Restored architectural gem stands out in its industrial space You don’t usually associate large manufacturing factories with architectural beauty. Sightseers at the Ford Rouge Complex’s glass plant, however, might be inclined to think otherwise.
This plant looks different. No concrete, only rivets and steel. From inside, the high roof and floor-to-ceiling windows create an unusually airy, spacious atmosphere. Natural light can’t help but stream in, creating a softness and easy glow.
Designed by famed American industrial architect Albert Kahn, the Ford Rouge’s glass plant was built in 1923 as an automotive glass-production facility. “It was about achieving volume,” Don Pijor, launch manager at the Dearborn Truck Plant and site expert for the glass plant, said of the building’s original design. “This space was built with steel columns riveted together, which gives it much more usable real estate.”
In the late ‘90s, the 40,000-square-foot building was taken out of the complex’s production equation, its sweeping windows covered with aluminum and its new primary purpose as a warehouse.
When the restoration process began in the mid-2000s, the original intent was to transition the building into office space. Pijor later helped persuade Ford Motor Company leadership to put the plant to better use as a prove-out and employee training building for the Ford F-150, the truck built at the Rouge’s Dearborn Truck Plant.
Careful decisions were made at every corner during the restoration. The building’s window glass, for example, had come from Europe, so the restoration team reached out overseas to the original manufacturer for the glass to replace the windows. Entry doors to a fire station that was part of the building’s layout were also replaced to replicate those of the original specs.
“It’s beautiful,” Cynthia Jones, The Henry Ford’s Ford Rouge Factory Tour manager, said of the glass plant today. “There’s lots of natural light, and even though the fire station doors are in an area the public doesn’t see, restoring them showed respect for the continuing history of the site.”
Today, the glass plant is a house for innovation, used for prototyping by Ford engineers and designers. As a result of its newfound purpose, the building’s glass at the lower levels is frosted so outsiders can’t see the confidential work being done inside.
Said Jones of balancing the building’s historical integrity with its modern uses, “When you’re making choices about restoring buildings, you look at product — what is it we’re making at this place and what does it need? You’re also employee-driven because if they can’t do their job well here, changes have to be made. Third, how does it affect the area around it? I think this site has that balance.”
Though the effectiveness of the plant’s current functions are at the forefront of any decision-making about its form, preserving its history is meaningful for the people who work there as well as for posterity. Added Pijor, “To sit in this space and watch flaming ore cars go by, it’s as if it has been like this for 100 years.”
National Historic Landmark The Ford Rouge Complex was designated a National Historic Landmark in 1978.
The rare designation (with just 2,500 historic landmarks nationwide) usually restricts future changes to a site. The Ford Rouge Complex, however, is recognized as remaining in continual operation, which means the designation can be maintained even as the site continues to evolve.
“It’s important for the public to be aware” of the designation, said Jones. The designation is marked at the complex’s entry with a plaque and a statue of Henry Ford.
Summer 2015 marked 100 years since Ford started acquiring the property which the Rouge now inhabits. “We’re carving out space within this giant industrial complex to recognize its history and the history of the hundreds of thousands of people that have been employed here,” said Jones.
The Henry Ford was excited to once again welcome author and former Secret Service Agent Clint Hill, along with journalist Lisa McCubbin, to Henry Ford Museum this spring in celebration of his latest book, Five Presidents: My Extraordinary Journey with Eisenhower, Kennedy, Johnson, Nixon, and Ford.
In honor of Mr. Hill's visit to The Henry Ford, Curator of Transportation Matt Anderson put together this overview of the presidential limousines found within on exhibit at Henry Ford Museum. Learn more below.
A presidential parade car provides two things: visibility and security. Those concepts are often at odds. The Henry Ford’s presidential Lincolns illustrate the difficult and changing balance between the chief executive’s need to be seen and need to be safe.
“Sunshine Special,” the 1939 Lincoln Model K most often associated with Franklin D. Roosevelt, was the first parade car specifically modified for presidential use. Coachbuilder Brunn & Company focused more on utility than luxury, deleting armrests for maximum seating capacity and adding wide running boards for Secret Service agents. The car was not armored until Pearl Harbor, when bullet resistant tires, glass and armor plating were installed.
In 1950, Harry S. Truman took delivery of a new Lincoln with a body by Raymond Dietrich, but the car was used most often by successor Dwight D. Eisenhower. Again there was no armor, but in 1954 the limo received the weatherproof plexiglass roof that inspired its nickname, the “Bubbletop.” Security features did not extend much beyond riding steps on the rear bumper and flashing red lights at the front.
Planning for the next car started under Eisenhower, but the 1961 Lincoln Continental limo is forever tied to John F. Kennedy. Once again, armor was not considered necessary, and Kennedy preferred to travel with the top removed whenever possible. But his assassination ended the tradition of open cars. Ford and custom car builder Hess & Eisenhardt rebuilt the 1961 Lincoln with a permanent roof, titanium armor and bullet-resistant glass five layers thick.
The 1972 Lincoln limousine was the first presidential parade car designed and built as an armored vehicle from the start. Security was now of prime importance – a point dramatically underscored when Ronald Reagan suffered an attempt on his life while getting into the limo in 1981.
The Henry Ford’s presidential Lincolns were leased to the White House. As the leases ended, the cars returned to Ford Motor Company and the firm gifted them to the museum. Currently, Cadillac supplies the president’s state cars. Each is custom-built – most recently on truck platforms – and each is typically destroyed at the end of its service life.
Matt Anderson is Curator of Transportation at The Henry Ford.
Official Program of the Indianapolis Motor Speedway 27th 500 Mile International Sweepstakes Race, May 30, 1939. THF 122945
Over the years, sporting events have become traditions in our lives: the Super Bowl in the winter, the Kentucky Derby every May, and the Indianapolis 500 on Memorial Day Weekend. Iconic events such as these develop their own customs over time, and the Indianapolis 500 is no exception. As we celebrate the 100th running of the race on May 29, here is a look at a few of the traditions that have developed over the years.
Start of the 1911 Indianapolis 500. P.O.2703 Some of the current Indy traditions started in the early days of the race. Since the inaugural running on May 30, 1911, the contest has always been held on Memorial Day or that weekend. As a tribute to horse racing practices, only the winner of the race (and his team) are honored in Victory Lane, without a podium for the top three finishers. Speaking of victory celebrations, Lewis Meyer began another triumphal tradition in 1936. After winning that year's race, Meyer grabbed a bottle of buttermilk to cool himself down, as he typically did on hot days. After an executive from the Milk Foundation saw a photograph of the celebration, it became a yearly occurrence. Although there have been a few years without milk in Victory Lane, this appears to be a tradition that will last for years to come.
Bobby Unser drinking milk in Victory Lane, 1968, 2009.158.317.5507 The 1940s saw the start of more traditions at the Indianapolis 500. In 1946, the song "Back Home Again in Indiana" was first played in pre-race festivities. Numerous artists have been enlisted to perform the song over years, including Jim Nabors, who sang it 36 times between 1972 and 2014. (Singer Josh Kaufman will fulfill the duty for this year.) In 1947 Grace Smith Hulman, the racetrack owner's mother, suggested balloons be released before the start of the race. Since 1950, 30,000 multicolored balloons, now made of biodegradable latex, have been let loose coinciding with the final notes of "Back Home Again in Indiana."
Di Gilmore and Jim Nabors at the 1977 Indy 500
Balloon release at the 1963 Indy 500. 2009.158.317.1729 The next decades brought more long-lasting traditions to the Indianapolis 500. In 1953, Wilbur Shaw first gave the starting call of "Gentlemen, start your engines!" Some variation of this call has been used every year since then, with the opening periodically changing to "Lady and Gentlemen" or "Ladies and Gentlemen" for the years when female drivers are competing. A few years later, the 500 Festival Parade developed after local newspaper columnists noted the community festivities that accompanied the Kentucky Derby. The 2016 festival includes a mini-marathon, parade, children's activities, and the Snakepit Ball. It was 1960 that was the first year that the winner was adorned with a wreath, drawing from Grand Prix traditions. The current wreath design contains 33 white cymbidium orchids representing the 33 cars and drivers on the starting grid.
Jim Clark draped in victor's wreath at the 1965 Indy 500. 2009.158.91
1968 Indy Festival Queen with the Borg Warner Trophy, 2009.158.317.5261 Since the 1970s, more traditions have been added to the Indy 500. The Last Row Party, started in 1972, is a charity function held the Friday before the race. In addition to raising scholarship funds for local students, the party also serves as a roast for the last three competitors to make the starting grid. A few years later, in 1976, Jeanetta Holder created and presented her first quilt to the winner of the race. Over the years, she has crafted more than 40 hand-stitched quilts, with Bobby Unser's 1981 quilt now in the collection of the Henry Ford. More recent additions to the Indy traditions include concerts on Carb Day and Legends Day, and the kissing of the bricks, which actually started in NASCAR tradition in 1996. Gil de Ferran was the first Indy driver to do it at the conclusion of the 2003 race.
Jeanetta Holder quilt for Bobby Unser, 1981. 2009.171.18
Tradition and ritual are a part of our everyday lives, and will certainly be an integral part of this year's Indianapolis 500. Over the last 99 contests, drivers, owners, and even fans have created new customs that add to the history and lore of the race. As you watch the 100th running of the Greatest Spectacle in Racing on May 29, keep your eyes open for the existing traditions and perhaps some new ones in the making. Janice Unger is Digital Processing Archivist for Racing, Archives & Library Services, at The Henry Ford.
When an article was published in 1977 about a sculptor who had built a certain armchair in the 1960s — not to make a fake, but to make a point about his skill and ability to fool the experts — The Henry Ford took note. The throne-like chair described in the story was uncannily similar in every way to a 17th-century piece The Henry Ford had acquired in 1970 as a highly prized and rare Brewster, a type of chair associated with William Brewster, one of the founders of the Massachusetts Bay Colony.
Conservation science and strong detective work did prove the chair to be a fake, and The Henry Ford admit - ted to being fooled. Always the proverbial institution dedicated to education, The Henry Ford didn’t remove the chair, instead keeping it as a reminder of a lesson learned and even loaning it out for national exhibits on fakes and forgeries.
An X-ray of The Henry Ford’s Brewster chair forgery showed that the drill bits used for making the holes that received the turned spindles had a modern-day pointed end rather than the spoon shape associated with bits common to carpentry in the 1600s.
DID YOU KNOW? William Brewster was one of 102 passengers who traveled across the Atlantic on the Mayflower in 1620 to establish Plymouth Colony.
Chairs were rare in 17th-century American homes. Chairs like the Brewster were made for honored guests or the head of the household — intended to impress visitors and confirm the sitter’s status and position. And they were not very comfortable.
From The Look Back in the January-May edition of The Henry Ford Magazine.
In 1902, the U. S. adopted Rural Free Delivery. Americans in the countryside would no longer need to go to town to get their mail -- the mail would be brought to them. Rural letter carrier, Orville J. Murphy, pictured here circa 1905, used a bike to deliver mail to outlying households around New London, Iowa. THF 201311
Since 1956, May has held the honor of being designated as National Bike Month. The holiday celebrates cyclists of all kinds across the United States and encourages everyone to get outside and hit the road on two wheels. Within the month of May one week is all about biking to work. This year National Bike to Work Week is May 16-20 and today, May 20, is Bike to Work Day.
When you think about bicycles you can't help but think about the Wright Brothers and the Wright Cycle Shop found within Greenfield Village. Thinking of aviation AND cycling, our Curator of Transportation Matt Anderson found this image within our collections of astronaut Neil Armstrong riding a bicycle through Greenfield Village in 1979 during a visit focused on the Wright Brothers, just ten years after his historic Moon walk in 1969.
Trick cyclist Nicholas Kaufman is an example from our collections of someone who made biking his daily work. He was a world famous trick bicyclist in the late nineteenth and early twentieth centuries. In this 1884 photograph, found by our own Brian Wilson, Digital Access & Preservation Archivist for Archives & Library Services at The Henry Ford, Kaufmann balances on a monocycle -- one of many wheeled props he used to entertain audiences. He won numerous medals for his mastery of the bicycle. A showman as well as an athlete, he later traveled the theater circuit and managed other bicycle acts.
Take a look within our digital collections and some bicycle research of your own - what's your favorite find? - as we celebrate a month celebrating all-things bicycle.
Lish Dorset is Social Media Manager at The Henry Ford.
One of the many challenges curators face is collecting our contemporary history—they have to make difficult calls on what objects, clearly important today, will still have an important story to tell future generations. Last fall, Curator of Communication & Information Technology Kristen Gallerneaux accepted a donation of two body cameras designed to be worn by police officers. These cameras as artifacts represent increasing public call in the 2010s for police transparency and accountability, encouraged in part by the Black Lives Matter movement. They also demonstrate the ways in which technology can be used by law enforcement to gather information. We’ve just digitized both of these Taser Axon cameras, including this 2013 model, making them available via our Digital Collections. Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
1949 Mercury Convertible, “kustomized” by George and Sam Barris. Few names loom as large in the world of custom cars as that of George Barris. Mr. Barris, who passed away last November, will forever be associated with the many television and movie cars built by his Los Angeles shop – none more famous than the 1966 Batmobile, adapted from the 1955 Lincoln Futura concept car. But these high-profile cars were just one part of his work. Before Hollywood came knocking, George and his brother Sam had already built a reputation for their imaginative work with other cars, particularly the 1949-1951 Mercury models so loved by first-generation customizers. Indeed, just months before George Barris’s death, several Barris Mercurys were featured at the 2015 Pebble Beach Concours d’Elegance.
We are fortunate to have a Barris Mercury custom – or “kustom,” as Barris invariably spelled it – in the collections of The Henry Ford. Our 1949 Mercury features a chopped windshield; a padded, removable Carson top; frenched headlights and taillights; dechromed surfaces; and prominent “Barris” crests on the front fenders. For a Barris job of the 1950s, the modifications are mild, but sometimes less is more. The color is a deep metalflake purple, with lavender scallops. The scheme continues in the interior, upholstered in purple and white. In the “anything goes” spirit of the custom car hobby, there’s even a little Chevrolet in our Merc – the grille is out of a 1957 Corvette.
Our Barris ’49 Mercury isn’t all Blue Oval. There’s a bit of Bow Tie in that grille. The 1949-1951 Mercurys, in stock form, were styled a bit behind the times. Their fenders and small windows looked dated next to other postwar cars – especially alongside their sister 1949 Fords. But those old lines appealed to southern California customizers. Lower the roof and suspension, and you turned a staid sedan into a head-turning – almost intimidating – street machine. Mercury customizers were also fond of removing chrome (famously excessive on production cars of that era), substituting parts from other cars, and applying deep, dark paints to the dramatic bodies. Radical or outlandish modifications hadn’t yet caught on in the field. Customizers essentially tweaked their cars to bring out a natural beauty that they already saw.
Our Mercury, then, is a classic example of these influential custom cars. It’s the perfect symbol for the customizer’s craft in Driving America, and a fitting tribute to one of the best-known “kustomizers” in the business.
Matt Anderson is Curator of Transportation at The Henry Ford.
The first object was added to the collections of The Henry Ford over a century ago, years before our official dedication. Artifacts sometimes get overlooked in this large and long-standing collection for periods of time, particularly if they are in storage and have no or minimal digital record of their existence (a problem that digitization of the collection is chipping away at). We were recently combing through our collections database for artifacts related to natural history for an upcoming project, and happened across several items described as “specimen boxes.” A little more investigation revealed they are shadowboxes containing seashells collected by Thomas Edison in Fort Myers, Florida, home to his Ft. Myers Laboratory. We’ve just digitized these shadowboxes, including this star-chambered one—see all three by visiting our Digital Collections.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Clint Hill is a former Secret Service agent who was in the presidential motorcade on November 22, 1963, as John F. Kennedy was shot. On May 16, 2016, The Henry Ford will host Mr. Hill, who will talk about his work with five presidents: Eisenhower, Kennedy, Johnson, Nixon, and Ford. While this evening event is sold out, you can still hear some of Mr. Hill’s stories in a video oral history he made at The Henry Ford during an earlier visit in 2013. We’ve just digitized these clips, including one tale of the unusual issues that arise when presidential motorcades are showered with confetti. We’ve gathered all 11 clips in an Expert Set within our Digital Collections for easy viewing.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Cyrus Field wanted to wire the world. A successful paper merchant turned telecommunications pioneer, Field established the American Telegraphy Company in 1856 and set to work raising the funds and gathering the minds needed to bridge the oceanic divide between Europe and America.
In 1858, after several failed attempts, an underwater cable—capable of transmitting telegraph signals across the Atlantic Ocean—was laid from Valentia, Ireland, to Heart’s Content, Newfoundland. In August the first messages were sent, including an exchange between Queen Victoria and President Buchanan. It took 17 hours to transmit Queen Victoria’s 98 words. The triumph of the 1858 cable was short-lived; a month later, it failed, a victim of excess voltage in an attempt to increase the speed of messages.
This cable machine, built by Glass, Eliot & Co., was used to prepare telecommunications cable at Enderby’s Wharf in Greenwich, England, for the second transatlantic cable. Machines like these were used to create the core of submarine cable from iron and conductive copper—and then moved aboard a ship, where they applied a protective sheath made of galvanized steel, an insulating layer of gutta-percha and a final layer of jute to protect against abrasion. One mile of finished cable weighed almost a ton, but it was as flexible as a rope, built to withstand the pull of the ship laying it and hazards on the ocean floor.
In 1865, 2,300 nautical miles of cable were carried aboard the leviathan iron steamship, the SS Great Eastern. The ship left in July but was forced to return to port when the cable snapped and the end was lost at sea. A second cable excursion began a year later and was successful. This was the first truly sustainable and durable telegraph cable, continuing to carry the Morse code “text messages” of telegraph operators across continents—at a rate 80 times faster than the first cable. It remained in operation until the mid-1870s, by which time four additional cables had been laid.
This machine was essential to the “wiring of the world,” reorganizing basic materials into the spine of the first permanent transcontinental telecommunications network. These submarine cables—like the modern-day fiber-optic cables that carry the signals of Internet traffic—connected cultures and communities.