Engineering, Building, and Architecture - Overview
Not many museums collect houses. The National Museum of American History has four, as well as two outbuildings, 11 rooms, an elevator, many building components, and some architectural elements from the White House. Drafting manuals are supplemented by many prints of buildings and other architectural subjects. The breadth of the museum's collections adds some surprising objects to these holdings, such as fans, purses, handkerchiefs, T-shirts, and other objects bearing images of buildings.
The engineering artifacts document the history of civil and mechanical engineering in the United States. So far, the Museum has declined to collect dams, skyscrapers, and bridges, but these and other important engineering achievements are preserved through blueprints, drawings, models, photographs, sketches, paintings, technical reports, and field notes.
"Engineering, Building, and Architecture - Overview" showing 306 items.
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La Libreria a Venise
- Description
- Giovanni Antonio Canal (1697–1768), known as Canaletto, etched this view of Venice featuring the Library of St. Mark and the Piazzetta in the 1740s. The Library was designed by Jacopo Sansovino (1486–1570), who is credited with bringing the High Renaissance style to Venice. Many travelers were interested in Renaissance and Baroque architecture, as well as the ruins of ancient Rome. Canaletto's views appealed especially to wealthy 18th-century British visitors who came to Venice on the Grand Tour. Americans also visited Italy and collected prints to remind them of places seen.
- Canaletto specialized in paintings of Venice, many of which show well-known landmarks. He also made a series of etchings. Some depict actual sites, as this one does, while others show invented landscapes. The Museum's set of Canaletto's Venetian etchings was received as a gift from Mabel Brady Garvan, who, with her husband Francis P. Garvan, built an important collection of American paintings, furniture, and decorative arts that is now at the Yale University Art Gallery.
- Location
- Currently not on view
- graphic artist
- Canaletto
- ID Number
- GA*21847
- catalog number
- 21847
- accession number
- 257503
- Data Source
- National Museum of American History, Kenneth E. Behring Center
E. Howard and Company Tower Clock
- Description
- In places that required many clocks—factories, office and public buildings, or schools—time was often distributed by a system of "master" and "slave" clocks. In such a system, a central timekeeper, the master clock, sent periodic impulses, usually electric or pneumatic, to any number of secondary or slave clocks. These slave clocks could be located anywhere, without regard for convenience of winding, because they needed none. The master clock could also drive other time signals like classroom bells, factory whistles, or time stamps. More economical to install and more convenient to maintain than an equal number of independent clocks, the system also ensured that all dials within the system agreed.
- The museum collection contains such a timekeeping system. The system's master clock (Cat. 310,569), built by E. Howard and Company of Boston, is a mechanical tower clock movement equipped with electrical contacts. Once a minute the escapement, through a pair of rotary switches, closes an electrical circuit and sends an impulse to the slave dial (Cat. 310,570), where electromagnets advance the hands. Batteries at the base of the master clock supply current.
- This clock and dial were components of a system that served the Smithsonian between about 1881 and 1932. First housed in the north tower of the Arts and Industries Building, the clock movement distributed impulses to eighteen dials in that building and the Castle, the Smithsonian's earliest building. Tunnels under the floors carried the wiring. The clock room also housed a telephone switchboard, a watchman's clock, a central burglar alarm, and call bells—all of which, like the time distribution system, relied on the newly harnessed power of electricity. "Indeed," boasted the Smithsonian's annual report for 1881, "it is believed that in no building in the world, with the exception of the Grand Opera House in Paris, is there so perfect and complete an application of electricity to practical services."
- Location
- Currently not on view
- Date made
- 1880
- manufacturer
- E. Howard & Co.
- ID Number
- ME*310569
- catalog number
- 310569
- accession number
- 123081
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Slave Dial to Tower Clock
- Description
- In places that required many clocks—factories, office and public buildings, or schools—time was often distributed by a system of "master" and "slave" clocks. In such a system, a central timekeeper, the master clock, sent periodic impulses, usually electric or pneumatic, to any number of secondary or slave clocks. These slave clocks could be located anywhere, without regard for convenience of winding, because they needed none. The master clock could also drive other time signals like classroom bells, factory whistles, or time stamps. More economical to install and more convenient to maintain than an equal number of independent clocks, the system also ensured that all dials within the system agreed.
- The museum collection contains such a timekeeping system. The system's master clock (Cat. 310,569), built by E. Howard and Company of Boston, is a mechanical tower clock movement equipped with electrical contacts. Once a minute the escapement, through a pair of rotary switches, closes an electrical circuit and sends an impulse to the slave dial (Cat. 310,570), where electromagnets advance the hands. Batteries at the base of the master clock supply current.
- This clock and dial were components of a system that served the Smithsonian between about 1881 and 1932. First housed in the north tower of the Arts and Industries Building, the clock movement distributed impulses to eighteen dials in that building and the Castle, the Smithsonian's earliest building. Tunnels under the floors carried the wiring. The clock room also housed a telephone switchboard, a watchman's clock, a central burglar alarm, and call bells—all of which, like the time distribution system, relied on the newly harnessed power of electricity. "Indeed," boasted the Smithsonian's annual report for 1881, "it is believed that in no building in the world, with the exception of the Grand Opera House in Paris, is there so perfect and complete an application of electricity to practical services."
- Date made
- 1880
- ID Number
- ME*310570
- catalog number
- 310570
- accession number
- 123081
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Post Instruction Manual for Versalog Slide Rule
- Description
- This is a later printing of 1978.0800.02. Its citation information is: E. I. Fiesenheiser, Versalog Slide Rule Instruction Manual, with R. A. Budenholzer and B. A. Fisher (Chicago: Frederick Post Company, 1963). The text appears not to have been revised since these three Illinois Institute of Technology engineering professors helped invent the Versalog slide rule and wrote instructions for using it in 1951. Marks inside the front cover indicate this copy was offered for sale in January 1969 for $1.00.
- Location
- Currently not on view
- date made
- 1963
- maker
- Frederick Post Co.
- ID Number
- 1980.0097.03
- accession number
- 1980.0097
- catalog number
- 1980.0097.03
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Cladding Fragment from the World Trade Center
- Description
- This crumpled piece of exterior sheathing was recovered from the debris pile of the World Trade Center after the building collapsed following the terrorist attacks of September 11, 2001. While the towers withstood the initial damage caused by the impact of the hijacked jet liners being crashed into the structures, the intense fire that then raged proved to be too much.
- The twin towers of the World Trade Center, a New York City landmark and the tallest buildings in the world when completed in 1973, were noted for their incredible 110-story height and their gleaming exterior. The towers were clad in an aluminum alloy sheathing that gave the buildings a golden sheen at sunrise and sunset. The material covered the closely-spaced exterior steel columns, enhancing their soaring appearance. Architect Minoru Yamasaki choose to use an aluminum alloy after first considering the more expensive alternative of stainless steel. The highly reflective sheathing of the twin towers added to the building's impact as a memorable landmark.
- Location
- Currently not on view
- Date made
- late 1960s-early 1970s
- ID Number
- 2002.0205.05
- accession number
- 2002.0205
- catalog number
- 2002.0205.05
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Lyman Protracting Trigonometer Signed Heller & Brightly
- Description
- This metal drawing instrument allows civil engineers to translate their measurements into drawings with a minimum of calculation. It consists of a flat steel base bar 81.5 cm (about 32 inches) long, a semicircular protractor with a flat plate along the diameter that slides along the base bar, a long steel arm clamped to the protractor at its center, a brass set square or sliding square that moves along the arm, and a tri-leaved scale (like an architect’s scale) that moves along the arm or along the set square. There are four metal springs, each with its own screw. The two smaller springs hold the protractor plate to the base bar and the two larger ones hold the tri-leaved scale or the set square to the arm. The entire instrument fits in a wooden case. A sheet of instructions is pasted inside the case.
- The protractor is divided by half-degrees and marked by tens from 0° to 90° to 0° and from 90° to 0° to 90°. An attached vernier permits angle readings to one minute of arc. The ratios on the architect's scales range from 1:10 to 1:60. Each scale is divided into tenths of a unit.
- This is a modified form of the protracting trigonometer patented by Josiah Lyman of Lenox, Mass., in 1858, with reissue of the patent in 1860, and extension in 1872 (for an example of the protracting trigonometer, see MA*328738; for an architect’s rule patented by Lyman, see MA*308914). The instrument was made by Heller & Brightly of Philadelphia. According to a Heller & Brightly circular, the instrument sold with either a tri-leaved scale that was 6 inches long or one that was 12 inches long. This instrument has the 12-inch scale, and would have sold in 1878 for $30.00.
- Hobart Cutler Dickinson (1875–1949), a 1900 graduate of Williams College who obtained a master’s degree there and did further graduate work at Clark University (Ph.D. 1910), owned this object. Dickinson worked at the U.S. National Bureau of Standards from 1903 until his retirement in 1945. Dickinson was the father of Anne D. Ross, one of the donors of the instrument.
- References: "Circular of Lyman’s Trigonometer and Universal Draughting Instrument" (Philadelphia: Heller & Brightly, 1878); P.A. Kidwell, “Josiah Lyman’s Protracting Trigonometer,” Rittenhouse, 3 (November 1988): 11–14; Robert C. Miller, “A Lyman Protracting Trigonometer Made by Heller & Brightly,” Rittenhouse 3 (August 1989): 129–131.
- Location
- Currently not on view
- date made
- ca 1880
- maker
- Heller & Brightly
- ID Number
- 2009.0244.01
- accession number
- 2009.0244
- catalog number
- 2009.0244.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Hart House Architectual Elements from Ipswich, Mass.
- Description
- The largest artifact in the museum, this Georgian-style, 2 ½-story timber-framed house was built in the 1760s and stood at 16 Elm Street in the center of Ipswich, Massachusetts, until 1963 when efforts by Ipswich citizens saved it from the bulldozer. The house was carefully taken apart—the frame, chimney, and many other pieces were shipped to the Museum and reassembled.
- Today, the house is the centerpiece of the exhibition Within These Walls , and visitors are able to peer through its walls, windows, and doors to view settings played out against the backdrop of Colonial America, the American Revolution, the abolitionist movement, the industrial era, and World War II. The exhibition tells the story of five ordinary families, selected from many, who lived in this house over 200 years and made history in their kitchens and parlors, through everyday choices and personal acts of courage and sacrifice.
- Date made
- ca. 1760s
- ca 1760
- resident
- Caldwell, Josiah
- Caldwell, Lucy
- Choate, Abraham
- Choate, Sarah
- Dodge, Abraham
- Dodge, Bethiah
- Lynch, Catherine
- Lynch, Mary
- owner
- Dodge, Abraham
- Caldwell, Josiah
- Choate, Sarah
- Dodge, Bethiah
- Caldwell, Lucy
- Lynch, Catherine
- Lynch, Mary
- resident
- Scott, Mary
- owner
- Choate, Abraham
- ID Number
- DL*64.545
- catalog number
- 64.545
- accession number
- 252318
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Simplex '50' Racing and Touring Car, 1912
- Description
- This Simplex '50' is an early example of a type of car marketed as a touring car that could also be raced. Thus it is an example of what came to be termed, in the 1940s, a "sports car."
- American automobile racing is characterized by many widely divergent types of racing, each type having its own distinct history. Many aspects are/have been unique to each racing type: the general design of its participating cars, its sanctioning organization, its funding sources and owner-participants, the types of courses raced on, the different designated classes within an overall design, the official rules governing design details of the cars (rules that usually change every few years), and an enthusiastic base of fans who are often uninterested in the other types of motor racing. A century-long and complex history explains these distinctions and their genesis. A "fascination with speed" is only the seed of the story of each type and explains very little of what was seen in the past, or what is seen today, on race tracks around the United States.
- "Sports cars" came to the US as a post-World War II phenomenon. Ex-servicemen who had been based in England began bringing British sports cars to American soil in 1948. Auto dealerships selling such makes as MG, Triumph, and Jaguar - and Porsche from Germany and Ferrari from Italy - opened in the US for the first time. These cars were typical of European engineering for two-door performance cars: light, agile, many with small or medium-sized engines compared to general US custom, and right at home on curving, twisting roads where a driver could test his or her cornering skill.
- The provenance of this Simplex is not known in detail, nor whether it has a racing history. In 1922, it was registered to a Dunbar Adams of Bay Shore, Long Island; in 1929 it was given to the Smithsonian by a Mr. and Mrs. John D. Adams of the same town. The car has a stock Simplex '50' chassis with a 'skeleton' body - meaning, a sporting as distinct from a commodious body - by the Holbrook Co. (A customer purchasing a chassis-and-engine from an auto manufacturer and a body separately for fitting-on by a body manufacturer was a common practice in the first decade of the 20th century, though a rapidly declining practice by the mid-1910s.) The car is red (the semi-official color for American cars in international races of the time), with a four-cylinder engine and chain drive.
- The car was repainted and reupholstered by a contractor to the Smithsonian in 1950. At that time, Harvey Firestone, Jr., donated the seven 33-inch x 5-inch tires now fitted
- Location
- Currently not on view
- date made
- 1912
- contributed
- Firestone, Jr., Harvey S.
- through
- King, George S.
- maker
- Simplex Automobile Co.
- ID Number
- TR*309549
- catalog number
- 309549
- accession number
- 104418
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Beam Compass
- Description
- This instrument consists of a wooden beam and a single German silver trammel with a micrometer and needle point. A large round hole in one end of the beam allows the instrument to be hung. The other end of the beam is marked in pencil at each of the first six inch points. The trammel is similar but not fully identical to Dietzgen's model number 646, which sold with a pair of trammels, two needle/pencil points, and a pen point for $9.20 in 1904–1905. This instrument was owned by the renowned American designer of steam engines, Erasmus Darwin Leavitt Jr. (1836–1916), and donated by his granddaughter, Margaret van D. Rice.
- Reference: Catalogue & Price List of Eugene Dietzgen Co., 7th ed. (Chicago, 1904), 71.
- Location
- Currently not on view
- date made
- ca 1900
- ID Number
- 1977.0460.04
- accession number
- 1977.0460
- catalog number
- 336075
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Child's Tool Chest
- Description
- As illustrated in this child's tool chest from around 1900, children in the early 20th century encountered their society's gender expectations at a young age. The tool chest from R. Bliss & Co. declared carpentry to be boys' work. It came with a hinged lid and a sliding, removable top tray. Inside is a colored picture of boys building a house under a banner that reads "BLISS UNION TOOL CHESTS FOR BOYS." R. Bliss & Co., established in 1845, started as a tool company, making wooden screws and clamps for piano and cabinetmakers, before it became a leading manufacturer of toys by the turn of the 20th century.
- Location
- Currently not on view
- Date made
- 1900-1924
- maker
- R. Bliss and Co.
- ID Number
- 1977.1101.0167
- accession number
- 1977.1101
- catalog number
- 1977.1101.0167
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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