Author: schickj

April 28, 2010

Faux Finishing in the Smithsonian’s Great Hall

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

The Great Hall in the Smithsonian Castle

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

View of one of the columns in the Great Hall

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

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

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

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

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

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

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

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

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

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

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

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

View of a column base

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

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

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

Detail of one of the faux-finished marble columns

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

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

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

View of a tri-colored column in the Schermer Hall

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

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

photo credit: editor

February 26, 2010

Bracket-making

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

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

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

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

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

Side view of study mounts for coinage

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

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

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

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

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

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

Exhibit drawing for "Going to Sea"

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

Exhibit objects for "Going to Sea"

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

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

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

View of the sea shell on its brass support rod

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

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

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

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

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

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

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

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

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

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

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

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

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

View of the overlapping–but not touching–lyre fragments

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

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

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

photo credits:

photos 1-3: Editor

photos 4-8: Jessica Hostetler

photos 9-10: Editor

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

photo 13: Elevation drawing of Pliacre mount by Howard Clemenko

photo 14: Two Lyres from Ur by Maude de Schauensee

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

December 15, 2009

Moving Beyond Earth

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

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

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

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

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

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

View of the steel framework at OEC

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

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

Door hinge

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

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

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

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

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

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

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

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

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

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

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

View of the assembled stage

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

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

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

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

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

View of the completed stage in "Moving Beyond Earth"

photo credits:

photo 1: Vincent Rossi and Adam Metallo

photo 2: Editor

photo 3: Adam Metallo

photo 4: Adam Metallo

photo 5: Courtesy NASM; Eric Long, photographer

photo 6: Courtesy NASM; Eric Long, photographer

photo 7: Courtesy NASM; Eric Long, photographer

photo 8: Editor

photo 9: Courtesy NASM; Eric Long, photographer

photo 10: Editor

October 27, 2009

On the Water: Stories from Maritime America

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

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

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

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

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

Photo 3. Slave ship 3-D computer drawing.

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

Photo 4. View of slave ship model.

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

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

Photo 5. Female slaves.

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

Photo 6. Male slaves and crew member.

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

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

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

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

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

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

Photo 10. Urethane figure in its silicone mold.

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

Photo 11. View of finished figures.

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

Photo 12. Crew members with rats and water buckets.

Photo 13. Cloth sacks and elephant tusks.

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

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

photo credits:

photo 1: Courtesy National Museum of American

            History; Harold Dorwin, photographer

   photos 2-3: Chris Hollshwander

   photo 4: Courtesy National Museum of American

            History; Harold Dorwin, photographer

   photos 5-10: Natalie Gallelli

   photo 11: Kathleen Varnell

   photos 12-13: Natalie Gallelli

September 30, 2009

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

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

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

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

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

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

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

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

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

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

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

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

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

Healing VI, 2004
Smoke-fired stoneware with earthenware slip

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

Written by Antonia Harbin.

photo credits:

photo 1: Nekisha Durrett

       photo 2: Sutikare Photography

      photo 3: Mississippi Museum of Art

by schickj

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August 27, 2009

3-D Scanning and Printing Initiative

The Office of Exhibits Central (OEC) recently launched an exciting new initiative utilizing 3-D scanning and printing technology. One of the projects for which it is being used is an upcoming exhibit on which OEC is collaborating with the National Museum of Natural History (NMNH). For the past several months, OEC model maker, Carolyn Thome, has been working with NMNH model maker, Paul Rhymer, to create plaster casts of bones and prehistoric tools that replicate the original artifacts. The casts will be on long-term display in the exhibit which will be on permanent view at the museum.

In most cases, the plaster casts are being made from artifacts, or from existing casts which the model makers use to create silicone molds from which they subsequently produce new plaster casts. In other cases, objects are on loan from outside lenders who have made their molds available to the model makers for use in making new casts. In some cases, however, neither molds nor casts exist. Additionally, in many instances, the objects are too fragile or too complex, or the artifacts are not accessible long enough for the model makers to be able to produce molds of them. An effective alternative has been to use a 3-D “printer” or “fabricator” to create a cast from a computer data file. The result is a three-dimensional object with an exceptionally high degree of detail.

In order to produce casts for the exhibit using the 3-D printer, the first step in the process was for NMNH researchers Mat Tocheri and Christyna Solhan to scan the artifacts at NMNH using a CT scanner. The OEC team also transported its portable laser scanner to NMNH to help scan objects. Once that was completed, the scan data were uploaded to OEC’s ftp site; each artifact had a separate data file. Thome then created a “print build” for each artifact by importing the scan data into the software program and arranging it in the “build envelope” to achieve the most efficient print. The build envelope–outlined on the computer screen–represents the actual size of the cavity in the 3-D printer in which the cast will be created; it measures 15″(l) x 10″(w) x 8″(h). Once Thome achieved the arrangement that she wanted, she forwarded the “build data” to the 3-D printer.

“Print build” showing the scan data for several bones of a Homo floresiensis skeleton

To create the cast, fine powder, similar to plaster dust, is loaded into the cartridge, and an elevator-like mechanical metal plate is positioned at the top of the 15″(l) x 10″(w) x 8″(h) build envelope cavity inside the 3-D printer. To begin production of the desired object, a “fast axis” arm moves back and forth across the metal plate, and spreads a thin layer of powder with every pass; each layer measures .004 mm. Inside the arm, printer heads release a binding agent only where the computer data instruct them to, which binds the powder particles together at those points, creating a solid mass. Each layer has individual print instructions, and successive layers are built up by the slow descending of the metal plate into the cavity, as the fast axis arm deposits layer upon layer of powder and binder. The loose powder that is not glued together by the binding agent, serves to hold the object in place within the cavity. After the object has been removed, the loose powder is collected, and reused for the next project.

Thome finishes the cast by sanding it, and painting it so that it resembles the original artifact, according to the curator’s specifications. She then “infiltrates” it with a medium such as epoxy to help stabilize it, and increase its strength. Brackets to position the object while it is on display are then constructed, if necessary. As Thome observed, “Casts, themselves, often become accessioned artifacts, and it is tremendously exciting to be creating these pieces which may become part of the Smithsonian’s collections.”

An example of the use of this technology for the exhibit is a series of casts, made by Thome, of several bones of a Homo floresiensis skeleton from NMNH’s collections, which were scanned by the museum’s researchers. The data file for the bones totaled 100 megabytes, and consisted of 39 separate files–one for each bone. Thome processed the data file, and sent the print instructions to the printer. The data file took 11 1/2 hours to print, and had 1,557 layers; the finished three-dimensional cast, standing approximately 6 1/4″ high, was then painted and sealed by Thome.

Another interesting example of the use of the technology for the exhibit is a set of casts on which Thome has been collaborating with a museum in South Africa. Because the artifacts were only available for one week, it was not possible for the model makers to prepare traditional plaster casts of them; the use of the 3-D printer, however, allowed the project team to take advantage of the brief window of opportunity during which the objects were accessible. The artifacts were hand-couriered from South Africa to Washington, D.C., where CT scans were made at NMNH. Thome then used the printer to fabricate casts using the resultant data files; the casts included three endocasts–casts made of the inside of a skull; a jaw bone; and prehistoric tools. Thome plans to provide copies of the casts to the museum in South Africa in exchange for allowing their artifacts to be scanned.

3-D “print” of an endocast

3-D “print” of a jaw bone

This invaluable initiative was made possible by a generous grant from the Smithsonian Institution Women’s Committee (SWC) which provided funding for the 3-D printer. Their significant gift provided the support necessary for OEC to acquire the equipment, and begin utilizing the technology on current projects. In addition to exhibit work, many other uses for the technology may be developed. As mentioned above, collaborations among museums to exchange casts can increase each museum’s respective collection, as well as provide study casts for researchers, thereby creating a significant opportunity for a world-wide exchange of information. Additionally, scan data files can be posted to web sites, greatly facilitating research and analysis.

OEC model makers, Vincent Rossi and Adam Metallo, who brought the 3-D printer to the attention of the Women’s Committee, expressed their gratitude to the committee for the SWC’s generosity. Due to the Women’s Committee’s dedication to furthering the interests of the Smithsonian, as well as their understanding of the great benefits that can be derived from this equipment, Rossi and Metallo noted, OEC now has the ability to be able to share this technology with others on an ever-widening range of projects.

3-D “print” of prehistoric tools

photo credit:

       Carolyn Thome

by schickj

3D Imaging
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July 28, 2009

Rock seating

The Office of Exhibits Central (OEC) has been collaborating with the Smithsonian’s National Museum of Natural History (NMNH) on the creation of a bronze sculpture for inclusion in one of the museum’s upcoming exhibits. When completed, the sculpture will resemble boulder-size rocks on which visitors can sit, allowing them to interact with the surrounding sculptural tableau. Achieving a final result that closely resembled nature was a critical component of the work, which OEC model maker, Adam Metallo, accomplished with great success.

From the onset, the project was discussed extensively among the curator and project manager at NMNH; OEC’s model making team which included Adam Metallo, Natalie Gallelli, and Vincent Rossi; and the artist who will be undertaking the other sections of the tableau. Before the initial meeting, Metallo–an accomplished sculptor–conducted research on rocks in order to study a variety of textures, shapes, and sizes so that he could produce a generic model that was not geographically specific. His research was used to help Gallelli produce a small maquette, which Metallo and Gallelli took with them to the introductory meeting with NMNH staff. Once the maquette had been approved, Metallo was able to begin finalizing the sculpture’s details.

First, the outlines of the entire tableau were drawn on the floor. Then, the model making team used a variety of props to establish the proper height, width, and depth for the rock seating which needed to comfortably accommodate two adults, and be in proportion to the rest of the sculptural grouping. Once the dimensions and orientation of the seating had been determined, the next step in the process was to make a 3-D rendering of it in CAD software, which was subsequently printed out at full size to ensure that the sculpture was exactly as Metallo wanted it to be.

Metallo then glued 4″ thick strips of foam together to make a large block. He used electric hot knives and wire cutters to sculpt the basic shape of the rock; the fine detail was completed with butcher knives, hot knives, and sandpaper. Once the sculpting was finished, Metallo smoothed the surface of the foam with a heat gun which slightly melted the exterior, in order to remove the knife marks. Lastly, the foam was sprayed with plaster using a cup gun to give it a stone-like appearance.

A bronze casting of the model will be produced at a nearby foundry, and the touchable rock seating will be installed at the museum. As Metallo observed, “It is quite exciting and gratifying to be able to create something that will be on display at NMNH for many years to come. I am also pleased by the fact that visitors will be able to interact with it, enjoy it as a sculpture, as rock seating, and as part of an important exhibit.”

Written by Antonia Harbin.

photo credits:

      photo 1: Adam Metallo–The rock seating model.

      photo 2: Adam Metallo–Vincent Rossi, Carolyn Thome, and intern Matthew
               Davis determine the appropriate height, width, depth, and
               orientation of the rock seating.

      photo 3: Antonia Harbin–The rock seating model.

by schickj

Modelmaking
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June 29, 2009

Night at the Museum “pile of loot” installation

The Smithsonian Castle–prominently featured in the witty 20th Century Fox motion picture, Night at the Museum: Battle of the Smithsonian–is currently the setting for the display of one of the many spectacular props included in the movie. The enormous “pile of loot,” supposedly pilfered from the museum’s collections by the film’s arch villain, the evil pharaoh, Kah Mun Rah, is on
view in the Great Hall through September 30, 2009. The fascinating agglomeration of faux artifacts is made even more impressive by its sheer size: 6′ high x 22′ long x 22′ wide. Irresistible to examine, the hoard includes gold coins, clocks, furniture, Oriental carpets, picture frames, brass urns, musical instruments, and much, much more.

The Office of Exhibits Central (OEC) led the installation of the pile of loot in the Castle, with support from across the Smithsonian. According to Scott Schmidt, head of OEC’s Fabrication Shop, “I pulled in specialists from every corner of the Institution.”  The Transportation Division provided a 55′ tractor-trailer and driver, for example, so that all six pieces of the sculpture could be transported together. OEC’s Special Exhibitions Department arranged the loan of the prop, organized logistics within the Castle, and managed the installation.  OEC model maker, Carolyn Thome, guided a team of volunteers from the Smithsonian’s Visitor Information and Associates’ Reception Center, who worked with her to re-glue, straighten, and dress the mound of objects prior to its opening to the public, including installing ten additional boxes of loot that was not permanently attached to the main mass.

Rick Pelasara’s production division at the National Museum of the American Indian fabricated the plexi barriers. The staff of the Office of Facilities Engineering and Operations, as well as the Castle’s Building Management staff, supplied invaluable help with lifting, carrying, and placing the heavy pieces of the sculpture; each of the six sections required the strength of ten men to move it.  The Castle Collections office was involved in multiple phases of the project, including the assembly, and the National Museum of American History designed and produced an explanatory panel which provided background information on the film.

The sculpture was transported from the Smithsonian’s storage facility in Landover, Maryland, to the Castle at the beginning of May, where it was off-loaded from the truck and carried, by hand, into the Great Hall. The pieces were lined up so that the seams between sections were not visible, and the retractable wheels beneath the pieces were adjusted for height. The additional loot was then positioned, and final alterations made to the giant stack of treasures. Lastly, the plexi barriers were put in place, as well as the explanatory panel.

“The great beauty of the installation was the willingness to help that I encountered from all of the offices involved,” Schmidt continued. “We were concerned with handling the sculpture safely, but were also aware that the building was open to the public, who were especially interested in what we were doing. We were able to complete the project without having a major impact on the other activities taking place in the building, and we provided a glimpse for the visitors of some of the ‘behind-the-scenes’ work that goes on at the Smithsonian.”

The comical movie follows the adventures of the film’s characters as they travel from New York City to Washington, D.C., and back, and highlights many of the Smithsonian’s buildings, as well as its exhibits.

photo credits:

      photos 1, 2, 4, 5: editor–The pile of loot on display in the Great Hall of              the Smithsonian Castle.

      photo 3: Betsy Robinson–Volunteers helping with the installation.

by schickj

Exhibit Installation
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May 28, 2009

Journey Stories

The Smithsonian’s Museum on Main Street (MoMS) program recently completed the latest in a series of exhibits developed in collaboration with the Federation of State Humanities Councils.  MoMS–a division of the Smithsonian Institution Traveling Exhibition Service (SITES) which serves small town museums and residents of rural America–has added “Journey Stories” to its impressive list of exhibit offerings. Curated by William Withuhn at the National Museum of American History (NMAH), “Journey Stories” examines the intersection between transportation and American society by providing individual stories which illustrate the critical roles that mobility and travel have played in our country’s history over time. The MoMS staff worked with the Office of Exhibits Central (OEC) to design and fabricate five copies of the 600 square foot, free-standing exhibit, which began touring in May 2009. Audio components; objects including clay jugs, courie shells, and hurricane lanterns; cut-out figures; and engaging graphics supplement the compelling text.

The five copies of the exhibit will travel within the states of Illinois, Mississippi, North Dakota, Kansas, and Oklahoma during the first year of the tour.

“Journey Stories” Title Panel

One Way Trip

Pushing the Boundaries

Across the “Great Desert” to the West!

photo credit:


  OEC editor

by schickj

Graphic Design

Traveling Exhibits
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April 16, 2009

Smithsonian Women’s Committee Craft Show

The Office of Exhibits Central (OEC) has been working with the Smithsonian Women's Committee (SWC) to prepare exhibit graphics for their 27th Annual Smithsonian Craft Show, on view from April 23 through April 26, 2009, at the National Building Museum, Washington, D.C. Established in 1966 to advance the interests of the Smithsonian through fundraising activities and special projects, the SWC has contributed immeasurably to the educational, outreach, and research programs of the Institution. The Craft Show–the committee's most important fundraiser–provides a venue for American craft artists to exhibit their work in the nation's capital, and its Silent Auction allows collectors across the country to participate in on-line bidding in order to purchase a portion of the works of art. Approximately 120 artists are selected by a three-member jury which reviews thousands of entries, making the Craft Show a preeminent display of American crafts.

Kathleen Varnell trims the exhibitor booth signs for the Annual Smithsonian Craft Show

Kathleen Varnell, OEC's project manager for the show, has collaborated with the SWC on the last three events. Varnell determines the scope of work based on the committee's needs, and then develops the graphic identity. Graphics range from directional labels mounted to mat board, to informational posters attached to foam-core, to a massive 31'(l) x 9'(w) hanging banner which is suspended from the upper arcaded balcony of the multi-tiered interior of the National Building Museum.



The Smithsonian Women's Committee Craft Show banner

Ensuring that exhibitors and visitors to the Craft Show know how to navigate through the many display alcoves is an important part of the way-finding signage. OEC also stores, and annually refurbishes, the SWC's exhibit cases which hold the Silent Auction pieces.

Silent Auction display

As Varnell noted, "From an artist's standpoint, the Craft Show is the crown jewel of craft exhibitions. Being an artist myself, the opportunity to meet the artists and see what they are doing is an inspiration, and encourages me to push harder in my own work. I also enjoy buying pieces directly from the artists during the show; I like knowing who made it, and that I am helping the SWC with such a worthwhile cause.  And working alongside the members of the Women's Committee is a sheer joy."

Exhibitor booth with signage

The high quality of the material on display has guaranteed the event's success and popularity. By organizing and producing the Annual Smithsonian Craft Show, the Women's Committee continues to provide significant support not only for American craft artists and collectors of their work, but also for the future mission of the Institution.

Smithsonian Women's Committee Craft Show in 2010

photo credits:

      photos 1-3: Theresa Keefe

      photos 4-6: Kathleen Varnell

by schickj

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