I continue to see new applications and extensions of hydroponic growing popping up in nontraditional spaces around the world, especially as populations increase and arable land declines. For me, I consider it my privilege that I have been able to help design cropping systems in some of these spaces — from the British West Indies and downtown Montreal to a suburb of Detroit — that are maximizing production while using less energy and natural resources.
Hydroponics, or growing plants without soil, isn’t a new science, but it is a versatile one.
Almost all commercial greenhouse vegetable production is grown hydroponically. Some of the largest growers in the U.S. and Canada, such as Village Farms, Windset Farms, Eurofresh Farms and Houweling’s Tomatoes, have hydroponic greenhouse operations equaling 200 or more acres in size, with tomatoes, peppers, cucumbers, eggplants, lettuce and various herbs growing.
One of my most recent challenges was designing a small greenhouse for Henry Ford West Bloomfield Hospital in a suburb outside Detroit. The objective was to produce vegetables hydroponically to increase production in the limited area of the greenhouse. At the same time, they wanted to grow an assortment of vegetables.
To do this, we designed a number of different hydroponic systems to meet the specific needs of each crop. Plant towers increased production of various herbs, as greenhouses have vertical space that must be optimized in its production systems. A water culture system called nutrient film technique (NFT) was the choice for lettuce and basil. Tomatoes, peppers and other vine crops are grown in buckets of perlite with a drip irrigation system feeding the plants with a nutrient solution.
The versatility of hydroponics applied at its simplest best.
Better by design, hydroponic operations, whether they are large and commercial or smaller scale like the hospital’s greenhouse, require less space, less energy to run and consume less water. And, without the presence of soil, they don’t have to rely on artificial pesticides. Instead, they can use Integrated Pest Management (IPM), a biological procedure powered by natural predators and bioagents (pesticides made from natural sources), to control pests.
For the end consumer, that equates to crops free of disease, improved food safety and even increased nutritional value.
Howard Resh is the manager of the hydroponic farm at CuisinArt Golf Resort & Spa in Anguilla, British West Indies, where fresh salad crops are grown for the guests of the resort. Dr. Resh is also an international consultant on the development of hydroponic operations. He has written five books, with Hydroponic Food Production in its seventh edition, and also has a website.
farming equipment, The Henry Ford Magazine, farms and farming, by Howard Resh, agriculture
Early American settlers depended on corn as a sustaining food crop, but also tried to utilize every part of the plant. Out of this desire to make the most of existing material was born the cornhusk doll, a toy made from soaked and shaped husks. We’ve just digitized nine cornhusk dolls from the collections of The Henry Ford, dating from the late 19th century through the early 20th, including this one, tagged with the name “Bonnie.” As an added bonus, between May 5 and June 13, 2014, visitors to the Luther Burbank Birthplace in Greenfield Village will be able to see these dolls on display, and for $4 can make their own cornhusk girl or boy to take home. View the cornhusk dolls in our digital collections, or come make your own this spring!
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
events, Greenfield Village, toys and games, by Ellice Engdahl, digital collections
It’s ironic – like, in the actual “opposite of what you’d expect” way as opposed to the “merely coincidental” way in which the term is often misused. The Ford Mustang is revered as one of the most “American” of all cars. Its name conjures up images of the Wild West. Its early logo incorporated red, white and blue stripes. The car’s very look is based on our country’s obsessions with speed and style. And yet Mustang Serial Number One, sold 50 years ago this month, went to a Canadian. Yeah, that’s irony.
On April 14, 1964, Eastern Provincial Airlines pilot Stanley Tucker walked into George Parsons Ford, a dealership perched on the eastern edge of the continent in St. John’s, Newfoundland. It was love at first sight. The sharp-looking Wimbledon White convertible jumped out at the 33 year-old pilot, and he knew he had to have it. We don’t know the name of the person who sold the car to Tucker – but the pilot must have been quite a salesman himself. Somehow, he convinced Parsons Ford to break street date and sell him the car three days before April 17, when Ford officially released Mustang to the world. He took serial number 5F08F100001 home and, for a short time, was the general public’s only Mustang owner.
Mustang Serial Number One should not have been sold on that early date. In fact, it shouldn’t have been sold at all. The car was one of approximately 180 pre-production cars built at the Rouge between February 10 and March 5, 1964. These initial cars served two purposes: 1.) They eased Ford into full production by familiarizing workers and supervisors with the build process, and 2.) They formed a batch of physical cars that could be shipped to every major Ford dealer in time for the April 17 launch. Logically, the first cars built were sent to the farthest dealers – hence Serial Number One wound up 2,180 miles from Dearborn in St. John’s. (Twelve of these pre-production cars, incidentally, went to the New York World’s Fair for use in Ford’s Magic Skyway ride.)
Being a pre-production or, if you will, “practice” car, Serial Number One has a few quirks not seen in regular Mustangs. Careful observers will notice that the hood’s fit is a little crooked. The door lock knobs have no grommets at their bases. The front grille’s color tends more toward gray than the bluish hue seen on regular production cars. The engine block is painted gray instead of the black on later Mustangs. Little details like these changed after full production began on March 9.
Not long after Capt. Tucker made his purchase, Ford tracked him down and asked to have Serial Number One back. Not surprisingly, Tucker declined the request. He spent the next two years putting some 10,000 miles on his pony car. By early 1966, when nearly one million Mustangs had been sold and the car’s status as a Ford landmark was secure, the Blue Oval called again. This time, Ford offered Tucker a worthy trade: in exchange for returning Serial Number One, he could have the One Millionth Mustang, equipped to his specifications. Tucker agreed and, when filling out the order, covered the entire option sheet with single large “X.” The only extra he didn’t take was the High Performance 289 engine – it carried a shorter warranty period.
Tucker came to Dearborn on March 2, 1966, met Ford vice-president (and Mustang father) Lee Iacocca, and posed for photos with his new Silver Frost 1966 Mustang convertible. Meanwhile, Ford reclaimed Tucker’s much-loved Serial Number One and soon donated it to The Henry Ford. Seventeen years after the trade, when Mustang Monthly magazine caught up with Tucker, the pilot expressed some understandable regret that he’d let go of Serial Number One. As we celebrate 50 years of Mustang, though, we can be grateful that 5F08F100001 is preserved for all to enjoy. Many of our visitors, upon seeing the car in Henry Ford Museum, get that same gleam in their eyes that Stanley Tucker must have gotten all those years ago.
Matt Anderson is Curator of Transportation at The Henry Ford
Driving America, Henry Ford Museum, Canada, 20th century, 1960s, shopping, Mustangs, Ford Motor Company, convertibles, cars, by Matt Anderson, aviators
In February I took my first visit to the Pottery to learn about the studio challenge our potters were given at the beginning of the year. It’s been a few busy weeks for the team as they work on both their challenge pieces and get ready for the opening of Greenfield Village on April 15.
It should come as no surprise that the pieces are all looking fantastic and completely different from one another, as they should be. Vessels now look like teapots, hand-crafted stamps have been busy stamping and over-the-top sculptures continue to be developed. For anyone who enjoys art and design, it’s a welcomed sight.
Taking my tour through the shop I visited Alex’s station first. He’s experimenting with some special stains for his collection. These pieces are covered in wax and when fired the wax burns away to reveal the true colors. Like the other potters, Alex isn’t worried about uniformity this time around.
“It’s been really interesting to work outside my comfort zone,” he said. “This is a learning process, but I’m feeling really optimistic about it.”
Melinda Mercer has been focusing on incorporating bold patterns and textures to her pieces, which is a new creative direction for her work. She’s also been focusing part of her project on hand building, a technique that’s a bit different for her.
To create her patterns and textures, Melinda decided to make her own custom stamps. To achieve the look she was going for she hand carved the designs into porcelain and then fired them in a kiln to make them permanent.
John Ahearn has added a few additional pieces to his artistic roundup of work for the challenge since I saw him last. While his pieces aren’t meant to be functional, he did create a cake stand that you can’t help but imagine holding a delicious, huge cake in the coming weeks.
“This project, in whole, has made me realize the power of art,” John said. “Doing something over and over is how we show guests what the production techniques from the past were. But the power of art is more than just production work. Now I understand what potters during this movement were doing at the time. They were being different on purpose.”
As the team agrees across the board, it’s been a lot of fun to see how their individual projects have been developing; and that includes being very different in size, scale and approach, which is the complete opposite direction of their daily production work and responsibilities. While initial sketches helped define the origins of each of their pieces, they haven’t kept themselves too married to those original ideas as the project takes shape.
“These pieces allow our personalities to come through,” Melinda said.
John agreed.
“These pieces really reflect who we are as people. Our styles have really influences our interpretations of the challenge.”
Check back soon for a final update from the team as they show off their finished pieces.
Lish Dorset is social media manager at The Henry Ford.
#Behind The Scenes @ The Henry Ford, art, design, ceramics, by Lish Dorset, making, Greenfield Village
William Clay Ford, grandson of Henry Ford, was the longest standing Chairman of the Board of The Henry Ford. He held the position for 38 years from 1951-1989. Through his vision and leadership, the institution, founded in 1929 by his grandfather, began its transformative evolution to the premier American history destination that it is today.
Mr. Ford recognized the national significance of The Henry Ford, its unparalleled collections and educational importance and he was committed throughout his life to the ongoing health and vitality of the institution.
As the largest donor in the history of the institution, his generosity helped restore Greenfield Village and build new visitor experiences in Henry Ford Museum, most notably, "With Liberty and Justice for All" and "Driving America," the country’s most significant automotive exhibition. During his tenure as Chairman of our Board from 1951 to 1989, he influenced the addition of many visitor amenities and collecting initiatives including programs such as Old Car Festival, Motor Muster and Hallowe'en in Greenfield Village, the acquisitions of John F. Kennedy’s Limousine, Firestone Farm, the Allegheny and the DC3 and the building of Greenfield Village’s railroad to name just a few.
In recognition and honor of Mr. Ford’s many contributions, the museum hall was named the William Clay Ford Hall of American Innovation.
At the time of his passing, Mr. Ford was Chair Emeritus, serving The Henry Ford for a total of 63 years. In recent years, he visited the institution often and enjoyed touring the archives, the Village and museum exhibitions.
Recently, when recounting his memories of The Henry Ford, Mr. Ford simply said, “I was brought up with it.” He spoke fondly of roller skating and riding bicycles on the floor of Henry Ford Museum and spending time with his grandparents Henry and Clara Ford in Greenfield Village as a child.
We are deeply saddened by this loss and grateful for Mr. Ford’s lifelong dedication and commitment to The Henry Ford. He will be greatly missed.
We encourage you to take a moment and share your thoughts or memories honoring Mr. Ford’s legacy. Visit our online collections to see more images of Mr. Ford.
Dearborn, Michigan, 21st century, 20th century, William Clay Ford, philanthropy, in memoriam, Henry Ford Museum, Greenfield Village, Ford family
Last year I was invited to serve as a guest judge for the CASI Cup at the Detroit Autorama, the signature hot rod and custom car show that comes to Cobo Center every March. I’m happy to report that the Autorama team invited me back this year, but with a nice amendment – this time I got to give out an award created and sponsored by The Henry Ford.
The Henry Ford’s members and visitors know that our institution is dedicated to American innovation, a commitment reflected in our mission statement. Hot rods and custom cars were born of the time-honored American traits of ingenuity and individuality, and the Detroit Autorama showcases the finest examples of creatively modified automobiles. The Henry Ford’s Past Forward Award celebrates these traditions. Winning cars are those that best evoke the spirit of hot rodding and customization. These vehicles:
- Combine traditional inspirations with modern innovations
- Exhibit a highly skilled technique
- Show a decided sense of whimsy
- Capture the “anything goes” attitude behind the rodder’s and customizer’s craft
With these criteria to guide me, I hit the show floor in search of potential winners. To be sure, there was no shortage of candidates. The show seems to get bigger each year, and more than 1,000 exhibits filled Cobo Center for 2014. While pre-war Fords, post-war Mercurys and late 1950s Chevrolets were all present in big numbers, I was struck by the number of more recent cars. Fieros, Camaros and Mustangs from the 1980s all appeared. It seems that rodders from my generation are drawing on the cars from our youth for inspiration, just as the Boomers have done for years. While I haven’t seen a chopped Plymouth Horizon yet, it seems there’s hope.
After a few trips around the floor, I settled on three possibilities. With only one award to give, though, I let the crowd help me make my final choice. While every car had its admirers, there was a steady stream of people drawn to “Orange Crush,” a 1969 Chevrolet Chevelle owned by Joseph Messina of Fair Haven, Michigan. The Chevy had presence – even beyond that electric orange paint. What really struck me in talking to Joe, though, was the pride he took in the small details. He boasted about the car’s stainless steel bolts, explaining that he spent 20 minutes grinding and polishing each one personally. The companion washers were all laser-cut to exacting specifications. It was the perfect blend of new technology and old fashioned craftsmanship that the Past Forward award is all about. Plus, I loved the double meaning in the name. Sure, the car’s color looked a lot like the soft drink, but it’s also clear that Joe had a deep “crush” on his car and was rightfully proud of his work. I hope he’s proud to be our 2014 Past Forward Award winner, too.
And so another great Autorama came to a close. It was a much-appreciated reminder that, despite all the bitter cold and snow this winter, it won’t be long before these cars come off of their mirrored platforms and start hitting the streets as cruising weather returns.
Matt Anderson is Curator of Transportation at The Henry Ford.
21st century, 2010s, Michigan, Detroit, cars, car shows, by Matt Anderson, Autorama
On any given day inside the Pottery Shop in Greenfield Village you’ll find our team of potters and decorators creating a variety of different handmade items, from mugs for Eagle Tavern dining to new-baby birthday plates and even Christmas tree ornaments. But right now in the snow-covered shop our artists are taking on a new challenge that’s all about creativity and exploration instead of out-of-the-box, obvious function.
Senior Manager of Program Operations Tom Varitek issued a challenge to potters Melinda Mercer, Alex Pratt and John Ahearn at the beginning of the year to each create a piece of pottery that best reflected their interpretation of the studio pottery movement. It didn’t have to be functional and it didn’t have to look like something you’d see on the kitchen table inside the Ford Home. There could be revisions and further exploration along the way; it didn’t have to be perfect after the first firing. It just had to reflect who they are as potters.
Studio pottery is work created by artists that isn’t mass produced, either by a large pottery or factory. The pieces can be functional, but tend to lean more toward the artistic, individual expression side of design. Simply put, factories equal function, studios equal art.
The studio pottery movement took hold of America in the early 20th century, most notably in the 1930s and 1940s as large factories began to consistently produce pottery in masses. Artists looked for creative outlets in their work; those opportunities were often found in smaller potteries and studios across the country. Detroit’s Pewabic Pottery is one example of the transition the Arts & Crafts Movement reflected in the early 1900s. As founder Mary Stratton said:
“It is not the aim of the Pottery to become an enlarged, systematized commercial manufactor in competition with others striving in the same way. Its idea has always been to solve progressively the various ceramic problems that arise in hope of working out the results and artistic effects which may happily remain as memorials....or at least stamp this generation as one which brought about a revival of the ceramic arts and prove an inspiration to those who come after us."
Getting a chance to see what the potters have been up to with their challenge assignments so far this winter, my visit to the pottery shop this week was met with smiling faces and enthusiastic displays of their work made so far.
For lead potter Melinda, the assignment has been a great chance to depart from the production pottery the team is responsible for throughout the year. However, its this background in producing goods visitors see across the Village and for sale in our shops that gives the team the confidence to let their creativity lead the development process this time around.
“Doing production work is invaluable,” Melinda said. “It builds your skills so that you can achieve whatever it is you want to make.”
Alex echoed similar sentiments. He feels his production work here at Greenfield Village has strengthened his own skills and gives him a greater understanding and appreciation of well-crafted work, no matter its function.
“I appreciate a really, really nice piece of pottery now,” he said.
When given such a big, open-ended assignment like this, I was curious how the team got started in the research and design process of their pieces. For John, his development process began with a lot of reflection of his craft and the work of artists before him.
“During the Industrial Revolution, things were just made so quickly. Some potters couldn’t keep up,” he said. “With studio work, they could take a step back and think, ‘What’s the purpose? Why should I make it if a machine can do it faster than I can?’ I’m using a piercing motif in my piece; I’m not worried about the function right now, I’m worried about the production. I’m literally piercing into my piece, almost into its soul, and evaluating it to determine what it should be.”
Alex also spent time thinking about artists from the past, especially those working during the 1950s. For his collection of vessels, he’s experimenting with transferring images to them and trying new glazes. One piece could turn into a teapot, another into a coordinating sugar bowl.
“I’m taking my inspiration from the world around me. Colors and lines in the city, colors and lines in the country.”
An appreciation of nature and a longing for Spring were the source of Melinda’s inspiration.
“I looked at seeds, seedpods, nuts and vegetables to explore ways to create an interesting surface. I’m thinking about the texture of the natural world, of water and plants.”
Her colorful sketchbook is a collection of nature-related drawings, from large bowls meant to serve big salads at a dinner party to serving platters that look like peapods for a potluck. She’s even making her own collection of stamps to add texture and pattern to her pieces.
Next to Melinda John is creating as he goes. His tall vessel is covered with perfectly carved holes, both created by hand and, believe it or not, a Dremel rotary tool.
So far, Tom likes what he sees.
“Greenfield Village is all about telling stories with ‘stuff.’ We want to create some new ‘stuff’ to show this transition in form. I wanted to give our potters a chance to express themselves and show off.”
What will Melinda, Alex and John discover next in their work? You’ll have to check back to the blog next month to see how they’re moving along with their pieces as Greenfield Village gets ready for opening day.
Lish Dorset is Social Media Manager at The Henry Ford and a wannabe potter.
by Lish Dorset, making, design, art, ceramics, Greenfield Village
Jeanne Theoharis’ definitive political biography of Rosa Parks sets out to correct the popular myth of Rosa Parks as the quiet, tired seamstress who refused to give up her seat on Montgomery City Lines Bus #2857. Through extensive and intricate research, Theoharis asserts that Rosa Parks spent years working courageously for civil rights. She prepared herself with an assured readiness, which she could rely on when an opportunity occurred as it did on the bus on December 1, 1955.
As Theoharis points out, Parks started her political activist career at an early age, decades before she refused to give up her bus seat. Parks and husband Raymond, who met in 1931, shared a passion for taking action against segregation laws. She joined the Montgomery NAACP in 1943 as a volunteer advocate organizing black youth groups and trying to bring justice for young black women raped by white men. A few years later, she became the secretary of the NAACP — working with E.D. Nixon, president of the Montgomery NAACP chapter — to advocate for anti-lynching laws and overcoming the formidable process of registering black people to vote.
Rosa Parks also was a strong advocate for integrating whites and blacks. In 1947, the Freedom Train, carrying historic copies of the Declaration of Independence, Constitution, Bill of Rights and the original Gettysburg Address and Emancipation Proclamation, “was scheduled to stop in Montgomery and Parks published a report objecting to Montgomery’s all-white train committee,” according to Theoharis. The national requirement that the exhibit be racially integrated was highly controversial in Montgomery, Birmingham and Memphis. Parks and her colleagues were instrumental in bringing the Freedom Train to Montgomery as they pressured city officials to ensure all children would actually enter on a first-come, first-served basis. As the Montgomery NAACP secretary, she created several campaigns for racial integration, wrote numerous press releases countering white arguments for segregation and continued to mount successive and tireless campaigns for black voter registration.
Theoharis brings us through six decades of Parks’ courageous life as a political activist, which had serious consequences for her and her family. Great economic stress, constant harassment and people threatening physical harm and even death were now part of her life. Despite the private toll, Parks continued to publicly urge perseverance for the civil rights movement, never retiring as an advocate for racial justice.
Theoharis’ The Rebellious Life of Mrs. Rosa Parks is an exceptional scholarly work that offers a great story for its readers and should be part of every library and classroom. This work provides a new awareness of the importance of an American icon whose real history is better and far more relevant to move our society forward than the myth of a tired seamstress.
Review by Christian W. Øverland, former Executive Vice President of The Henry Ford.
21st century, women's history, Rosa Parks bus, Rosa Parks, Civil Rights, by Christian W. Øverland, books, Alabama, African American history, 20th century
Earlier this month I was sent this blog post from Target showcasing some of their holiday ads from the past 60 years. From Christmas tree-filled print ads to YouTube-ready TV commercials, the post was a hit with many of my co-workers here at The Henry Ford.
The post got me thinking to some of my favorite holiday memories of THF. Growing up in southeastern Michigan, my parents were (and still are) proud members of Henry Ford Museum and Greenfield Village. One of our Christmas traditions every year was to visit the museum on Christmas Eve. We looked forwarded to making ornaments, adding our names to the huge visitor paper chain and, of course, taking our family picture by the Christmas tree.
As I thought about my favorite memories here, I wondered what kind of holiday programming memorabilia we had in our collections? Turns out, there's quite a bit!
Take a look at just a few samples of holiday programming from over the years at The Henry Ford.
Visitors to Greenfield Museum in 1964 were treated to "period decorations" for the first time. What could guests expect as they toured the Village? From this 1964 pamphlet:
Appropriate Christmas decorations, authenticated in each instance by careful research, have been installed in the 17th-century Cotswold Cottage, the 18th-century Secretary House, and the 19th-century Noah Webster House, Wright Homestead, and Ford Homestead, as well as in the Clinton Inn and the Martha-Mary Chapel. These buildings will be highlights of the regular guided tours during the holidays.
In the mood to learn more about crafting? Henry Ford Museum was the place for you during Christmas 1976! During the holiday season guests could learn about toymaking, counted thread embroidery, lace making, crewel embroidery, Christmas card painting, quilting, tinsmithing, broom making, candle making, glass blowing, weaving, doll making, cookie baking, basket making AND tole painting. Phew!
Need to know more about what was going on in the museum that year? Dial the Village Party Line!
In the 1980s, visitors enjoyed "Yuletide Evenings" in Greenfield Village, complete with sleigh ride tours and dinner inside Eagle Tavern.
While you might not think of a safari when you first think of the museum, children were definitely on the lookout with Santa in 1986 thanks to this holiday scavenger hunt. Chances are pretty good that I was one of those kids!
In the 1990s, the holidays were all about being a "unique event" in the museum and Village.
Does this sound more familiar? This dinner reservation form for Holiday Nights in 2005 offered holiday fun for groups of all sizes in Greenfield Village.
Did you ever attend any of these events? Make sure to let me know!
Lish Dorset is Social Media Manager at The Henry Ford. The ornament pictured in this blog post still hangs on her parents' Christmas tree.
21st century, 20th century, Michigan, Dearborn, holidays, Holiday Nights, Henry Ford Museum, Greenfield Village, events, Christmas, by Lish Dorset
The American celebration of the holiday season (Christmas and New Year's) has evolved over several centuries and today offers us a wide range of customs and practices. Holiday Nights in Greenfield Village embraces many of these historical traditions and brings them to life 14 evenings in December each year.
One interesting custom, now most associated with New Year’s Eve, was the “shooting in of Christmas.” In the decades just prior to the Civil War, both urban and rural Americans took part in similar activities on Christmas Eve, Christmas Day, and New Year's. All these activities had the same goal in mind - making as much noise as possible. In rural areas, which made up much of what was the U.S. in the 1840s and 1850s, guns were the noise makers of choice. Either as an individual, shooting to make their presence known, or as a gang roaming from farm to farm shooting a coordinated volley just outside an unfortunate’s occupant’s window, bringing in the holiday as loudly as possible was met with much enthusiasm.
In urban areas these activities were even more intensified. For instance, in 1848 it was noted that in Pittsburgh “the screams of alarmed ladies, as some young rogue discharges his fire crackers at their feet” augmented the din created by “juvenile artillerists” who have invaded that city at Christmas time. “Wretched is now the youngest who cannot raise powder; and proud, indeed, is the warlike owner of a pistol…”* All manner of home-made explosive devices, including crude rockets, flares, and roman candles were highly prized and used in great abundance to welcome the holiday.
The larger-scale firework displays we are more familiar with today have origins in the 18th century and “illuminations” involving large bonfires and aerial fireworks were popular in London for special celebrations throughout that century. They became popular in America even before the American Revolution and through the end of the 18th century and well into the mid-19th century, marking special occasions well beyond just the Fourth of July. Today, this tradition of making noise has been relegated to New Year’s Eve.
During Holiday Nights, we celebrate the finale of each evening with a fireworks display.
* Restad, Penne L., Christmas in America, Oxford Univ. Press, New York, 1995, pp.39-40.
Jim Johnson is Director of Greenfield Village at The Henry Ford.
1850s, 1840s, 19th century, holidays, Holiday Nights, Greenfield Village, events, Christmas, by Jim Johnson
