Braniff Airliner with "Jelly Bean" Orange Livery Designed by Alexander Girard, circa 1965//THF275594
Let’s set the scene: it’s the late 1960s, you need to book a flight, and you fancy yourself a stylish and forward-thinking consumer. Which airline do you choose? One airline in particular catered to just such a savvy passenger. Flying with Braniff International Airways in the late 1960s into the 1970s was a fashionable—and colorful—experience.
In 1965, Braniff International hired designer Alexander Girard to completely and comprehensively redesign its image and each step of the airline passenger’s experience. Girard was a trained architect who became one of those Modernist designers to try his hand at everything—textiles, furniture, objects, interiors, toys, graphics, and more. He was known for a humanistic approach to design. Departing from the white-walled minimalism of the earlier Modernists, Girard valued color, folk art, and designs that evoked joy and delight. In 1965, he was known primarily as the director of design for Herman Miller Furniture Company’s textile division, as well as for his encyclopedic 1960 design of La Fonda del Sol restaurant in New York City’s Time & Life Building. For La Fonda del Sol, Girard designed everything from the matchboxes to the menus, the dishware to the large-scale murals and sculptural objects.
Left: Set of Braniff International Airways Playing Cards, circa 1973//THF175414 Right: Braniff International Airways Bar Soap, 1965-1975//THF172360
Girard’s approach to the Braniff redesign was similar. Braniff named the campaign “The End of the Plain Plane.” It was an absolutely appropriate name, too—Girard implemented over 17,000 design changes in total. Girard wanted to “destroy the monotony” of the traditional airplane and instead, “do something to make the performance lively and interesting.” The exteriors of the airplanes were perhaps the most immediately obvious change. There were seven exterior paint colors: yellow, orange, turquoise, dark blue, light blue, ochre, and beige—each with a black nose, white wings, and white tail. Girard explained, “The idea was to make a plane like a great racing car—with the fuselage painted a solid color clearly expressing its shape.” The airplane interiors featured seven different coordinating color palates. Girard designed 56 new upholstery fabrics for the project, featuring solids combined with patterns of checks and stripes. Television ads for Braniff boasted, “you can fly with us seven times and never fly the same color twice…”
Undigitized textile samples by Girard for Braniff International Airways in The Henry Ford’s Collection.
The changes didn’t stop at the airplane’s paint scheme and upholstery. Girard designed a new logo, ticketing areas, and airport lounges which featured furniture designed by his friends and colleagues Charles and Ray Eames as well as new furniture that Girard himself designed. His new line was futuristic and colorful with contrasting upholstery, rounded edges, aluminum legs, and cantilevered arms. A plethora of small objects—soap packaging, blankets, playing cards, sugar packets, ticket holders, dishware, luggage tags, litter bags, and more—rounded out the comprehensive redesign.
Ottoman Footstool, 1966-1967, from The Girard Group Series//THF93606
To top it all off, Girard suggested the commission of Italian fashion designer Emilio Pucci to create a line of uniforms for Braniff pilots and flight attendants. The futuristic space age-themed uniforms were colorful and included go-go boots and translucent plastic helmets. Braniff International’s new flying experience was no longer simply travel between two points, but instead it became an immersive journey. As one television advertisement concluded, “Braniff International announces the end of the plain plane. We won’t get you where you’re going any faster, but it’ll seem that way.”
Katherine White is Associate Curator, Digital Content, at The Henry Ford.
Throughout its history, the Burroughs Corporation adhered to the founding principles of William S. Burroughs – to respond to the human problems of the times with relevant technologies. As part of the William Davidson Foundation Initiative for Entrepreneurship, we had the opportunity to delve into the Burroughs Corporation Collection, which consists of machinery, photographs, publications, and marketing materials for the business equipment that Burroughs manufactured.
William Seward Burroughs – grandfather to the Beat Generation author sharing the same name – was a banker from Auburn, New York. He was also an inventor with an aptitude for mechanical design. Burroughs suffered from tuberculosis and moved his family to St. Louis, Missouri, in 1882 on the suggestion of his doctor, who thought the warmer climate would be better for his health. While there, Burroughs rented bench space from a local machine-shop owner, Joseph Boyer, and began designs on a machine that could ease the work of figuring and re-figuring mathematical calculation by hand – work that proved tedious for bankers and shopkeepers alike. In 1886, with a working machine complete, Burroughs formed the American Arithmometer Company with co-founders Thomas Metcalfe, RM Scruggs, and William R. Pye, to produce and market his machine.
The company’s first device was a simple addition and subtraction machine. Unfortunately, the machines didn’t work as well as planned. It was quickly discovered that accurate calculations required a specific amount of pressure to be applied to the handle. This was an unforeseen mechanical flaw that produced inaccurate calculations and caused bankers to lose faith in the machine, nearly causing the fledgling company’s failure. Burroughs was incredibly disappointed. In fact, he was in the process of quite literally throwing the machines out the window of his second-story workroom when he had the idea to use a dash-pot. A dash-pot is a mechanical device which resists motion – for instance, preventing heavy doors from slamming. This provided a uniform motion for the handle regardless of the force exerted upon it, regulating the mechanism.
With the handle problem solved, bankers renewed their trust in the machines and bought them with enthusiasm. In the first decade, the company grew in staff and sales, increasing their product line to four models by 1898. Unfortunately, William S. Burroughs died the same year, but his company was left in good hands. Under President Joseph Boyer, the company experienced significant growth. By 1904, the company had outgrown its St. Louis facility, moving operations to Detroit, Michigan, where a 70,000-square foot factory was built. In 1905, the company was renamed the Burroughs Adding Machine Company as a tribute to its late founder.
In the 1920s, the company continued to expand its operations, establishing worldwide sales in 60 countries and production in South America, Europe, Africa, and Australia. In the mid-1930s, recognizing the potential for additional advanced equipment, the company’s product line diversified to include over 450 models of manual and electric calculation devices, bookkeeping machines, and typewriters.
During World War II, Burroughs’ production was halted as the company collaborated with the National Defense Program to enter into military and war contracts. Its most influential contribution to the war effort was the development of the Norden bombsight in 1942. According to the Burroughs’ “History” booklet, this apparatus made “accurate, high-altitude bombing possible, and was considered by some military authorities as the single most significant device in shortening the war.” This same bombsight was used on the Enola Gay to accurately drop the atomic bomb “Little Boy” on Hiroshima, Japan, in 1945.
Burroughs’ work throughout the war launched the company onto a different trajectory once military production was no longer required. Wartime needs had accelerated computer and electronics research, becoming a significant part of the company’s focus in the 1950s, along with defense, space research, banking, and business technology. In 1952, Burroughs built the core memory system for the ENIAC – the world’s first electronic general-purpose computer.
The 1950s were a time for diversification for Burroughs as the company acquired many other entities in order to expand its product capabilities. In 1953, to reflect its increasingly diverse product and service offerings, the company was renamed the Burroughs Corporation, and was recognized as a single outlet for a variety of business management products. One of the most significant acquisitions came in 1956, when Burroughs acquired ElectroData Corporation of Pasadena, California. This allowed Burroughs to further expand into the electronic computing market and led to the development of the B5000 series in 1961, which was celebrated as a groundbreaking scientific and business computer.
Successful collaboration during wartime prompted Burroughs Corporation to be awarded additional government and defense contracts throughout the 1960s. The company provided electronic computing solutions in the Navy’s POLARIS program, the Air Force’s SAGE, ALRI, ATLAS, and BUIC air defense networks, and the NORAD combat computing and data display system. According to the Burroughs’ “History” booklet, during the Cold War Burroughs computers were being “used to make split-second evaluations of threats to the North American continent using input from satellites and radar throughout the world.”
Burroughs also produced a transistorized guidance computer in 1957, which was used in the launch of Atlas intercontinental ballistic missiles (ICBMs) – this same system was deployed in the 1960s to launch Mercury and Gemini space flights.
By the 1970s, Burroughs had emerged as a major player in the computer industry, but was still in the shadow of powerhouses like IBM. To further its influence and market potential, the company began thinking about office automation and information management in a holistic way, providing all scales of computers from mini- and micro-computers to networks and large modular systems – along with the software and peripherals (printers, communications systems, displays, and keyboards) to complement them.
Throughout the early 1980s, additional acquisitions were achieved in order to fill technology voids and strengthen areas targeted for future growth. The company also developed joint ventures to strengthen business relationships. Despite this growth, IBM continued to dominate the market as the unrivaled leader of the computer industry. Hoping to challenge IBM, Burroughs embarked on a substantial entrepreneurial undertaking with Sperry Corporation in 1986. Combining the market positions, talent, and resources of both corporations, the merger was meant to signal a new era of competition. What resulted was one of the largest mergers ever to occur in the computer industry, and the creation of the new entity in information technology, Unisys.
From the adding machine to office equipment to computers that helped to send people into space, the Burroughs Corporation was steadfast in its pursuit of the latest research and in its development of cutting-edge technology. To view additional items we’ve already digitized from our Burroughs Corporation Collection, check out our Digital Collections page!
Samantha Johnson is Project Curator for the William Davidson Foundation Initiative for Entrepreneurship at The Henry Ford. Special thanks to Kristen Gallerneaux, Curator of Communications & Information Technology, for sharing her knowledge and resources to assist in the writing of this post.
Luther Burbank overcame nature’s limitations to create more than 800 plants the world had never seen.
Burbank experimented with plant reproduction to change the traits of plants. He considered himself a student in “Nature's school” and a lifelong learner. Through the power of observation, Burbank overcame the limits of nature to create new varieties of plants.
Luther Burbank’s plant hybridization experiments led him to develop a plumcot: a cross between the plum and the apricot. THF275310
Luther Burbank used methods like selective breeding, cross-pollination, and hybridization in his experiments. In one famous example, he crossed a plum and an apricot to create a brand-new fruit: the plumcot. In another, he created a cactus with no spikes!
Burbank’s plant creations brought him fame. He amazed more formally trained scientists, and crowds of people showed up at his experimental gardens. The media described Burbank as a “plant wizard,” but he rejected that label. He argued that anyone could do what he did.
An interactive digital experience in Henry Ford Museum features the stories of Luther Burbank, Rachel Carson, and George Washington Carver.
Learn more about Burbank’s life and work in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores
Grafting – a technique Burbank used to clone fruit varieties
The process of creating the famous Russet Burbank potato
Tools used by Luther Burbank in his work
Burbank’s work tracing the origins of corn to an ancient wild grass
Brochure for Chicago Merchandise Mart Exhibit, "Herman Miller Modern for Your Home," 1935-1940 (THF229429)
West Michigan is known for its furniture. Furniture factories-turned-apartment or office buildings can be seen throughout Grand Rapids and its surroundings—some with company names like Baker Furniture, John Widdicomb Co., and Sligh Furniture still visible, painted on the brick exterior. While fewer in numbers today than in 1910, West Michigan still boasts numerous major furniture manufacturers. One of these, the Herman Miller Furniture Company in Zeeland, is known around the world for its long history of producing high quality modern furniture—but the Herman Miller name was not always synonymous with “modern.”
A young man named Dirk Jan (D.J.) De Pree began working as a clerk at the Zeeland-based Michigan Star Furniture Company in 1909, after graduating from high school. It was a small company and De Pree excelled, partly due to his appetite for reading books about business, accounting, and efficiency. Just a decade after starting with the company, he was promoted to president. In 1923, De Pree convinced his father-in-law, Herman Miller, to go in with him to purchase the majority of the company’s shares. The furniture company was renamed the Herman Miller Furniture Company in honor of De Pree’s father-in-law’s contribution, although Miller was never involved in its operation. Renamed, rebranded, and under new ownership, D.J. De Pree pushed a new culture of quality and good design that, he hoped, would help the company stand out amongst a competitive and crowded West Michigan furniture industry.
Dressing Table, ca. 1933 (Object ID: 89.177.112), Image copyright: Herman Miller, Inc.
At the time, many West Michigan furniture companies were producing stylistically similar pieces that were essentially reproductions of historic forms, especially Colonial and European Revivals. Most of the manufacturers “designed” furniture by copying from books or authentic vintage furniture found in museums. The best designers were known to be the most faithful copyists. The Herman Miller Furniture Company manufactured primarily reproduction furniture until the early 1930s. Their furniture lines were typically very ornate and sold in large suites—and following in the footsteps of other West Michigan companies, Herman Miller released new lines with each quarterly furniture market, despite the undue pressure this placed upon them.
As the Great Depression crippled industry across America in the late 1920s and early 1930s, the Herman Miller Furniture Company struggled to survive. With bankruptcy on the horizon, D.J. De Pree reflected on the shortcomings of the furniture industry and issues within the company. A devoutly religious man, he also prayed. Whether by divine intervention or regular old coincidence, Gilbert Rohde—a young designer that would leave an indelible mark on the Herman Miller Furniture Company—walked into the company’s Grand Rapids showroom in July of 1930, bringing with him the message of Modernism.
The Herman Miller Furniture Company, Makers of Fine Furniture, Zeeland, Michigan, 1933 (Left: THF64292, Right: THF64290). Herman Miller continued to produce historic revival furniture, like the above Chippendale bedroom suite, even while embracing the more modern Gilbert Rohde lines, like the above No. 3321 Dining Room Group.
Born in New York City to German immigrants in 1894, Gilbert Rohde (born Gustav Rohde) showed aptitude for drawing at a young age—he claimed to have drawn an identifiable horse by the age of two-years-old! He was admitted to Stuyvesant High School in 1909, which was reserved for gifted young men. There, he designed covers for the school’s literary magazine, won drawing contents, and began to experiment with furniture design. While he had aspirations (and demonstrated aptitude) to become an architect, he began working as an illustrator and later, a commercial artist. He was successful in this venture for years and learned invaluable lessons about advertising and marketing which would help him—and his future clients—tremendously in the years to come. With determination to become a furniture designer, in 1927 Rohde departed on a months-long European tour of sites associated with the modern design movement. Among his stops, he visited the Bauhaus design school in Germany and the Parisian design studios that featured the modernist ideas exhibited in the breakthrough Exposition International des Arts Décoratifs et Industriels Modernes of 1925. Returning to the United States months later, he began designing furniture with a clear European modern influence and soon began to focus on designing mass-produced furniture for industry, namely for the Heywood-Wakefield Company of Massachusetts.
Dresser, 1933-1937 (THF156178). An early example of Rohde-designed furniture manufactured by Herman Miller, this dresser was designed for the 1933 Chicago World’s Fair’s “Design for Living Home.” The house and its furniture garnered broad public acclaim, benefitting the budding Rohde and Herman Miller partnership.
By 1930, Rohde was looking for more clients. He visited the Herman Miller showroom in Grand Rapids, Michigan—at the end of a long day of denials by other manufacturers—and met D.J. De Pree. Rohde argued that modern furniture was the future and told him, “I know how people live and I know how they are going to live.” This confidence, despite few years of actual furniture design, convinced De Pree to give Rohde a chance at designing a line for Herman Miller. Further, Rohde was willing to work on a royalty arrangement with a small consultation fee instead of all cash up front. In combination with Herman Miller’s already-precarious financial situation, these factors helped to offset some of the risk in producing this forward-thinking furniture. Herman Miller began selling Rohde’s first design, an unadorned, modern bedroom suite in 1932, but still played it safe by continuing to sell historic revival lines alongside Rohde’s modern furniture. As design historian Ralph Caplan notes, in those early years, Herman Miller was “like a company unsure of what it wanted to be when it grew up.” But Rohde’s furniture sold. By the early 1940s, Rohde’s modern lines made up the vast majority of Herman Miller’s output.
Left: Coffee Table, 1940-1942 (THF35998), Right: Rohde Sideboard, 1941-1942 (THF83268). Gilbert Rohde admired the Surrealist Art Movement. In his early 1940s Paldao Group, the forms and materials pay homage to the work of the Surrealists—and were the first biomorphic forms used in furniture manufactured in the United States.
Tragically, Rohde’s tenure at Herman Miller was cut short by his untimely death at the age of 50 in 1944, but his impact is lasting. Rohde’s emphasis on simplicity and functionality of design meant the materials and the manufacturing had to be of the highest quality—this honesty of design and emphasis on quality appealed to De Pree’s Christian values. It remains a hallmark of Herman Miller’s furniture to this day and undoubtedly contributed to the longevity of Rohde’s furniture sales. Sales of Rohde’s furniture did not slow the season after it was introduced, like many of the historic reproductions. The Laurel Line, Rohde’s first coordinated living, dining, and sleeping group, remained in production almost his entire tenure with Herman Miller. D.J. De Pree recounted that his lines often sold for 5-10 years instead of the 1-3 that was typical of the historic reproduction styles. Rohde’s design work for Herman Miller extended far beyond furniture and into advertising, catalogues, and showrooms, and he advised on the manufacture of his furniture too. This expansion of the designer’s role and the creative freedom allowed by D.J. De Pree came to define Herman Miller’s relationship with designers and then the company itself.
Rohde Modular Desk, 1934-1941 (THF159907). This Laurel Group desk was part of one of Rohde’s early—and most successful—lines for Herman Miller. It was part of a coordinated modular line, which meant that new pieces would be added regularly over years. This was in opposition to the new lines for each quarterly furniture market approach that D.J. De Pree counted as an “evil” of the furniture industry.
Cover and interior page from Catalog for Herman Miller Furniture, "20th Century Modern Furniture Designed by Gilbert Rohde," 1934 (left: THF229409, right: THF229411).Gilbert Rohde expanded the role of the designer during his tenure at Herman Miller. In this 1934 catalogue, he was educator as well as designer, explaining to the consumer that “Every age has had its modern furniture…When Queen Elizabeth furnished her castles, she did not order her craftsmen to imitate an Egyptian temple…”
Gilbert Rohde and D.J. De Pree transformed the Herman Miller Furniture Company—from one manufacturing reproductions at the brink of bankruptcy, to one revolutionizing the world of modern furniture. George Nelson, Charles and Ray Eames, Isamu Noguchi, Alexander Girard and countless others were able to make incredible leaps in the name of modernism, largely due to the culture and partnership developed by Gilbert Rohde and D.J. De Pree. In George Nelson’s words, “we really stood on Rohde’s shoulders.”
Katherine White is an Associate Curator at The Henry Ford.
Disneyland was created from a combination of Walt Disney’s innovative vision, the creative efforts and technical genius of the team he put together, and the deep emotional connection the park elicits with guests when they visit there. Walt Disney himself claimed, “There is nothing like it in the entire world. I know because I’ve looked. That’s why it can be great: because it will be unique.” Here’s the story of how Walt created Disneyland, the first true theme park.
Disneyland is much like Magic Kingdom at Walt Disney World in Florida, but it’s smaller and more intimate. To me, it seems more “authentic.” It’s like you can almost feel the presence of Walt Disney everywhere because he had a personal hand in things.
Walt Disney posing the Greenfield Village Tintype Studio, 1940. THF 109756
In creating Disneyland, Walt Disney challenged many rules of traditional amusement parks. We’ll see how. But first…since he insisted that everyone he met call him by his first name, that’s what we’ll do. From now on, I’ll be referring to him as Walt!
DISNEY INSIDER TRIVIA: Do you know where Walt Disney’s inspiration for Main Street, USA, came from? ANSWER: Born in 1901, Walt loved the bustling Main Street of his boyhood home in Marceline, Missouri. Marceline later provided the inspiration for Disneyland’s Main Street, USA.
Map and guide, “Hollywood Movie Capital of the World,” circa 1942. THF 209523
After trying different animated film techniques in Kansas City, Walt left to seek his fortune in Hollywood.
Snow White and the Seven Dwarfs Valentine, 1938. THF 335750
There, he made a name for himself with Mickey Mouse (1927) and—10 years later—the first full-length animated feature film, Snow White. Walt innately understood what appealed to the American public and later brought this to Disneyland.
Walt claimed the idea of Disneyland came to him while watching his two daughters ride the carousel in L.A.’s Griffith Park. There, he began to imagine a clean, safe, friendly place where parents and children could have fun together!
DISNEY INSIDER INFO: That carousel in Griffith Park was built in 1926 by the Spillman Engineering Company—a later name for the Herschell-Spillman Company, the company that made the carousel now in our own Greenfield Village in 1913! Here’s what ours looks like.
1958 Edsel Bermuda Station Wagon Advertisement, “Dramatic Edsel Styling is Here to Stay.” THF 124600
The decline of these older amusement parks ironically coincided with the rapid growth of suburbs, freeways, car ownership, and an unprecedented baby boom—a market primed for pleasure travel and family fun!
Young Girl Seated on a Carousel Horse, circa 1955. THF 105688
Some amusement parks added “kiddie” rides and, in some places, whole new “kiddie parks” appeared. But that’s not what Walt had in mind. Adults still sat back and watched their kids have all the fun.
Chicago Railroad Fair Official Guidebook, 1948. THF 285987
Walt’s vision for his family park also came from his lifelong love of steam railroads. In 1948, he and animator/fellow train buff Ward Kimball visited the Chicago Railroad Fair and had a ball. Check out the homage to old steam trains in this program.
After the Railroad Fair, Walt and Ward visited our own Greenfield Village, where they enjoyed the small-town atmosphere during a special tour. At the Tintype Studio, they had their portrait taken while dressed up as old-time railroad engineers.
Walt Disney and Artist Herb Ryman with illustration proposals for the Ford Pavilion, 1964-1965 New York World’s Fair. THF 114467
DISNEY INSIDER TRIVIA: Walt Disney used the word Imagineers to describe the people who helped him give shape to what would become Disneyland. What two words did he combine to create this new word?
ANSWER: Walt hand-picked a group of studio staff and other artists to help him create his new family park. He later referred to them as Imagineers—combining the words imagination and engineering. This image shows Walt with Herb Ryman—one of his favorite artists.
Postcard viewbook of Los Angeles, California. THF 7376
Walt continually looked for new ideas and inspiration for his park, including places around Los Angeles, like Knott’s Berry Farm, the Spanish colonial-style shops on Olvera Street, and the bustling Farmer’s Market—one of Walt’s favorite hangouts.
Times Square – Looking North – New York City, August 7, 1948. THF 8840
Walt also worried about how people got fatigued in large and crowded environments. So, he studied pathways, traffic flow, and entrances and exits at places like fairs, circuses, carnivals, national parks, museums, and even the streets of New York City.
Studying these led to Walt’s first break from traditional amusement parks: the single entrance. Amusement park operators argued this would create congestion, but Walt wanted visitors to experience a cohesive “story”—like walking through scenes of a movie.
Another new idea in Walt’s design was the central “hub,” that led to the park’s four realms, or lands, like spokes of a wheel. Walt felt that this oriented people and saved steps. Check out the circular hub in front of the castle on this map.
Disneyland cup & saucer set, 1955-1960. THF 150182
A third rule-challenging idea in Walt’s plan was the attractor, or “weenie” for each land—in other words, an eye-catching central feature that drew people toward a goal. The main attractor was, of course, Sleeping Beauty Castle.
To establish cohesive stories for each land, Walt insisted that the elements in them fit harmoniously together—from buildings to signs to trash cans. This idea—later called “theming”—was Walt’s greatest and most unique contribution.
DISNEY INSIDER TRIVIA: Which came first, Disneyland the park, or Disneyland the TV show?
ANSWER: To build his park, Walt lacked one important thing—money! So, he took a risk on the new medium of TV. While most Hollywood moviemakers saw TV as a fad or as the competition, Walt saw it as “my way of going direct to the public.” Disneyland the TV show premiered October 27, 1954—with weekly features relating to one of the four lands and glimpses of Disneyland the park being built.
Disneyland, the park, opened July 17, 1955, to special guests and the media. So many things went wrong that day that it came to be called “Black Sunday.” But Walt was determined to fix the glitches and soon turned things around.
Walt Disney World Magic Kingdom guidebook, 1988. THF 134722
Today, themed environments from theme parks to restaurants to retail stores owe a debt to Walt Disney. Sadly, Walt Disney passed away in 1966. It was his brother Roy who made Walt Disney World in Florida a reality, beginning with Magic Kingdom in 1971.
Torch Lake steam locomotive pulling passenger cars in Greenfield Village, August 1972. THF 112228
DISNEY INSIDER INFO:In an ironic twist, a steam railroad was added to the perimeter of Greenfield Village for the first time during a late 1960s expansion—an attempt to be more like Disneyland!
Marty Sklar speaking at symposium for “Behind the Magic” at Henry Ford Museum, November 11, 1995. THF 12415
In 2005, The Henry Ford celebrated Disneyland’s 50th anniversary with a special exhibit, “Behind the Magic: 50 Years of Disneyland.” The amazing and talented Marty Sklar, then head of Walt Disney Imagineering, made that possible.
DISNEY INSIDER INFO: Check out this blog post I wrote to honor Marty’s memory when he passed away in 2017.
During these unprecedented times, Disneyland has begun its phased reopening. When you feel safe and comfortable going there, I suggest adding it to your must-visit (or must-return) list. When you're there, you can look around for Walt Disney's influences, just like I do.
Donna Braden is Curator of Public Life at The Henry Ford.
The Detroit, Toledo & Milwaukee Roundhouse in Greenfield Village. (THF2001)
Symbolic Structure Apart from the ubiquitous small-town depot, there may be no building more symbolic of railroading than the roundhouse. At one time, thousands of these peculiar structures were spread across the country. Inside them, highly-skilled workers used specialized tools, equipment, and techniques to care for the steam locomotives that powered American railroads for more than a century.
Today, only a handful of American roundhouses are still in regular use maintaining steam locomotives. Visitors to The Henry Ford have the rare opportunity to see one of these buildings in action. The Detroit, Toledo & Milwaukee Roundhouse is the heart of our Weiser Railroad, the steam-powered excursion line that transports guests around Greenfield Village. Our dedicated railroad operations team maintains our operating locomotives using many of the same methods and tools as their predecessors of earlier generations.
Workers pose outside the Detroit, Toledo & Milwaukee Roundhouse on its original site in Marshall, Michigan, circa 1890-1900. (THF129728)
Roundhouses were built wherever railroads needed them, whether in the heart of a large city or out on the open plains. In 1884, the Detroit, Toledo & Milwaukee Railroad constructed its roundhouse in Marshall, Michigan – the approximate midpoint on DT&M’s 94-mile line between the Michigan cities of Dundee and Allegan. Larger railroads operated multiple roundhouses, generally located at 100-mile intervals – roughly the distance one train crew could travel in a single shift. The roundhouses on these large railroads served as relay points where a new locomotive (and crew) took over the train while the previous locomotive went in for maintenance.
Roundhouses gave crews space to work, but also kept locomotives and equipment within easy reach, as seen in this 1924 view inside a Detroit, Toledo & Ironton Railroad roundhouse. (THF116641)
Circular Reasoning Railroads embraced the circular roundhouse design for a variety of reasons. It allowed for a compact layout, keeping the locomotives and equipment inside closely spaced and within accessible reach. The building pattern was flexible, permitting a railroad to add stalls to an existing roundhouse (or remove them) as conditions warranted. The turntable – used to access each roundhouse stall – simplified trackwork and didn’t require multiple switches to move locomotives from place to place.
Not all “roundhouses” were round. See this example from Massachusetts, photographed in 1881. But round structures offered decided advantages over rectangular buildings. (THF201503)
Likewise, the single-space stalls and turntable allowed for convenient access to any one locomotive. Long, rectangular service buildings required moving several locomotives to extract one located at the end of a track. (If you’ve ever had to ask people to move their cars from a driveway so that you could get yours out, then you’ll recognize this problem.) The turntable had the added benefit of being able to reverse the direction of a locomotive without the need for a space-consuming “wye” track.
People made the roundhouse work, like this man at the Detroit, Toledo & Ironton’s Flat Rock, Michigan, roundhouse photographed in 1943. (THF116647)
A Variety of Trades Of course, roundhouses were more than locomotives, turntables, and tracks. Their most important feature was the variety of skilled tradespeople and unskilled workers who made them function. Boilermakers, blacksmiths, machinists, pipefitters, and more all labored within a roundhouse’s stalls. Large roundhouses might employee hundreds of people. The environment was noisy and smoky, and much of the work was dangerous and dirty – emptying ash pans, cleaning scale from boilers, greasing rods and fittings – but it had its advantages. Unlike train crews who worked all hours and spent long periods away from home, roundhouse workers enjoyed more regular schedules and returned to their own beds at the end of the day.
Roundhouses faded after the transition from steam to diesel, illustrated by this 1950 photo taken at Ford’s Rouge plant. (THF285460)
Roundhouses Retired With the widespread adoption of diesel-electric locomotives following World War II, the roundhouse gradually disappeared from the American railroad. Diesels needed far less maintenance than steam engines, and required fewer specialized skills from the crews that serviced them. Following dieselization, a few roundhouses were modified to maintain the new locomotives, while others were put to other railroad uses. Some were preserved as museums, and a few were even converted into shopping centers or restaurants. But most were simply torn down or abandoned.
The Detroit, Toledo & Milwaukee Roundhouse followed a similar pattern of slipping into disuse – though in its case, it was more a victim of the DT&M Railroad’s failing fortunes than the transition to steam. After a series of acquisitions and mergers, the little DT&M became a part of the Michigan Central. The much larger MC had no need for DT&M’s Marshall roundhouse, and the new owner repurposed the structure into a storage building. In 1932, the roundhouse was abandoned altogether. It was in a dilapidated condition by the late 1980s, when The Henry Ford began the process of salvaging what components we could. After many years of planning and fundraising, the reconstructed DT&M Roundhouse opened to Greenfield Village guests in 2000. Clearly, the building itself is rare enough, but it’s the work that goes on inside that makes it truly special. Today, the DT&M Roundhouse is one of the few places in the world where visitors can still observe the crafts and skills that kept America’s steam railroads rolling so many years ago.
Matt Anderson is Curator of Transportation at The Henry Ford.
Just before the official dedication of his museum and historical village in 1929, Henry Ford decided he wanted a tintype studio added to the village. Ford’s staff worked feverishly to construct and furnish this building in one day! It was designed to look like a small tintype photographic studio from the 1870s and 1880s. Last minute details, including curtains hastily brought from the home of Ford’s photographer and hung at the windows, helped complete the look.
The Greenfield Village Tintype Studio has three rooms:
A dressing room or “primping” room where customers got ready for their picture
The studio or “operating room,” originally equipped with head rests (to hold people’s heads still so the picture wouldn’t come out blurry), posing chairs, cameras, and a painted backdrop. Large windows provided maximum light for the photographer.
The darkroom for preparing and developing the tintypes
Ford’s staff built this tintype studio in one day—just in time for the rainy dedication of Greenfield Village on October 21, 1929. THF139188
Tintypes, the popular “instant photographs” of the mid-1800s, could be produced in a matter of minutes at a price the average American could afford. This quick, affordable process gave more people than ever before the chance to have a real likeness of themselves.
Though tintypes became less popular as new and better forms of photography replaced them, traveling tintypists found work at country fairs, summer resorts and other vacation spots as late as the 1930s. One such tintypist was Charles Tremear, who eventually gave up photography and went to work for Ford Motor Company in 1909. When Henry Ford heard that Tremear had been the “last wandering tintypist in America,” he transferred him to Greenfield Village.
Charles Tremear, the “last wandering tintypist in America,” ran the Greenfield Village Tintype Studio from 1929-1943. THF132794
Charles Tremear ran the Greenfield Village Tintype Studio from 1929 until his death in 1943. The studio was a popular destination. Tremear produced more than 40,000 tintypes during his tenure, including many of celebrities. Joe Louis, Walt Disney, and Henry Ford numbered among the famous people who posed for tintype portraits in Greenfield Village.
Though tintypes are no longer made in the Greenfield Village Tintype Studio, it's still a great place to learn more about the tintype process and practice some poses. Selfies are welcome!
Refrigerated rail transport revolutionized meatpacking and other agricultural industries by broadening the markets for fresh produce. Refrigerator cars enabled farmers in regions with extended growing seasons, such as Florida and California, to market perishable foods across the country--greatly expanding agricultural production and allowing people in cold climates to enjoy fresh fruits and vegetables year-round.
Serious experimentation with ice-cooled refrigerated railroad car design began in the 1860s. At first, refrigerator cars primarily shipped meat from Chicago to cities in the eastern United States. But by the late 1890s, refrigerated shipping of all kinds of perishable foods by railroad had become big business. When this refrigerator car was built in 1924, there were 150,000 such cars in use.
Fruit Growers Express Company, a pioneer in refrigerator car service, operated this car from 1924 until 1971. THF68309
This car was built and operated by Fruit Growers Express Company of Alexandria, Virginia, a pioneer in refrigerator car service. To cool the car, laborers loaded blocks of ice through roof hatches at each end into two large bunkers. Fans driven by the car’s axles helped to circulate the cool air. Mats of felted flax or cattle hair lined the floor and walls of the car to insulate delicate cargo against both hot and cold temperature extremes.
Ice melted quickly in refrigerator cars, despite their clever design. Fruit Growers Express and other refrigerator car companies maintained a nationwide network of ice-making and ice-loading facilities to support their business. They carefully coordinated transportation schedules and labor, because to prevent spoiled cargo, trains had to reach icing stations on time and workers had to be available to move food to market quickly once it reached its destination. Special trains made up entirely of refrigerator cars were sometimes given right-of-way priority over other traffic.
Refrigerator car companies carefully coordinated transportation schedules and labor to prevent cargo from spoiling before delivery to market. THF145082
Mechanically cooled refrigerator trucks began to replace rail transport for perishable goods after World War II, but The Henry Ford’s refrigerator car had a lengthy career. Following a rebuild in 1948, it remained in service until 1971. Today, in Henry Ford Museum of American Innovation, it serves as an example of a railway innovation that revolutionized American agriculture.
Florida oranges on grocery store shelves in Minnesota. Fresh blueberries from Chile at fruit markets in New England -- in the middle of winter. Beef processed and packaged in Texas purchased and consumed by families in the Carolinas. Whether we realize it or not, our relationship with food is directly dependent on the transportation industry. And it has been for nearly 200 years.
“As the U.S. became more urbanized, the demand for fresh food shipped over long distances increased,” said Matt Anderson, curator of transportation at The Henry Ford. Before widespread adoption of refrigerated railcars after the Civil War, such variety of eats was unfathomable. People ate what was grown in their immediate area. Farming was a local endeavor. “Refrigerated cars revolutionized the agriculture industry,” said Anderson. A growing desire to move processed and packaged beef hundreds of miles, rather than a whole herd of living cattle, sparked the larger movement to cool things down inside the railcars.
At first, refrigerator cars primarily shipped meat from Chicago to cities in the eastern United States. THF110235
The Henry Ford has a refrigerator car, built in 1924 for Fruit Growers Express, in its collection. Cooling was provided by ice, loaded through roof hatches into large compartments at each end of the car. Fans, driven by the car’s axles, helped to circulate the cool air. “I consider our Fruit Growers Express car to be the cornerstone of our food transportation collection,” said Anderson. “Refrigerator cars like this changed the American diet, permitting fresh produce and meat to be shipped anywhere in the U.S.” Discover how West Coast fruit growers marketed their produce to the new markets opened up by refrigerated rail transport in this blog post.
Refrigerator cars enabled farmers in regions with extended growing seasons to market fresh produce, like California grapefruit, year-round across the country. THF295680
And while we’re talking about moving fruit and keeping it fresh, ponder this: When McDonald’s introduced sliced apples to its menu in 2011, it quickly became the largest purchaser of apple slices at 60 billion pounds per year. Give some thought to who grows all those apples and how they get where they need to go.
When Jenny Chandler photographed these Brooklyn children playing games about 1900, she also unwittingly provided us with a “cameo” image of herself. The photograph includes her shadow, slightly bent over her camera as she takes the shot. THF 38025
In 1890, 25-year-old Jenny Young Chandler suddenly found herself a widow with a two-month-old baby to provide for. This heart-rending personal loss would take her on an unexpected path--one as a photojournalist and feature writer for the New York Herald, capturing life in Brooklyn, New York and vicinity. Over the next three decades, Chandler’s sensitive, insightful photography would depict people from all walks of life and the world in which they lived--a legacy preserved in over 800 glass plate negatives.
Jenny Chandler was born in 1865 in New Jersey to William Young and Mary Lewis Young. An only child, Jenny was raised by her father and stepmother, Sarah Bennett Young. The family moved to Brooklyn, New York, when Jenny was six, so her father could work as the city editor for the New York Sun newspaper. Jenny followed the normal “career path” for a young lady at that time, marrying William G. Chandler on April 25, 1888. The groom, a neighbor, worked as a sales representative for a picture frame manufacturer. Jenny and William welcomed a son, William Young Chandler, on October 12, 1890. Two months later, Jenny’s husband died of typhoid fever. Chandler unexpectedly needed to earn a living for herself and her child.
When Jenny Chandler embarked on her career, photographs were made by lugging a heavy camera, glass plate negatives and tripod. Understanding how the photo chemicals worked and how light and camera lenses interacted proved to be an exacting task. While photography was growing in popularity as a hobby for young women whose families could afford the equipment, as a profession, it was still considered a male domain. Yet Jenny Chandler mastered the technical details of camera and chemicals, then used her sensitivity and insight as a professional photojournalist to create evocative images of the world around her.
Jenny Chandler’s photographs have an immediacy—a “you are there” quality. She had a remarkable talent for portraying on film the lives of people of diverse economic and ethnic backgrounds. Chandler captured well-off Brooklyn girls and boys playing games, the exuberance of families enjoying the beach at Coney Island, the well-mannered curiosity of students on a museum visit, young girls bent over their sewing tasks, scruffy boys hanging out at the beach, children gathering tomatoes, a fisherman mending his net, shipwrights making wooden boats, and Norwegian immigrant women laboring at their farm work.
In 1922, at the age of 56, Jenny Young Chandler died of a heart ailment. For nearly 10 years, her photographic legacy quietly remained in her Brooklyn home. The subsequent owner of the house, Betty R.K. Pierce--recognizing its importance--contacted Henry Ford hoping “to have Mrs. Chandler’s work preserved in some way.” Mrs. Pierce had read about Henry Ford’s museum and historical village, and thought the photographs particularly related to Ford’s collections. In May 1932, five large boxes containing the carefully packed 800 glass negatives were on their way to Dearborn.
The result of this donation is an amazing document of early 20th century life.
Cynthia Read Miller, former curator, photography & prints, and Jeanine Head Miller, curator of domestic life at The Henry Ford.
Brooklyn and its environs offered Jenny Chandler a varied palette of urban and rural scenes, wealthy and impoverished people, and daily work life and leisure experiences. Below are a few selections from her remarkable collection of photographs.
Coney Island’s beaches and amusement parks offered cooling breezes and leisure opportunities to New York City area residents. THF38292
Children in front of a Gowanus Canal house, Brooklyn, New York. Gowanus Canal was a busy - and polluted - domestic shipping canal. THF38009
Gathering radishes in Ridgewood. Ridgewood - a neighborhood that straddled the Queens/Brooklyn boundary - remained largely rural until about 1900. Buildings in the background attest to the increasing urbanization of the area. THF38392
Norwegian immigrant women laboring at their farm work, about 1900. THF38397
It was so difficult to choose only a few of Jenny Chandler’s photographs! You can enjoy hundreds more of her images in our digital collections.