Past Forward

Activating The Henry Ford Archive of Innovation

95.1.1788.5

In a recent post on our blog for National Space Day, Digital Access & Preservation Archivist Brian Wilson highlighted a few concept drawings created by the Sundberg-Ferar industrial design firm, in conjunction with Lockheed and NASA, in the early 1980s. As Brian notes, these drawings of a manned space station “considered how the astronauts would perform normal earthbound tasks in the tight quarters of the space station, including the need to exercise, bathe and sleep, and how a near-zero gravity environment would affect those tasks.” The drawings shown here, for example, demonstrate how dining might work in space. If your interest is piqued, you can now browse a couple dozen more of these newly-digitized drawings on our collections website.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

space, design, drawings, digital collections

 

Jim Clark and his Racing Team with Lotus Racer, Indianapolis 500 Race, 1965 (THF 110496)

 

This year marks the 99th running of the Indianapolis 500 Mile Race, more commonly known as the Indy 500. Since the race’s inception in 1911, men and women from around the world have participated, but only 5 drivers have come from Scotland. With 2015 commemorating the 50th anniversary of the first Scottish win at Indy, here is a look at the five Scots who brought their talent from Dunfermline, Glasgow, Bathgate, Milton, and Kilmany to the Brickyard.

Jim Clark (1936-1968) became the first Scottish driver to compete at the Indy 500 in 1963, going on to start the race in five consecutive years (1963-1967). In his Indy rookie year, Clark took second place, 34.04 seconds behind Parnelli Jones.  After dropping out of the 1964 race with suspension problems, Clark rebounded the next year by crossing the finish line in his Lotus-Ford 38/1 almost two full minutes ahead of Jones. The year 1966 witnessed another second place finish, this time to Graham Hill, and 1967 saw an early exit after 35 laps due to piston problems. Unfortunately, Clark would not have the opportunity to compete the next year, as he was killed during a Formula Two race in Hockenheim, Germany on April 7, 1968. Continue Reading

Indy 500, cars, by Janice Unger, racing

The 1965 Lotus-Ford Type 38 established Formula One-style design at the Indianapolis 500.

Jim Clark changed the face of the Indianapolis 500 in 1965 when he won with a rear-engine car adapted from Formula One design. His lightweight Lotus-Ford race car broke dramatically from the heavy front-engine roadsters that dominated the race after World War II. Clark's victory capped a three-year effort by some of the biggest names in racing. Driver Dan Gurney realized the potential of F1 technology at Indy and set the project in motion. Designer Colin Chapman put his expertise and reputation behind the chassis. Ford Motor Company provided resources, support, and a superb racing engine. And Jimmy Clark endured two years of disappointment - losing through no fault of his own - before taking the checkered flag in 1965. So complete was their triumph that no front-engine car has won the Indianapolis 500 since.

The Henry Ford's Archive of American Innovation is proud to preserve significant artifacts, images, texts and interviews related to Clark's groundbreaking win. Below are links to key pieces in this collection. Continue Reading

The 1965 Lotus-Ford brought rear-engine Formula One design to the Indianapolis 500—a race where front-engine cars had dominated from the beginning. THF74940

From its first running in 1911, the Indianapolis 500 has been the most prestigious automobile race in the United States. But in the early 1960s, it was falling behind the technological times. Lithe, rear-engine cars lit up Formula One circuits everywhere, while Indy remained tied to heavy front-engine roadsters not fundamentally changed in a decade. It would take an English designer and a Scottish driver, with some help from an all-American racer and a Big Three automaker, to break the mold 50 years ago this month. Continue Reading

Indy 500, Ford Motor Company, cars, by Matt Anderson, racing

2013.151.19

John Margolies is both a photographer and a collector of items related to American travel and its unique sights.  In preparation for our upcoming exhibit about Margolies and the American roadside, we’ve digitized a number of selections from this collection, including 35mm slides taken by John Margolies himself, and pennants and hotel/motel do-not-disturb signs he collected. This week, we add another grouping to that list: Dexter Press photographs dating between 1935 and 1950, designed to be used as postcards. The images, collected by Margolies, capture the same types of establishments he would photograph decades later: gas stations, diners, salons, and stores, such as the Dixie Liquor Store in St. Louis, MO, shown here. Browse more than 30 Dexter Press photos and postcards by visiting our Digital Collections, and be sure to mark your calendar to come see many of our Margolies items in person in the exhibit “Roadside America: Through the Lens of John Margolies” between June 20, 2015 and January 24, 2016.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

John Margolies, travel, photographs, digital collections, Roadside America

It's usually a safe bet that when someone asks us, "Do you have FILL IN THE BLANK in the collections at The Henry Ford?" odds are pretty good that we do. Today is #NationalSpaceDay and, as you guessed it, we've got space-related artifacts in our collections to share. Digital Access & Preservation Archivist Brian Wilson took a look in our archives and found these designs from Sundberg-Ferar. Take a look. - Lish Dorset is Social Media Manager at The Henry Ford.

Object: 95.1.1788.10, Image: THF228604

In the early 1980s, Detroit-area industrial design firm Sundberg-Ferar, Inc. worked with the Lockheed Corporation and NASA to develop concepts for a manned space station.

Through a series of drawings, including those shown here, Sundberg-Ferar illustrated what life in space could be like for astronauts aboard the station.

Object: 95.1.1788.4, Image: THF228598

Object: 95.1.1788.15, Image: THF228619

The designers considered how the astronauts would perform normal earthbound tasks in the tight quarters of the space station, including the need to exercise, bathe and sleep, and how a near-zero gravity environment would affect those tasks. For example, the shower design features a retractable toe restraint in the floor, while the treadmill uses a waist belt to keep the user in place.

In addition to the space station renderings, our collection of Sundberg-Ferar material includes their work on designs for a variety of other transportation and travel vehicles dating from the 1960s-1980s, including supersonic transport and large passenger jet planes, commuter trains, and rapid transit rail cars used in San Francisco, Washington D.C. and Atlanta.

Brian Wilson is Digital Access & Preservation Archivist at The Henry Ford.

archives, drawings, design, space

Can of New Coke, THF 304647

Remember “New Coke”?  April 23, 2015 marks the 30th anniversary of its celebrated—and controversial—introduction. This soft drink lasted less than three months but its legacy lives on as a cautionary tale of marketing and branding. Was this attempted innovation a great marketing blunder or did it turn out to be a great marketing success? It depends on how you look at it.

On April 23, 1985, The Coca-Cola Company introduced “New Coke” as a replacement to the old Coke that had been around for almost 100 years. The sweeter, more syrupy taste of New Coke—based on the company’s Diet Coke formula but without the artificial sweeteners—was intended to compete successfully with Pepsi. Over the years, more and more people—especially young people—had come to prefer the taste of Pepsi over Coke. Now, in numerous blind taste tests among consumers, New Coke successfully beat out Pepsi time after time. Coca-Cola spent over four million dollars developing, testing, and marketing New Coke. The company was sure they had a winner on their hands. Continue Reading

P.833.57183.9

As part of our collaboration with the Detroit Institute of Arts (DIA) and other Detroit-area community organizations to provide additional context for the Diego Rivera and Frida Kahlo in Detroit exhibit at the DIA through July 12, 2015, The Henry Ford has been digitizing parts of our collection that relate to Diego Rivera, Frida Kahlo, and their relationship with the Ford family and Ford Motor Company. We ran across a couple dozen 1932 photographs, including this one, of the Ford Motor Company Mexico City plant, all marked “Kahlo Foto,” and wondered whether these might be the work of Frida Kahlo’s father Guillermo Kahlo. An essay in the exhibit catalog by Diego Rivera’s grandson Juan Rafael Coronel Rivera notes “Don Guillermo was considered the finest architecture photographer in Mexico, a master in the field…. Diego respected Don Guillermo … for his studies of industrial machinery: Don Guillermo recorded the day-to-day modern development of the country; every factory and every major engine installation became the subject matter of his photographs, which were published in the Mexican press as an indisputable symbol of the nation’s advancing progress.” We haven’t yet found any further information about the genesis of these images, but it seems likely, given the labels on the images, Guillermo Kahlo’s architectural photography background, and the year the images were taken (the same year Rivera started work on the Detroit Industry murals at the DIA), that these images have a tie to Frida and Diego’s time in Detroit and relationship with the Fords. Visit our collections website to see all of these images, as well as the other related material we’ve digitized.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

N.B.27108

On April 14, 1865, President Abraham Lincoln was shot and mortally wounded by assassin John Wilkes Booth while sitting in a chair at Ford’s Theatre. This week, 150 years later, The Henry Ford is holding events to commemorate the fallen leader. As part of this effort, we’ve digitized a substantial amount of material from our Lincoln-related collections, going beyond the well-known chair and the Logan County Courthouse (where a young Lincoln practiced law).  One newly digitized item is this copy negative showing the presidential box at Ford’s Theatre the day after the assassination, but visit our collections website to browse all our curators’ selections.  The topically arranged sets cover the Logan County Courthouse, the Lincolns in Springfield, preserving the Union, the Lincolns in the White House, Lincoln’s 1864 reelection, the assassination, the Lincoln rocker, mourning the slain president, remembrances of Lincoln, Lincoln portraits, and Henry Ford’s interest in Lincoln.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

by Ellice Engdahl, digital collections, presidents, Abraham Lincoln

Newcomen Engine, circa 1750 (29.1506.1)

 

The broad iconic power of steam engines is maintained by the continued appeal of steam locomotives—an appeal kept fresh no doubt by Thomas the Tank Engine or the Hogwarts Express of the Harry Potter series. The visual impact of the earliest stationary steam engines, while less defined in the popular imagination, is undeniable when encountered in person: early beam engines exert a powerful presence, whether through their immense scale, exposed mechanical elements, or general complexity. And there is often a note of recognition—they are often identified by visitors as distant relatives of the familiar bobbing pumps found in oilfields. Continue Reading

The Henry Ford's Innovation Nation