Past Forward

Activating The Henry Ford Archive of Innovation

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Thanks to Walter Dorwin Teague’s design, Texaco service stations projected a clean, modern and – perhaps most importantly – instantly recognizable image. (From the
Collections of The Henry Ford.)

Walter Dorwin Teague’s Texaco Stations
Gasoline is a fiercely competitive business. We’ve all seen intersections with two, three, even four rival gas stations clumped together. Standing out from the crowd is a must. Over the years, retailers developed any number of ways to set themselves apart, including everything from unusual architecture to ultra-clean restrooms.  Brand identity – in whatever form it might be – was an essential part of the business.

The Texas Company, better known by the portmanteau Texaco, had its origins in the great Spindletop, Texas, oil strike of 1901, which suddenly had the United States awash in cheap petroleum. Unlike its competitors, which focused on regional markets, Texaco was determined from the start to build itself into a national brand. By 1942, the company had 40,000 outlets spread across the country.

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One of Teague’s Texaco stations in use – appropriately enough, in Texas. (John Margolies Roadside America Transparencies. From the
Collections of The Henry Ford.)

In 1934, Texaco hired industrial designer Walter Dorwin Teague to create a fresh, unified look for the company’s service stations. Teague came up with a boxlike building covered in white porcelain enamel. Evocative of the then-popular streamlined look, Teague’s design simultaneously suggested speed, modernity and cleanliness. (And, with that porcelain exterior, it was easy to clean.) The gleaming white surface contrasted sharply with its surroundings, wherever the station was located, and readily caught motorists’ eyes. It was easy to illuminate at night, too – a significant benefit for retailers operating around the clock. In time, some 10,000 Teague stations were built across the United States, giving Texaco outlets a consistent appearance and identity.

The basic box building became popular with many of Texaco’s competitors, too. Eminently practical, the design provided space for an office/service counter, automobile service bays, storage, and the all-important restrooms. Furthermore, it could be expanded (or reduced), as business conditions warranted, without harming the building’s overall appearance.

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By the 1970s, porcelain enamel was out and darker concrete, brick and wood surfaces were in. (John Margolies Roadside America Transparencies. From the
Collections of The Henry Ford.)

But what was fresh and modern in the 1930s was, inevitably, dull and outdated within a few decades. In the 1960s, oil companies began to move away from bright porcelain boxes in favor of more subdued brick facades and gabled roofs. By the 1980s, the box plan itself was superseded by the larger convenience stores we still see today. But Walter Teague’s design lives on in the Driving America exhibit. Our Texaco station was built and operated in Kingston, Massachusetts, before it came to Henry Ford Museum of American Innovation in 1987. The station may not be selling gas anymore, but the its gleaming porcelain still attracts plenty of visitors!

Matt Anderson is Curator of Transportation at The Henry Ford.

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Henry Ford Museum of American Innovation is the now the permanent home for an object that sets a new standard in both communication technology and fashion - the IBM Cognitive Dress.

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The dress originally debuted at the Metropolitan Museum of Art Gala in May 2016 as a stunning custom gown designed by high-end women’s fashion designers Marchesa with the assistance of IBM’s Watson cognitive system. The dress has many layers of collaboration and interactivity: the initial research between IBM and Marchesa, the ability for an audience to influence its color through social media, and the ability for the dress to then communicate and display the data result back to the audience.

So, how does it work?

IBM team and The Henry Ford Conservation Staff put final touches on cognitive dress _KMSPhotography

Watson is a cognitive technology--a form of computing that learns in a similar way to how humans learn. To make the dress interact with Watson, social media-responsive LEDs were sewn into its bodice and skirt. Utilizing Twitter and other social media feeds, Watson analyzes tweets and assigns an emotion based on the hashtags submitted, resulting in shifting color patterns across the garment’s materials.

The IBM Cognitive Dress is truly a smart design and a smart dress. The democratic appeal of social media has allowed the dress to become a significant part of today’s fashion industry. Fashion can now debut globally at an instantaneous rate--some companies go so far as to launch new collections using platforms like Twitter, Instagram, and Snapchat.

The Henry Ford Conservation Team dresses mannequin with IBM and Marchesa Cognitive Dress_KMSPhotography

This innovative example of fashion recently arrived at Henry Ford Museum of American Innovation this spring and will be coming to the museum floor soon. Make sure to look for the dress during your next visit and think about how your social media commentary will be analyzed by Watson.


Kristen Gallerneaux is 
Curator of Communication & Information Technology at The Henry Ford.

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On Wednesday, March 22nd, 2017, a dear friend of The Henry Ford, Bruce Bachmann, passed away. I’ve known Mr. Bachmann since February 2010 when I was welcomed into his Glencoe, Illinois home. Bruce and his late wife Ann invited me to see their spectacular collection of studio glass. I was struck by their gracious hospitality and passion for studio glass. Sociable and gregarious, the Bachmanns loved to talk about their studio glass “family,” a network of artists, collectors, and gallery owners. Over time, the relationship grew into a friendship and ultimately, the donation of the Bachmann’s collection to The Henry Ford in 2015. This collection is the heart of the recently opened Davidson-Gerson Modern Glass Gallery in Henry Ford Museum of American Innovation. A significant portion of the upcoming Davidson-Gerson Gallery of Glass in Greenfield Village, opening this spring, features masterpieces from the Bachmann’s collection.

Bachmann Master Bedroom 1

Bachmann Master Bedroom 2

This piece of studio glass, shown above, from Richard Royal’s Relationship Series, was a favorite of Bruce and Ann Bachmann. It lived in their master bedroom and was one of the first pieces they saw as they awoke every morning, a warm reminder of familial relationships. The artist describes the piece as the abstracted arms of a mother and father holding a child. The Bachmanns were devoted to their four children and grandchildren, likewise they saw their relationship with The Henry Ford as an extension of their own family, and a place where families gather and spend time together. 

Bruce will be missed by all of us at The Henry Ford who have worked closely with him over the past seven years. A link to his obituary can be found here. See more pieces from the Bruce and Ann Bachmann Glass Collection in our digital collections.

Charles Sable is Curator of Decorative Arts at The Henry Ford.

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We’ve all read about Rosie the Riveter, but what about her mother? Over a million women worked in factories in WWI building Liberty engines, airplanes, working in munitions factories, and warehouses. Others volunteered for the American Red Cross driving ambulances, working in canteens, transporting people and supplies in the Motor Corp., and as nurses. Still others set up daycares for working mothers, knitted clothing and medical supplies, and rationed food so that soldiers would have more. With 2017 marking the 100th anniversary of American involvement in WWI, we took a look at how these women contributed to the war effort in the U.S.

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Part of the reason little has been said about women factory workers in WWI is that, unlike in WWII, most of the women who worked in wartime industries had already been working in factories prior to the war. It was only in the last few weeks before armistice was signed that middle-class homemakers were being mobilized to work in factories. But the women who did work in the factories manufacturing munitions, airplanes, trucks, and Liberty Engines, were not in these industries prior to the war. Women, during WWI, made a huge shift from traditionally women’s industries such as food processing and textiles to traditionally male industries, such as heavy manufacturing and vehicle production. This came with pushback from their male coworkers, and after the war, many of these women were forced back into traditionally female occupations, but during the war women proved they could perform jobs in these industries in support of the war effort (and also to earn a much better living).

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In Detroit, most of the automotive factories were manufacturing items for the war. In addition to providing vehicles, planes, and components, Packard, Lincoln, Ford, and GM all produced the Liberty Engine for airplanes. The factories, short on men during war, employed women to work on the engines. It was said manufacturers preferred women in some of the work as they were more detail oriented and better suited to delicate work requiring a fine touch. Ford Motor Company, who at the time employed almost no women at all, began hiring women in August of 1918, by the time armistice was signed in November they had employed 500 women from one time to another in the factories. From the extant photos, Lincoln Motor Company appeared to have hired even more women, putting them to work at everything from gauging pistons and valves to welding.

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Many women worked for the American Red Cross during the war. Detroit had its own chapter of the Red Cross and Ford Motor Company provided ambulances, trucks and cars in a $500,000 contribution. Women of the Red Cross conducted training sessions with their Ford ambulances outside the Highland Park factory. Women also transported sick patients, medical supplies, and doctors and nurses to and from hospitals during the Influenza Epidemic. In addition, volunteers in the Motor Corp used Ford vehicles, and others, to transport supplies to canteens, deliver surgical supplies, knitted garments, and other materials and personnel.

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Women also worked from their homes to aid the war effort. Posters of the time encouraged women to volunteer for the Red Cross, asking them if they had a Red Cross service flag in the window of their home, support the YWCA helping women factory workers, join the Women’s Land Army, and to buy war bonds. Women at home were also encouraged to conserve food by using less wheat and meat, growing home gardens, and show children the importance of rationing. Cookbooks giving recipes avoiding wheat included recipes for corn and bran muffins, and potato doughnuts, while other pamphlets instructed housewives in gardening, and home canning and drying. Posters often compared U.S. women to the hard working, hard suffering, women of France, encouraging women to do their part to help out.
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While the U.S. was only directly engaged in the war for ­­­19 months, the U.S. industry had long before been manufacturing for the war, and women were engaged in the public and home sectors working in factories, volunteering, and rationing. The shortage of men during the war allowed women to enter jobs they were previously barred from, at the same time the importance of cooking, making, and volunteering took on new proportions for women as well. Though many of the women working in factories had to give up their jobs, and opportunities for women diminished as the men returned from war, women of WWI played a key role in the war effort both in industry and at home.

If you’re looking for more World War I resources, the Benson Ford Research Center can help you find them. We’re open Monday-Friday 9-5, AskUs a question or make an appointment today.

Kathy Makas is a Benson Ford Research Center Reference Archivist at The Henry Ford.

women's history

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Beast and Belle hand puppets. THF342892, THF342891
 

When Walt Disney Pictures released its animated film Beauty and the Beast in 1991, the company received its best movie reviews in almost 50 years. Film critic Roger Ebert gave the movie four stars out of four, saying that, “Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians, and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too.” Movie-goers of all ages agreed—this film was a winner.

Lesser known is the fact that this movie broke new ground in ways that we often take for granted with animated films today. On the eve of Disney’s soon-to-be-released live-action version of this classic film, we take the opportunity to reflect upon the many breakthrough—even revolutionary—aspects of the original film.

1. It was the first animated film in history to use a screenplay in addition to the usual storyboards. This made the resulting story more akin to a live-action movie than to the extended cartoon quality of other animated films produced up to that time.

2. The screenplay was written by a woman! In a field dominated by men, Linda Woolverton—whose primary experience had been writing scripts for children’s television shows—was the first woman to write an animated feature for Disney.  Woolverton, who claimed that she possessed some of Belle’s characteristics and that Gaston had “tinges of guys I used to date,” brought a believable quality to the characters as she worked with the film’s changing stable of story writers.

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Belle Burger King figure. THF 101187


3. Belle was a new kind of princess, ushering in a whole new generation of more free-thinking, dynamic princesses like Mulan, Rapunzel in Tangled, and Merida in Brave. In writing the screenplay, Woolverton said, “I wanted a woman of the 90’s, someone who wanted to do something other than wait for her prince to come.” The casting of Paige O’Hara (a Broadway actress and singer) as the voice of Belle was a purposeful attempt to add a unique, more grown-up quality to Belle’s personality.

4. The other main characters also broke traditional molds. Full of depth and complexity, Beast and Gaston turned the role of the classic, stereotypical Disney prince inside out. Beast, who was “mean and coarse and unrefined” during most of the film, turned out to be the prince, while Gaston—whose dashing looks make him a more likely hero—turned out to be the villain.

5. The music was stunning. When Walt Disney Studio Chairman Jeffrey Katzenberg insisted that the film have a Broadway musical quality, he brought in songwriters Alan Mencken (music) and Howard Ashman (lyrics) fresh from their success with The Little Mermaid. Mencken and Ashman outdid themselves, creating the emotionally complex songs that moved the narrative forward and furthered our understanding of the characters and themes. Mencken and Ashman received Academy Awards that year for best original song (Beauty and the Beast) and best original score. 

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Songwriters Alan Mencken and Howard Ashman turned their talents to Beauty and the Beast after completing The Little Mermaid. THF 308964

6. It helped kick movie studios’ use of computer animation into high gear. Beauty and the Beast was produced using a blend of traditional hand-drawn animation and CAPS, a computer-animated production system. While not the first movie to use computer animation, the success of such effects in this film—especially in the stunning ballroom scene—convinced Disney and other film studios to invest further in this technology.

7. It brought The Walt Disney Company back to being a force to be reckoned with. After a string of minor box-office releases, Disney’s animation department started turning things around with Who Framed Roger Rabbit (1986) and The Little Mermaid (1989). Beauty and the Beast was an even bigger hit, ushering in a wave of successive hits from Aladdin to Tarzan.  

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Aladdin and Magic Carpet Burger King figure. THF 311312


This era, sometimes referred to as the “Disney Renaissance,” also saw a constant barrage of marketing tie-ins with each new film—related merchandise, Broadway musical adaptations, and Disney theme park attractions—laying the foundation for present-day cross-marketing techniques.

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Chip and Cogsworth from Pizza Hut. THF342889, THF342890 
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childhood, by Donna R. Braden, technology, music, women's history, popular culture, movies, Disney

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Life magazine cover. THF266661

Resources from The Henry Ford for the Detroit 67 Project
As 2017 marked the 50th anniversary of the tumultuous summer of 1967 in Detroit, The Henry Ford collaborated with The Detroit Historical Society in its important community engagement project, “Detroit 67: Looking Back to Move Forward.

Why Remember Detroit '67?
What started out as a police raid on an after-hours club early Sunday morning, July 23, 1967, escalated into five days and nights of uncontrolled violence, looting, and arson that left 43 people dead, 1,189 injured, and over 7,200 arrested.  While civil unrest had occurred in many other cities before and during that summer, this event stood out as the largest of these uprisings until the riots that followed the assassination of Dr. Martin Luther King, Jr. in April 1968. 

Many people wondered how this could happen in Detroit—a city thought to have good race relations. What soon became apparent was African Americans’ anger and frustration at the lack of progress that had been made in achieving basic rights and equality, even after the long struggles of the Civil Rights movement and the passage of the Civil Rights Act of 1964. Several root causes of the uprising were cited, including: unemployment and job discrimination, substandard housing, poverty, low-quality education, lack of access to medical facilities, police brutality, mistreatment by white merchants, shortage of city services, and white indifference to these problems.

Despite efforts on many fronts to move past the devastation and bitter memories of 1967, Detroit is still considered a divided city today.

The Detroit 67 Project
The vision of The Detroit Historical Society’s groundbreaking project is to use the memory and legacy of this historic crisis as a “catalyst to engage, reflect, and provide opportunities to take the collective action that can help move our community forward.” To accomplish this, the Society has encouraged community-wide collaborators to lead programs, workshops, and discussions, collect oral histories, and/or share related archives and collections through exhibitions, publications, or websites. We have chosen to share digital content on our website related to topics that laid foundations for and offered responses to the upheaval that occurred in Detroit (and other cities) in 1967.

Our Involvement
Our mission, core collecting topics, and strategic plan all make this collaboration a perfect fit for us. First, our mission statement includes a call to action: to inspire people to shape a better future by learning from the traditions of ingenuity, resourcefulness, and innovation. Second, one of our core collecting topics is social transformation, which involves a shift in people’s collective consciousness, leading to new values, relationships, and patterns of behavior. Finally, aligning with our larger institutional strategic plan, the goals for digital content on our website include relevance, community impact, national awareness, and sustainability.

Because of the national scope of our collections, we have organized our digital offerings listed below into categories of before and after the events of July 1967. We hope this rich and wide-ranging content deepens your understanding of the foundations, context, and impact of this historical crisis. This content not only sheds light on the past but can also provide a jumping-off point to encourage conversation and inspire action into the future.

Before
Rouge workers
A Piano with a Past
The Search for Home
Victor H. Green and The Negro Motorist Green Book
What if…Rosa Parks
Google Cultural Institute exhibit: “The Struggle for African-American Freedom”
Day of Courage: Julian Bond, other
OnInnovation: Rosa Parks
Educational Resources
Day of Courage: Rosa Parks
Segregation
Civil Rights

After
Detroit Edison images
Teaching Black: An Educator’s Library from the Black Power Era
OnInnovation: Will Allen, urban farming 

With Henry Ford Museum now being called Henry Ford Museum of American Innovation, it brings about some reminiscing thoughts of the artifacts that stand out as the most innovative. While the name of the overall destination remains The Henry Ford, the organization is extending Henry Ford Museum’s name to better convey the core idea of innovation that threads throughout its key collection.

Some of the curators at Henry Ford Museum of American Innovation had the same reminiscing thoughts, and each chose an artifact that stood out to them as the most innovative. When asked to choose an artifact from the museum that symbolized innovation, a lot of the curators had trouble picking just one.
Debra Reid - Curator of Agriculture and the Environment 
The manure spreader displayed in the agriculture exhibit inside Henry Ford Museum of American Innovation looks more like a work of art than a piece of farm equipment. Laborers painted the wooden box yellow and red, added pinstripes, and stenciled the manufacturer’s name and model number prominently on its exterior. This made the spreader a moving advertisement during the Golden Age of agriculture, roughly 1900 to 1920.

During this time some farmers profited from high market prices paid for the commodities that they grew. The spreader symbolized their investment in new ways of doing business. They purchased more land, built new farm buildings including corn cribs and dairy barns, and bought pure-bred livestock and new agricultural equipment to help them do their jobs. The spreader reduced the labor required to move increasing amounts of manure from barns and stables and apply it to their arable land. The machine distributed the organic manure and its three essential elements (nitrogen, phosphorous, and potassium) more evenly than pitching manure from a cart onto the fields. Not all farmers practiced such intensive animal husbandry, and thus, they had little use for such innovations,but the spreader answered the prayers of other farm families with livestock housed in barns and stables and fields in need of nutrients.


Jim Johnson - Curator of Landscaping and Historic Structures
My favorite innovative object is the Newcomen Steam Engine. Though it is not the actual very first one, it is among the first design generation of the world’s first steam engine and in essence, represents the birth of the Industrial Revolution and the beginning of the machine age. By having this direct association with the Industrial Revolution, the Newcomen is at the foundation of what would become the world we live in today.


Donna Braden - Curator of Public Life

Among my favorite innovative artifacts in the museum are the small and often-unnoticed plastic dishes in the 1950s (“Buying the Future”) case in Driving America, part of the raised timeline. Dishes made of the chemical melamine (sometimes referred to as Melmac) became wildly popular during the 1950s because industrial products like this were considered a sign of progress and modernity; their minimal design was thought to be“sleek” and “modern”; they were marketed as unbreakable and thus were considered perfect for Baby Boomer kids; and their bright colors, as shown in the case and the exhibit, perfectly matched the colors of other consumer products of the time, like cars. I also chose these dishes because they are so darned ordinary-looking and because, growing up in a large family of Baby Boomer kids myself, my mom always opted for anything that didn’t break and we had a set of these ourselves.


Charles Sable - Curator of Decorative Arts 
I have many "favorite" objects in the Museum. One that I am particularly fond of is Victor Schreckengost's "Jazz Bowl" (1931) located in "Your Place in Time." What I find fascinating about it is how Schreckengost was able to adapt the cubist aesthetic found in European and American high art to a punch bowl. Further, he made cubism serve as a narrative of New Year's Eve in New York City.


Matt Anderson - Curator of Transportation
Ah, that’s always the question a curator dreads most. The truth is, my favorite object tends to change on a daily basis! That said, I have a soft spot for Henry Ford’s 1896 Quadricycle. In and of itself, the vehicle really isn’t innovative, but it represents Ford’s all-out devotion to his dream – spending so much of his free time (and even a little work time) putting this little car together in the shed behind his house. It’s also a fine example of Ford’s philosophy to learn by doing. He certainly could read plans and blueprints, but Ford was most comfortable working in three dimensions. What does it take to build a working automobile? Henry Ford thought the best way to answer that question was to just go ahead and build one! Of course, without the Quadricycle, we never would’ve gotten Ford’s signature innovation: the well-designed, well-built and affordable Model T.


Kristen Gallerneaux - Curator of Communication & Information Technology 
My favorite artifacts change all the time, but lately on my daily walks through the museum, I’ve been stopping to visit the Eames kiosk that originally appeared at the IBM Pavilion in the 1964 New York World’s Fair. I love this piece because its connections to innovation are invisible or hidden in plain sight, waiting to be revealed. It might seem like an unlikely-looking thing to have been witness to computing history—but it was. Kiosks like this one were used by IBM at the World’s Fair to demonstrate new technologies—including one of the first public demonstrations of optical character recognition, and a new computer-based language translation service. Our particular kiosk was used as a canopy to protect elements of the Mathematica exhibit. As for the “hidden in plain sight” moment, if you stoop down and peek under the canopy, you’ll find an image of a bouquet of flowers printed underneath. These wildflowers were picked in Zeeland near Herman Miller’s offices, shipped on dry ice to the Eames Office in California, artfully arranged by Ray Eames—and finally photographed by Charles.

These are just a few of the artifacts that showcase different types of innovation here on the floor of Henry Ford Museum of American Innovation; what's your favorite?

Halie Keith is a Media & Film Relations Intern at The Henry Ford.
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1989 Honda Accord

Inline 4-cylinder engine, overhead camshaft, 119 cubic inches displacement, 98 horsepower

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Using a front-wheel drive layout in a front-engine car allows for a compact design, but it requires some clever packaging under the hood. The Accord’s automatic transmission is combined with a differential into a single unit called a transaxle, mounted on the passenger side of the engine. The transverse-mounted engine has three valves per cylinder – two intake and one exhaust.


Matt Anderson is Curator of Transportation at The Henry Ford.

Engines Exposed


The Henry Ford is proud to announce we are changing the name of Henry Ford Museum to Henry Ford Museum of American Innovation beginning today, January 23, 2017. While the name of the overall destination remains The Henry Ford, the organization is extending Henry Ford Museum’s name to better convey the core idea of innovation that threads throughout its key collection. Learn more in this video from the president of The Henry Ford, Patricia Mooradian.
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Dozens of engines will be on view during Engines Exposed, but here Matt Anderson, Curator of Transportation at The Henry Ford, describes some of his favorites to kick off this annual exhibit.

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1909 Ford Model T
Inline 4-cylinder engine, L-head valves, 177 cubic inches displacement, 22 horsepower

Early Model T engines circulated cooling water with a gear-driven pump, visible just behind this engine’s fan. After 2,500 units, Ford switched to a simpler – and less expensive – thermosiphon system dependent on natural convection. Model T never used an oil pump. The flywheel, spinning in an oil bath, simply splashed the lubricant around. The engine and transmission efficiently shared the same oil supply.

Driving America, Henry Ford Museum, Ford Motor Company, engines, cars, Model Ts