Stories from the stores

A couple of weeks ago I talked about how we got the aircraft into our Flight gallery, in response to a Twitter question. I said I’d been to our photo archive to see if we had any pictures of the 1960s aircraft installation, and I turned up lots of great images.

Well, the scans have just arrived, so for those interested in how to get a Supermarine S6B world-speed-record-breaking aeroplane into a third-floor gallery in central London in 1961, here goes…

Supermarine S6B in mid-lift (Science Museum)

Supermarine S6B in the air (Science Museum)

Supermarine S6B perched on a ledge (Science Museum)

Supermarine S6B ready to go in (Science Museum)

Supermarine S6B on final approach (Science Museum)

Supermarine S6B has landed! The wings go on later (Science Museum)

And their suits are all still pristine!

Last week one of our visitors asked us a question via Twitter while looking round our third-floor Flight gallery:

Help me settle a debate @sciencemuseum, how did you get the planes in the flight exhibit into the building?

Good question. First opened in 1963, the gallery was refurbished in the 1990s when a couple of new planes (including our Hawker jump-jet and a Hawker Siddeley executive jet) were added.

HS.125 executive jet, 1965 (Science Museum / Science & Society)

To get the aircraft into the gallery, we took some windows out, built a platform out above the service road that runs alongside the building, and craned the aircraft up and inside. Most were dismantled before transportation – the wings were removed, for instance – and then they were rebuilt inside the gallery before being hung up.

We’ve got planes in other galleries, too. If you made it to the Making the Modern World gallery during your visit, you’ll have found a gorgeous Lockheed ‘Electra’ airliner swooping down on you, as well as an Avro 504K biplane, a Rolls-Royce vertical-take-off test rig and a Short SC 1 aircraft.

Short SC 1 aircraft and Rolls-Royce test rig, 1950s (Science Museum / Science & Society)

As this gallery is on the ground floor, life was a bit easier. The aircraft were brought in to the gallery on low-loaders, reassembled on the gallery floor, then hung up by a team of rigging contractors. This was done before the smaller exhibits were installed, but it was still a real 3D jigsaw for the project managers to work it out.

Lockheed 'Electra' airliner (Science Museum / Science & Society)

I’ve found some lovely photos of the early-1960s aircraft installation. I’m getting them scanned, and I’ll post them here in a couple of weeks. Watch this space…

I visited Tate Britain last weekend to see a pair of fighter planes newly on show in the gallery’s central halls.

Sea Harrier jet in Tate Britain, August 2010 (David Rooney)

Created by British artist Fiona Banner, Harrier and Jaguar sees a Sea Harrier suspended like a ‘captured bird’, according to the gallery, with a Jaguar nearby ‘belly up on the floor, its posture suggestive of a submissive animal’. It’s an arresting display.

Jaguar jet in Tate Britain, August 2010 (David Rooney)

There’s nothing else. Just the two jets, one stripped bare, flipped over and defenceless, the other hanging menacingly as if about to strike, both captured within the spare, classical surroundings of the art gallery.

Sea Harrier jet (detail) in Tate Britain, August 2010 (David Rooney)

I loved the simplicity of the show. With nothing to look at but the exhibits, I was soon lost in thought about what they meant, about the journey they’d made from manufacture, through use, to disposal and, ultimately, this display.

And, as with all experiences like this, it made me want to look at familiar things with fresh eyes. On show in the Science Museum’s Flight gallery is the first prototype that ultimately led to the Harrier, the Hawker P.1127, which first flew (half a century ago!) in October 1960.

Hawker P.1127 prototype jump-jet, 1960 (Science Museum / Science & Society)

It’s a beautiful and terrifying craft, as Banner’s display brought home to me so strongly. A single jet engine with four swivelling nozzles enables the aircraft to take off vertically, hover, and fly forwards or backwards in a ballet of jet-powered precision – yet it’s a machine designed to kill.

Tough stuff – see both displays if you can.

Stories From The Stores is one year old today. Woo hoo!

Over the past twelve months, we’ve told 200 stories about science, technology, engineering and medicine as captured in our remarkable collections of objects, pictures, books and archives.

Our history – your history and mine – is embedded in the objects we’ve invented, made and used. Time flies, and we might forget this history if we didn’t collect stuff. Here, for instance, is a state-of-the-art aircraft flight exactly a century ago:

'Mr Gibbs Making an Evening Flight', July 1910 (Science Museum / Science & Society)

Wonderful image – and worth remembering if you’re jetting off for a foreign holiday this summer. We’ve come a long way in a short time.

Here’s to the coming year – lots more stories from the Science Museum stores!

I was working at our large-object store at Wroughton the other day, looking at some of the vehicles in our transport collection. One of them is a really lovely Renault taxi from 1910:

Renault taxi, 1910 (Science Museum / Science & Society)

Ain’t it just a peach? Anyway, on the train back from Wroughton I was reading a 1930s book by Herbert Hodge, called It’s Draughty In Front: the Autobiography of a London Taxidriver. I was amazed to find that in 1915, aged fifteen, Hodge got a job in a taxi garage that ran Renaults just like the one I’d just seen.

In the book, he provides a terrific first-hand description of the cars and what they were like to run.

“When the drivers arrived I was expected to start their engines for them – a heart-bursting job in those days, especially with war-time petrol… I soon acquired the knack, learning to ‘dope’ the cylinders with petrol, and heat the plugs on the gas-ring, and all the other dodges necessary for those ancient engines.”

He went on:

“The most difficult knack to learn was the sharp pull to start the Renaults. The first time I got it, I gave such an almighty jerk, I brought the open bonnet down on my head. But I started the engine.”

I love finding these first-hand accounts of what new technology was really like, especially relating to stuff we’ve got in our collections. I feel genuinely closer to our Renault taxi having read Hodge’s words, and next time I visit Wroughton, I’ll be all over that car, imagining Hodge struggling to start the engine back in 1915.

Hodge was a very interesting character in other ways. More on that another time…

In my last post I showed you a section of gun barrel flattened cold by a steam hammer. Spectacular demonstrations of engineering muscle have often yielded cool Science Museum exhibits, and I thought you might like to see another one on show in our Making the Modern World gallery:

Knot of steel, 1885 (Science Museum / Science & Society)

This is a knot, tied cold, formed by a pair of inch-diameter rods of steel. It was made in 1885 at the Steel Company of Scotland, Glasgow, and comes from a collection of 3,700 metallurgical specimens put together by Dr John Percy FRS. We bought the collection upon Percy’s death in 1889.

John Percy, English metallurgist, 1859 (Science Museum / Science & Society)

Percy was the inaugural Professor of Metallurgy at the School of Mines, the first government-backed technical higher education establishment in the UK, and taught there from 1851 to 1879. Here’s his laboratory:

John Percy's metallurgical laboratory, 1877 (Science Museum / Science & Society)

Percy had made a name for himself in the 1840s for a new method of extracting silver from ore, which went into widespread use. He went on to develop new ways to make steel, improving Bessemer’s process.

His collection was eclectic, to say the least. While reading through the files in order to write this blogpost, I saw that another of the items in his collection was a box of boa constrictor dung, used as a fuel for smelting. Ingenious…

The School of Mines ended up as part of the Department of Materials at Imperial College, next door to the Science Museum. You can read the history of the school in a super booklet written by Imperial’s wonderful archivist, Anne Barrett.

And if you’re going there to study this autumn, do drop by and see us.

My attention was drawn last week to an incredible set of photographs taken recently in Notting Hill Gate underground station, during refurbishment. They show a deserted passageway sealed up in 1959, with advertising posters surviving untouched to this day:

Hidden lift passage, Notting Hill Gate station, 2010 (London Underground / Mike Ashworth)

The full set, by London Underground’s Head of Design and Heritage, Mike Ashworth, are on Flickr. One of them advertises the Science Museum’s then-new Iron and Steel gallery, depicting a Bessemer steel converter in mid-pour:

Science Museum 'Iron and Steel Gallery' poster, Notting Hill Gate station, c.1959 (London Underground / Mike Ashworth)

I’ve spoken before (in posts about Barrow-in-Furness and Bessemer) about our 1865 converter. It’s now in Making the Modern World but back in the sixties it was in Iron and Steel, as shown here:

Science Museum audioguides, 1961 (Science Museum / Science & Society)

(Hand-held audioguides aren’t a recent museum phenomenon. We were trying them out in the sixties!)

In front of the converter you can see a flattened metal ring. It’s a section of round gun barrel, squashed flat by a steam hammer. It was done cold, and there’s no cracking.

Section of Bessemer steel hammered flat, 1860 (Science Museum / Science & Society)

It was a demonstration carried out by Bessemer in 1860 to show the superb ductility (flexibility) of his steel, which made it such a useful material – giving us longer bridges, bigger ships, taller buildings, stronger machinery and rails to take heavier and faster trains. You can see it in Making the Modern World, too.

Iron and Steel was replaced in 1995 by our current Challenge of Materials gallery.

(Thanks to Mike Ashworth and London Underground for sharing their pictures.)

I commute to work most days by fast catamaran. It’s a delightful way to travel, and lets me see London from a different perspective.

Cruise ship at Tower Bridge, 7 June 2010 (David Rooney)

Right now there are lots of big cruise ships using the River Thames as a stopping-off point. One popular mooring location is a spot beside HMS Belfast, near Tower Bridge. Earlier this week, I spotted a ship there called Alexander von Humboldt:

The Alexander von Humboldt (detail) (David Rooney)

Humboldt was a German scientific explorer of the eighteenth century. He became famous for his journal describing his voyages to Latin America from 1799 to 1804 (available online at the Humboldt Digital Library).

There’s an English-language selection from his journal available, which is an exquisite read. It’s fresh to this day.

As with many ‘celebrities’, he was immortalised in art and material culture, and we’ve a fair bit of Humboldtian stuff in our collections, from portraits of him as a dashing young explorer to busts of him as a grand old man of science.

Alexander von Humboldt c.1806 (Science Museum / Science & Society)

Celebrity’s a funny thing. For those who make it, their name can live on seemingly forever (even if on the side of a cruise ship). Yet many who carry out life-changing work remain obscure, their stories little told.

We’re working on a major new history of science gallery here at the Science Museum, which we hope will open in 2014. Right now we’re grappling with new ways to tell stories about the people and stuff of science, and we’ll be talking about our work as we do it, so watch this space (and others). Sadly, though, my idea of a curatorial team cruise on the Alexander von Humboldt  has been rejected. Curses.

I’m recently back from a short break on the Kennet & Avon canal. Travelling at three miles per hour through some of southern England’s most picturesque scenery was the perfect complement to a hectic urban life…

Dundas aqueduct, Kennet & Avon canal (David Rooney)

Just one thing, though. Idyllic though my holiday was, I was greatly relieved to return home to a flushing lavatory connected to a sewer, not a small tank of chemicals…

Model water closet, c.1900 (Science Museum / Science & Society)

The nineteenth century, with its explosion of urban living and ever-increasing housing density, led to a great movement for the widespread supply of clean water and the provision of effective sewerage in every home.

Civil engineering dealt with the big stuff – pipelines, pumping stations and vast networks of sewers. People like Joseph Bazalgette are now well-known for their work in building Victorian London’s sewer system.

Our health curator, Stewart Emmens, has discussed this at length in his sewage blogpost and his hygiene blogpost, and our Making the Modern World website expands the story.

Joseph Bazalgette (Science Museum / Science & Society)

No less important was the new breed of sanitary engineer which grew up, designing the types of lavatories, basins and pipework that are so common today as to be almost invisible, although in the early days training in its operation was needed:

Hygiene demonstration cabinet, 1895 (Science Museum / Science & Society)

But please don’t get me wrong. I’m just as appreciative of the engineers who enabled my rented canal boat to be fitted with that chemical toilet I mentioned. I shudder to think what the alternatives might have been…

As you read this, I’m away on a short break, taking my first holiday on a canal boat with some friends.

Canals can tell us a great deal about our history and our national identity. This scene, on show in the ‘British small craft’ display in our shipping gallery, contrasts the old and the new on Britain’s inland waterways in the 1960s:

Canal boats display, Science Museum (David Rooney)

A working barge features in the foreground, while a (then) modern canal cruiser sits behind.

This shift of use, from haulage to leisure, is a fascinating story in Britain’s marine history, and the rest of the display similarly sheds light on how we felt about our coastal identity back in the 60s, and how it sat in wider culture.

British Transport Films cameraman filming canal boat, 1950 (NRM / BTF / Science & Society)

We’ve got a really interesting vacancy at the moment. If you’re thinking of starting a PhD, we’ve got funding from the Arts & Humanities Research Council to pay for a doctoral student to study our British small craft display.

You can find out more about the project, being run jointly between the University of Nottingham’s geography department and ourselves, here.

If you’re interested, please contact Professor David Matless at Nottingham for an informal discussion. Closing date for applications is Friday 4 June, with interviews being held at the Science Museum on Thursday 17 June.

Meanwhile, if I haven’t accidentally fallen in the Kennet & Avon canal, I’ll be back in London next week. Now, does anyone know how to steer this thing?