum's floor.  The posts could be adjusted for height by moving the plates up or down the threaded rods, and clamping them with nuts; the rods, in essence, acted as adjustable stilts.  The several posts which supported the curved perimeter were also reinforced in their interiors with metal angles: in one post, the steel angle ran from the lower left corner to the upper right corner, and in the next post, the angle ran from the upper left corner to the lower right corner.

Because the stage was designed so that its outer skin would be made up of fixed panels, as well as movable panels that could swing open as doors, complex hinges had to be attached to four of the perimeter posts to accommodate the doors, which Rossi and Metallo developed and fabricated at OEC.  The doors were intended to provide access to the open storage space beneath the stage, as well as to the electrical components needed to power the stage's interactive and audio/visual equipment.

Door hinge

 

In the meantime, OEC model maker, Jon Zastrow, created a full-size template out of medium density fiberboard (MDF) which was set up on the floor so that the team could use it as an outline onto which they could arrange all of the post and frame "puzzle pieces" in order to double check the accuracy of the cut list before welding began.  After the pieces were assembled in place, they were welded together in three sections so that the framework would be manageable to work with; the sections were then painted with a rust-colored primer to seal the metal surface.

Once the interior steel framework was underway, Rossi focused on the type of material that would work best for the outer skin of the stage, suggesting that fiberglass might be a good choice, with which NASM concurred.  He located a firm that was able to produce large-scale structures, and he and the project administrator, George Quist, worked with the company to finalize the details.  "The firm was able to mold to very tight tolerances," Quist noted, "which is exactly what we needed for the project." 

The company first created a full-scale mold based on the computer drawings; the mold was divided into eight panels, four of which (every other one) were designed to be the hinged doors.  Next, the firm delivered the mold to a specialist who began the casting process by covering the interior of the mold with a gel coat.  A chop gun was used to spray a fiberglass and fire-retardant resin mixture into the mold to reach a depth of 1/4".  Rectangular-shaped steel reinforcements (illustrated in green on the CAD drawing) were embedded into the fiberglass panels to increase their structural integrity, and to provide a point of attachment for the door hinges.  Lastly, silver-colored acrylic polyurethane was applied as a finish coat on the outside of the fiberglass, giving the stage's skin a space-age appearance.

The team requested that one of the finished fiberglass door panels be delivered to OEC, in advance, so that it could be tested before the others were cast, to make sure that it would accurately fit the steel frame, and that the hinges on the posts could be connected to the embedded metal reinforcements inside the fiberglass, as planned.  Once the posts, hinges, frame, and fiberglass panels were complete, all of the pieces were delivered to NASM for the assembly of the stage.

OEC model makers, Danny Fielding and Natalie Gallelli, started the installation by drilling small holes in the floor of the museum to accommodate the threaded rods on which the posts were to be affixed, and then slipped the posts onto their rods.  Since the floor of the museum was not level, a laser level was used to adjust the posts; Fielding and Gallelli moved the posts up or down the rods until they were positioned correctly.  (The laser level is a portable light source that emits multiple beams of light simultaneously which serve to mark a pre-set height.)  According to Fielding, "The individual pieces were so precisely cut and welded, that leveling the posts went very smoothly.  We spent a great deal of preparation time in the OEC shop measuring, prototyping, and testing so that we would not run into any complications on site.  Additionally, we assembled the entire structure at OEC to ensure that all of the components worked together as we had anticipated they would."

View of the steel framework installed in the exhibit gallery at NASM

 

A platform, constructed by Jon Zastrow of fire-rated, medium density fiberboard, was then bolted to the top of the metal frame by Fielding and Gallelli.  The next phase of the installation was to attach the fiberglass panels to the steel framework.  During the design phase, Rossi and Metallo had built in flexibility wherever there were unknowns.  "By factoring in a degree of adjustability," Metallo said, "we could account for variation or anything that came in above the anticipated tolerance level.  The door hinges, for example, were adjustable up to approximately 2", which allowed the doors to move up, down, left, or right, in any direction, so that we would be able to install them correctly."

Vincent Rossi (left) and Adam Metallo (right) attach a fiberglass panel to the steel framework

 

Adam Metallo (left) and Natalie Gallelli (right) adjust a post

 

Rossi and Metallo utilized laptops on site at NASM to access their CAD drawings, making the process virtually paperless.  It was unnecessary for them to print out full-scale blueprints at any point in the process, and Rossi was able to continually update the drawings, as adjustments were made in the design.

Adam Metallo (left background) and Vincent Rossi (right background) consult the computer drawings while Natalie Gallelli (left foreground) and Danny Fielding (right foreground) adjust a post

 

View of the assembled stage

 

For special events, NASM's original design concept called for accessories that could be used with the structure, including stairs and elevators.  Rossi was able to locate three companies that provided the needed equipment: the first firm, which specialized in building custom-made staircases, fabricated removable stairs for the project, equipped with a built-in handrail to allow visitors and staff to ascend the stage; the second, an elevator manufacturer, was able to construct an appropriately-sized lift that operated without flammable oils, and could be permanently attached to the stage to lift materials onto it; and the third was an elevator manufacturer that carried specially-designed equipment which met Americans with Disabilities Act (ADA) requirements, and provided a removable elevator to facilitate wheel-chair access.

The final phase of the installation was the attachment of the lighted interactives along the rim of the stage, which were prototyped and fabricated by OEC model maker, Chris Hollshwander, based on NASM's designs; NASM positioned and connected the electrical work.  Visitors can watch the outcome of their game playing on free-standing, large-screen monitors which sit on top of the stage when the structure is not being used for special events.  NASM then covered the MDF platform with carpeting, and special exhibit lighting was focused on the stage and the other exhibit components in this very dynamic gallery.

Danny Fielding (left) and Adam Metallo (right) check the rim of the stage where the interactive lights and buttons will be attached

 

In addition to the model shop team, OEC painter, Walter Skinner, detailer, Stoy Popovich, and graphic specialist, Theresa Keefe, contributed their expertise to the successful completion of the stage.  As project administrator, Quist, said, "It was quite exciting and gratifying to watch the structure evolve from the CAD drawings to a functioning stage.  The OEC model shop team solved a number of complex design and fabrication issues, and conducted a great deal of interesting materials research.  Moreover, the team was able to perfectly mesh what they fabricated in-house with the work produced by the many disparate outside contracters, including the cast fiberglass panels and doors for the outer skin, and the staircase and elevators.  The accuracy of all of the work was very impressive."

The OEC team credits NASM's chief of design, Frank Florentine, for helping to make the project a success.  His support throughout the design and fabrication phases was invaluable, and his commitment to quality ensured that "Moving Beyond Earth" will be one of the museum's most popular exhibit galleries.

View of the completed stage in "Moving Beyond Earth"

 

photo credits:

   photo 1:  Vincent Rossi and Adam Metallo

   photo 2:  Editor

   photo 3:  Adam Metallo

   photo 4:  Adam Metallo

   photo 5:  Courtesy NASM; Eric Long, photographer

   photo 6:  Courtesy NASM; Eric Long, photographer

   photo 7:  Courtesy NASM; Eric Long, photographer

   photo 8:  Editor

   photo 9:  Courtesy NASM; Eric Long, photographer

   photo 10: Editor

 

On the Water: Stories from Maritime America

Throughout our history, America's waterways have served as important corridors, connecting sites within the United States, as well as linking us to other countries and continents.  "On the Water: Stories from Maritime America" is a permanent exhibit at the Smithsonian's National Museum of American History (NMAH), Washington, D.C., which examines marine commerce and transportation by exploring the lives of the people who took part in the maritime trades, and the structures they employed for water travel.  From stories of whaling crews, fishermen, shipbuilders, merchant mariners, and passengers, to 18th-century sailing ships, 19th-century steamboats, and 21st-century super containerships, the exhibit provides a comprehensive view of America's marine-based development.

As part of the exhibit, NMAH requested that the model makers at the Office of Exhibits Central (OEC) design and build a model of an early 18th-century slave ship for inclusion in one of the exhibit cases.  Chris Hollshwander and Natalie Gallelli readily accepted the opportunity to fabricate the model, and figures of slaves and crew, respectively (photo 1).  Because detailed drawings of slave ships are rare, Hollshwander and Gallelli worked closely with NMAH curator Paul Johnston to produce a representational schematic model which would illustrate the harsh and dirty conditions on board such a ship.

Photo 1.  Slave ship model fabricated by OEC model maker, Chris Hollshwander, with figures by Natalie Gallelli.

Hollshwander based his model on an 18th-century merchant shipwreck, discovered and excavated on Manhattan Island, New York.  He worked from drawings supplied by the curatorial team at NMAH, which included general size descriptions and notes on the structure.  This provided the foundation for the creation of 3-D computer modeling which depicted what the final scale model would look like (photos 2-3).  Reviewing detailed information on the slave trade in the form of graphic images and period color renderings of slave trade vessels, as well as working closely with the curator, enabled him to refine the details before beginning to construct the actual model.  This part of the process, Hollshwander noted, was critical since there seemed to be a lack of specific scaled drawings of slave ships.

 

Photo 2.  NMAH plans to put Hollshwander's 3-D computer drawings into its Ship Plans List, one of NMAH's three catalogs of ship plans available to the public.

 

Photo 3.  Slave ship 3-D computer drawing. 

 

Mahogany was selected for the body of the model, while the mast is made of pine with rope rigging (photo 4).  Hollshwander began construction by shaping the hull's 18 interior ribs on a band saw, and using a router with templates to work out how to form the "rib cage" or keel and frame.  He then built the beam work for the upper and lower decks.  Next, he covered the ribs and constructed the decks, using approximately 250 individually cut and stained mahogany planks.  The planks were also "weathered" (sanded and roughed up with a chisel) to make them look worn.

Photo 4.  View of slave ship model.

 

According to Hollshwander, "This was an especially interesting project for me to work on.  Thanks to my past experience with scale modeling, I had a good idea of the scale that I thought would work well to illustrate the details that the curators desired to have shown.  It also gave me a chance to get back to my roots in traditional model making."

The ship's figures--which represent the male and female slaves who would have been transported on the vessel, as well as some of the crew members--are an equally compelling part of the project.  The women are huddled together on the model's upper deck (photo 5); the male slaves are positioned on the lower deck either sitting or lying down (photo 6); the crew are placed close to where they would have been working.

 Photo 5.  Female slaves.

 

To determine the poses, Gallelli used reference images provided by the curator, as well as additional drawings that she was able to locate which were completed during the time period, primarily by abolitionists.

Photo 6.  Male slaves and crew member.

 

To begin the complex casting process, Gallelli first sculpted, by hand, a standing and a seated male figure, as well as a standing and a seated female figure, from a mixture of clay and wax, at the appropriate scale.  She then made a separate silicone mold from each sculpture (totaling four molds) by placing each figure in a small square aluminum container, and gently pouring liquid silicone on top of it.  Once the silicone had hardened, Gallelli took the silicone cube out of the container, carefully cut it in half, and removed the clay and wax figure (photo 7).

Photo 7.  Silicone mold with seated clay and wax figure.

 

Using the resulting mold, Gallelli cast five silicone copies of each sculpture by repeatedly pouring silicone into the cavity left by the clay and wax figure.  Next, she used the five copies of each sculpture to produce new five-figure silicone "gang" molds so that she could make multiple copies of each figure more quickly.  Gallelli subsequently cast approximately 50 copies of the figures in clay and wax using the four gang molds (photo 8).

Photo 8.  Silicone gang mold with clay and wax figures.

 

Gallelli then heated each clay and wax figure separately in order to bend it into an individualized position.  Next, she made a new silicone mold for each individualized figure.  Once that was completed, Gallelli cast the final figures by pouring urethane into the cavity of each individualized mold (photos 9-10).

Photo 9.  Urethane figure next to its individualized silicone mold.

 

Photo 10.  Urethane figure in its silicone mold.

 

After the urethane figures had cured, Gallelli removed them from their molds, and painted each one, by hand (photo 11).

Photo 11.  View of finished figures.

 

In addition to the figures, Gallelli also cast several rats in urethane, fabricated water buckets and elephant tusks out of wood, and created cloth sacks out of epoxy putty, for placement in the ship's cargo hold (photos 12-13).

Photo 12.  Crew members with rats and water buckets.

Photo 13.  Cloth sacks and elephant tusks.

 

Gallelli, too, considered herself to be fortunate to be able to participate in such a significant project.  "As a figural sculptor," she said, "I was very interested in making each figure individual.  I wanted to convey, through the distorted and uncomfortable positions of the figures, the horrific conditions under which the slaves traveled."

The successful collaboration among Hollshwander, Gallelli, and the NMAH curators resulted in a model and figures which are compatible in scale and character.  Additionally, both Hollshwander and Gallelli agreed that they had learned a great deal about the difficult life experienced by so many on board an early 18th-century slave ship.  The model is displayed in its exhibit case alongside a pair of shackles which the slaves would have worn while in transit, as well as a manilla from Nigeria.  These copper or bronze bracelets were carried aboard European merchant vessels as trade goods.

 

photo credits:

   photo 1: Courtesy National Museum of American

            History; Harold Dorwin, photographer

   photos 2-3: Chris Hollshwander

   photo 4: Courtesy National Museum of American

            History; Harold Dorwin, photographer

   photos 5-10: Natalie Gallelli

   photo 11: Kathleen Varnell

   photos 12-13: Natalie Gallelli

 

 

 

  

Interview with Kathleen Varnell, OEC Senior Exhibits Specialist and Ceramic Artist

Q: Can you describe what you do as a Senior Exhibits Specialist at the Office of Exhibits Central (OEC)?
A: I am a team leader of day-to-day operations, frequently acting supervisor of the Graphics unit, and point person for production and installation of numerous exhibitions.  Additionally, I train and counsel assigned employees and interns on production techniques, and develop, as well as establish, internal operating procedures.  On the design and graphics side, I am responsible for interpreting and implementing design concepts, layouts, sketches, and shop drawings to execute production of exhibition-related graphics (e.g., text and graphic panels, large-scale photographs and text, directional signage, object labels), which meet clients' aesthetic and accessibility requirements.  On the business side, I prepare contracts and orders for services, materials, and equipment, ensuring sufficient inventory for current projects.  As a Project Manager, I am responsible for all phases of project development including client consultation, budgets, scopes of work, contracts, purchasing, outsourcing, production, transportation, and installation.

Q: How long have you been at OEC?  How did you get started there?
A: I have been at OEC for eight years.  I came to OEC as a Howard University Minority Fellowship Intern in the Fabrication unit, during the winter session of 2001.  At the end of the internship, I was offered temporary employment in the Graphics unit.  After one year of service, I applied for the permanent position of Exhibits Specialist, and I've been here ever since.

Q: What kind of training did you have before you came to OEC?
A: I have a BA, with concentrations in Graphics and Ceramics from Jackson State University.  I have an MFA in Ceramics from Howard University.  I also have experience in teaching and money and banking.

Q: What kind of work did you do before you came to OEC?
A: Before Howard University, I worked in accounting with a large food distribution company where I reconciled accounts payable and accounts receivable.

Q: What has been your favorite project so far at OEC?
A: There have been many projects I've enjoyed at OEC, but by far, the annual Smithsonian Women's Committee (SWC) Craft Show is my favorite project to work with each year.  I have served as the project manager, determining the scope of work based on the committee's needs.  I also attend to the graphic needs for this project.  This is a show where approximately 120 artists showcase their artworks.

Q: What has been your favorite project so far as an artist?
A: As an artist, being in the studio, and living the process of creating is the ultimate project.  "Live Face Casting" is one important element in my work.  My first encounter with live face casting was in undergraduate school.  The procedure entails greasing your face with Vaseline, and inserting straws coated with cotton into your nose for air access.  While lying on your back, a two-inch coil of clay is placed around your entire face.  Plaster mixed to a cake mix consistency, is poured onto your face.  In approximately 15 to 20 minutes, the plaster cures, and then the cast lifted from your face has all your features, even the flaws.  The feeling was as if you were buried alive.

Wounded I (Detail), 2002
Smoke-fired stoneware with earthenware slip

Keeping this in mind, imagine two grade school boys going through this process.  Many years ago, a client commissioned wall art featuring the faces of her two boys.  The eldest son went through the process just fine.  He was a great role model for his younger brother.  Then, it was time for the youngest son "to go under."  He was fine while we prepared his face and hair for the process.  Even when the plaster was poured onto his face, he lay there still and brave.  Just before the plaster set, however, he leaped to his feet and took off across the yard.  Thank goodness we were outside, plaster went everywhere.

The client knew just what to do.  She calmed him and convinced him to try it again.  She read his favorite book to him while we began the process.  This time he was a champion.  We made it through the entire process without a hitch.  We finished the day with two perfect face castings of two perfect boys.

Q: Do you have any upcoming events where your work will be showcased?
A: Yes.  I will exhibit at Arts/Harmony Hall Regional Center in their commemorative exhibition, 20 Years: A Retrospective, on view from November 16, 2009, through January 9, 2010, in Ft. Washington, Maryland, and I have a piece in an exhibit at the Fischer Gallery in Jackson, Mississippi.  Also, I have work at the Mississippi Museum of Art in their permanent collection.

Q: Are there any similar techniques or skills that you use both in your ceramic work, and the work you do at OEC?
A: Yes.  Managing projects at OEC is similar to managing shows of my work.  I am responsible for sales and marketing, content development, cost estimates, contracts, purchasing, production, transportation, and installation.  In addition, to have superior craftsmanship, skill in Adobe CS3 applications, and to interpret and implement layouts and sketches, are crucial in my ceramic work, as well as the work I do at OEC.

Q: What is one significant event that has shaped your career as an artist?
A: When I was in undergrad, I kept putting off my ceramics class.  I took every possible class to avoid it.  But from the first day I stepped into the ceramics studio, the aroma of the clay took me over.  In that moment, I went back to my childhood when I would play in the dirt and make little village compounds.  My mother always had to get me out of the dirt.  Since that first day in the ceramics studio, I have only worked in clay.

 

Healing VI, 2004
Smoke-fired stoneware with earthenware slip

Q: What does it mean to you to work at an institution like the Smithsonian?
A: As an artist, this is a dream to work at an institution that is the largest conglomerate of art in the world.  I enjoy looking at art in the Smithsonian's collections, and being inspired to expand my own work in new directions.

Written by Antonia Harbin.  


photo credits:

       photo 1:  Nekisha Durrett

       photo 2:  Sutikare Photography

      photo 3:  Mississippi Museum of Art