Tag Archives: preservation

What Happens To Cars That Sit For Long Periods Of Time

The trouble is that automobiles, like everything else, are subject to the law of entropy. “Preservation” is about more than just keeping the odometer reading low. “Like-new” means something different after one, two, or three decades, even if the car still has plastic wrap on the steering wheel. The paint, upholstery, and trim may look flawless—but what about the bits you can’t see, like the complex systems and different materials that make up the driveline? Just because a car is like-new doesn’t mean it actually is new, or that you can just hop in and drive it home. We decided to call up some experts across the industry to answer a big question: What exactly is happening to a car when it sits?

1967 le mans winner ford mark iv at the henry ford gurney foyt
The Henry Ford Museum/Wes Duenkel

First off, what’s happening to it while it sits depends on where it sits. Imagine a car in a museum—perhaps the Le Mans–winning Ford Mark IV at the Henry Ford Museum in Dearborn, Michigan. Now, think of that old pickup you once saw sitting in a field. Technically, they’re both decaying. One is just decaying far more slowly than the other. 

The race car lives in a perfectly curated world. The temperature in the museum is consistent and the humidity is just so: Low enough to deter moisture-loving insects and mold, high enough to prevent the tires and other rubber seals from drying out. A museum car’s tires may barely touch the ground, because the chassis sits on jack stands. The fluids in the car—fuel, coolant, oil—have either been drained or supplemented with stabilizing agents. The upholstery is regularly vacuumed to eliminate pests. Dust barely gathers on the body before someone gently sweeps it off.

1967 Ford Mark IV Race Car wheel detail
The wheel of The Henry Ford’s 1967 Ford Mark IV race car, with its original tire. The Henry Ford Museum

The pickup, meanwhile, has been at the mercy of the weather for who knows how long. The tires have cracked and rotted. Salty air might be corroding metal. Insects and/or rodents might be living inside the cabin and engine bay. The engine’s cylinders may be dry, the gas in its rusty fuel tank a kind of goo, the oil gray instead of honey-colored. Its paint may be bubbling, its carpets mildewing. 

Those are two extreme examples, of course, but when it comes to the condition of a car, the storage (or display) environment makes all the difference, whether the car is Henry Ford’s original Quadricycle from 1896 or a brain scientist’s sporty Sentra from 1992. To keep a “like-new” car living up to its descriptor, the temperature must be consistent; otherwise, even the most immaculate car will bake, sweat, and/or freeze. The moisture in the air needs to be high enough to slow the decay of organic materials like tires but low enough to protect from rust. The room itself needs to be well-sealed to deter pests. The vehicle also needs a barrier (or two) between the paint and the dust, dirt, and grime that will accumulate. And that’s only the parts of the car you can see …

The Odometer Doesn’t Tell the Whole Story

tom cotter 930 turbo barn find hunter
Tom’s 16,000-mile/ 25,750-kilometer Porsche, where he found it. Youtube / Hagerty

No one is more familiar with finding automotive diamonds in rough storage situations than Tom Cotter, known as The Barn Find Hunter. When I called him to discuss this story, the consequences of bad storage were especially fresh on his mind: He had just bought a barn-find car (a 1986 Porsche 930 Turbo) with 16,000 miles. “That’s the good news,” he said. “The bad news is that it has not been driven since 1996, so nearly 30 years. And even though it had a plastic sheet on it, somehow it got filthy. Filthy. My heart breaks.” Even worse, the windows were open, and the car was infested with mice. It needs a thorough recommissioning: brakes, gas tank, fuel lines, fuel injection unit, fuel injector, fuel pump—and those are just the major areas, says Tom. He’s still in the process of figuring out how much the car needs, but if everything needs to be replaced, the work could cost as much as $40,000 usd/ $58,000 cad. Oh, and he’ll need a new set of tires—the car was parked on its original set from 1986. 

“Just because a car has low miles doesn’t mean it was well cared for,” says Cotter. “Cars go bad when they sit.” A perfect storage environment and a sedentary life don’t guarantee stasis, either: “There are things that happen inside the systems of a car that break down, like the rubber in a brake system or the rubber in our fuel system. It doesn’t matter if the car is hot or cold or clean or dirty, those things are going to break down.” One interesting system that is especially prone to degrading when a car sits is the exhaust, he says. “For every gallon (3.785 liters) of fuel that’s burned in a car, a gallon of water comes out the tailpipe. It’s just part of the combustion process. And so if you run the car and then turn it off and park it for 20 years, you’ve got at least a gallon of water (3.785 liters) sitting in the exhaust system—most of it, in the muffler. Unless it’s made of stainless steel or something, it’s going to just rot right out. There’s really nothing you can do about that.” 

The fluids and the metals in a car are often conspiring against each other. “One of the biggest challenges you have managing large collections—and with cars that sit, too—is coolant system corrosion,” says Scott George, curator of collections at the Revs Institute in Naples, Florida, who knows a thing or two about keeping old cars in peak health. “You’ve got brass, copper, aluminum, iron, steel, all coming in contact with water, and it can create a battery of sorts. It can almost create its own internal energy, which can attack certain metals that are most vulnerable,” like the vanes in a water pump, which are often made of a different metal than the pump itself. Using antifreeze doesn’t eliminate the problem: Those systems can corrode, too, damaging hose connections and water chambers in cylinder heads. “Corrosion in radiators, and things that attack solder and solder seams, are also a big challenge for anybody with large collections.”

Proper storage requires understanding of the car’s construction, because certain materials require special attention and/or precautions. Wool and horsehair, materials that are especially common in the upholstery of cars built before World War II, can attract cloth moths and carpet beetles. Cuong Nguyen, a senior conservator at The Henry Ford, who is heavily involved in the care of the museum’s 300-car collection, suggests vacuuming such cars each season. He also warns that some more modern wiring harnesses are made with soy-based materials that, while eco-friendly, attract mice. Sticky traps, he says, especially those without pheromones, can be good preventive measures for furry pests. 

Understanding how a car is built also helps set expectations for how it ages, even in the best conditions. For instance, different sorts of paints wear differently: Lacquer-based paint, used on most cars built before the late 1980s or early ‘90s, doesn’t hold up as well as the more modern, urethane-based version. Another notoriously finicky modern material covers the soft-touch buttons found in some Italian exotics from the 1990s or early 2000s. The black material gets sticky over time.

Best-Case Storage Scenario

Cotter, who owns a storage facility called Auto Barn in North Carolina, encourages enthusiasts to store their vehicles thoughtfully because they’re protecting their financial investment. “It might take you a half-day to get a car ready to lock up, but put a little bit of effort into it. You are maintaining your investment. It’s a mechanical portfolio. A car that’s parked haphazardly will more than likely go down in value.”

The best place to store a car—with any odometer reading—is in a clean, dry place with temperature and humidity control. To avoid flat spots on the tires, which can develop within a year, the car should be elevated, just slightly, on jack stands (as mentioned above, a trick used by museums) or lowered onto a set of tire cradles. If the fuel isn’t drained, it should be ethanol-free; the regular stuff turns into a gummy, gooey mess when it sits. If the fuel in the tank does contain ethanol, it should be supplemented with a fuel stabilizer. If the car was driven regularly before storage, the carpets in the driver’s side footwell should either be completely dry or propped up, away from the floorboards. Cotter explains why: moisture from the driver’s shoes may get onto and under the carpets, and it may mold the carpets or, worse, become trapped between the rubber backing and the sheet metal underneath, which may begin to rust.

Some sort of rodent protection, even a Bounce sheet, should be taken. (This nifty device, called Mouse Blocker, uses sonic pulses to keep the critters at bay.) One moisture-absorbing trick that Cotter recommends is cheap, and readily found at your local hardware store: charcoal, which absorbs moisture and odors. Ideally, the paint should be waxed and the car put under a cover. Feeling fancy? Look into a Car Capsule, the “bubbles” that the Detroit Historical Society uses to store its cars.

detroit historical society storage bubble car capsule
YouTube / Hagerty

While in Storage

Of course, not all low-mile cars are barn finds like Tom’s Porsche. Many of them present amazingly well. Scott George weighs in. There’s an excitement, he says, about buying a car that appears locked in time and cosmetically perfect—free of nicks, scrapes, bumps, wrinkles. But some people, he says, may not think about what they’re getting into at a mechanical level: “Every time I see a later-model car sell with low mileage, what often goes through my mind is ‘cha-ching, cha-ching, cha-ching.’” He’s seen what can happen when cars sit for 25 or 30 years: “Everything functioning part of the automobile, maybe except for a total engine rebuild, has to be redone.”

Not all buyers may want to drive their pristine, low-mile prize, he admits—some may simply want to be the next owner, to park the car in their climate-controlled showroom as a trophy. There is nothing wrong with that, of course, but down the road, it may be a very costly one—if not for them, for the next person who buys it and wants to drive it. “Cars are operating machines,” George says. “They like to drive.”

At the very least, a car should be started once in a while, and run for more than 5 or 10 minutes—half an hour or so, at least, so that the engine and oil can come up to temperature and cooling fluids can fully circulate. Starting a car and quickly turning it off, says Cotter, “does more damage than if you just leave it alone because the cylinders are dry—there’s not enough oil in the system.”

Acids and moisture can build up, warns George, if a car doesn’t run long enough, “and exhaust systems can corrode from the inside out, and so forth.” He practices what he preaches: The Revs Institute has an unusually high commitment to keeping most of its 120-something collection running, and that means driving the cars—on a circuit loop, for the road cars, or on track, for the race cars, whether that’s at a historic racing event or during a test day where Revs rents out a facility.

Where a car is stored may make the most difference in preserving its condition, but how it is maintained during that period is a close second. “I have witnessed actually cars that 25 or 30 years old that literally sat,” says George, “and I’ve seen it firsthand: every functioning part of the automobile, maybe except for a total engine rebuild, has to be redone. The fuel systems, the fuel injectors, all of that stuff.” Maintaining a low-mile car in driving condition requires a balance of commitment and restraint: “There are some people that have just had these wonderful low-mileage cars,” says George, “and they have done annual maintenance and they have cared for the mechanical systems. They’ve just been cautious about how many mile miles they’ve put on.”

In short, the best way to keep a car in driving condition is to, well, drive it.

Barn Find Hunter Episode 172 Porsche 930 911 Turbo covered in dust in barn

“Just because a car has low miles doesn’t mean it was well cared for,” says Cotter. “Cars go bad when they sit.” A perfect storage environment and a sedentary life don’t guarantee stasis, either: “There are things that happen inside the systems of a car that break down, like the rubber in a brake system or the rubber in our fuel system. It doesn’t matter if the car is hot or cold or clean or dirty, those things are going to break down.” One interesting system that is especially prone to degrading when a car sits is the exhaust, he says. “For every gallon of fuel that’s burned in a car, a gallon of water comes out the tailpipe. It’s just part of the combustion process. And so if you run the car and then turn it off and park it for 20 years, you’ve got at least a gallon of water sitting in the exhaust system—most of it, in the muffler. Unless it’s made of stainless steel or something, it’s going to just rot right out. There’s really nothing you can do about that.” 

The fluids and the metals in a car are often conspiring against each other. “One of the biggest challenges you have managing large collections—and with cars that sit, too—is coolant system corrosion,” says Scott George, curator of collections at the Revs Institute in Naples, Florida, who knows a thing or two about keeping old cars in peak health. “You’ve got brass, copper, aluminum, iron, steel, all coming in contact with water, and it can create a battery of sorts. It can almost create its own internal energy, which can attack certain metals that are most vulnerable,” like the vanes in a water pump, which are often made of a different metal than the pump itself. Using antifreeze doesn’t eliminate the problem: Those systems can corrode, too, damaging hose connections and water chambers in cylinder heads. “Corrosion in radiators, and things that attack solder and solder seams, are also a big challenge for anybody with large collections.”

Proper storage requires understanding of the car’s construction, because certain materials require special attention and/or precautions. Wool and horsehair, materials that are especially common in the upholstery of cars built before World War II, can attract cloth moths and carpet beetles. Cuong Nguyen, a senior conservator at The Henry Ford, who is heavily involved in the care of the museum’s 300-car collection, suggests vacuuming such cars each season. He also warns that some more modern wiring harnesses are made with soy-based materials that, while eco-friendly, attract mice. Sticky traps, he says, especially those without pheromones, can be good preventive measures for furry pests. 

Understanding how a car is built also helps set expectations for how it ages, even in the best conditions. For instance, different sorts of paints wear differently: Lacquer-based paint, used on most cars built before the late 1980s or early ‘90s, doesn’t hold up as well as the more modern, urethane-based version. Another notoriously finicky modern material covers the soft-touch buttons found in some Italian exotics from the 1990s or early 2000s. The black material gets sticky over time.

Best-Case Storage Scenario

Cotter, who owns a storage facility called Auto Barn in North Carolina, encourages enthusiasts to store their vehicles thoughtfully because they’re protecting their financial investment. “It might take you a half-day to get a car ready to lock up, but put a little bit of effort into it. You are maintaining your investment. It’s a mechanical portfolio. A car that’s parked haphazardly will more than likely go down in value.”

The best place to store a car—with any odometer reading—is in a clean, dry place with temperature and humidity control. To avoid flat spots on the tires, which can develop within a year, the car should be elevated, just slightly, on jack stands (as mentioned above, a trick used by museums) or lowered onto a set of tire cradles. If the fuel isn’t drained, it should be ethanol-free; the regular stuff turns into a gummy, gooey mess when it sits. If the fuel in the tank does contain ethanol, it should be supplemented with a fuel stabilizer. If the car was driven regularly before storage, the carpets in the driver’s side footwell should either be completely dry or propped up, away from the floorboards. Cotter explains why: moisture from the driver’s shoes may get onto and under the carpets, and it may mold the carpets or, worse, become trapped between the rubber backing and the sheet metal underneath, which may begin to rust.

Some sort of rodent protection, even a Bounce sheet, should be taken. (This nifty device, called Mouse Blocker, uses sonic pulses to keep the critters at bay.) One moisture-absorbing trick that Cotter recommends is cheap, and readily found at your local hardware store: charcoal, which absorbs moisture and odors. Ideally, the paint should be waxed and the car put under a cover. Feeling fancy? Look into a Car Capsule, the “bubbles” that the Detroit Historical Society uses to store its cars.

detroit historical society storage bubble car capsule
YouTube / Hagerty

While in Storage

Of course, not all low-mile cars are barn finds like Tom’s Porsche. Many of them present amazingly well. Scott George weighs in. There’s an excitement, he says, about buying a car that appears locked in time and cosmetically perfect—free of nicks, scrapes, bumps, wrinkles. But some people, he says, may not think about what they’re getting into at a mechanical level: “Every time I see a later-model car sell with low mileage, what often goes through my mind is ‘cha-ching, cha-ching, cha-ching.’” He’s seen what can happen when cars sit for 25 or 30 years: “Everything functioning part of the automobile, maybe except for a total engine rebuild, has to be redone.”

Not all buyers may want to drive their pristine, low-mile prize, he admits—some may simply want to be the next owner, to park the car in their climate-controlled showroom as a trophy. There is nothing wrong with that, of course, but down the road, it may be a very costly one—if not for them, for the next person who buys it and wants to drive it. “Cars are operating machines,” George says. “They like to drive.”

At the very least, a car should be started once in a while, and run for more than 5 or 10 minutes—half an hour or so, at least, so that the engine and oil can come up to temperature and cooling fluids can fully circulate. Starting a car and quickly turning it off, says Cotter, “does more damage than if you just leave it alone because the cylinders are dry—there’s not enough oil in the system.”

Acids and moisture can build up, warns George, if a car doesn’t run long enough, “and exhaust systems can corrode from the inside out, and so forth.” He practices what he preaches: The Revs Institute has an unusually high commitment to keeping most of its 120-something collection running, and that means driving the cars—on a 40-, 50-, or 60-mile (approx. 64-, 70-, 97 kilometer) loop, for the road cars, or on track, for the race cars, whether that’s at a historic racing event or during a test day where Revs rents out a facility.

Where a car is stored may make the most difference in preserving its condition, but how it is maintained during that period is a close second. “I have witnessed actually cars that 25 or 30 years old that literally sat,” says George, “and I’ve seen it firsthand: every functioning part of the automobile, maybe except for a total engine rebuild, has to be redone. The fuel systems, the fuel injectors, all of that stuff.” Maintaining a low-mile car in driving condition requires a balance of commitment and restraint: “There are some people that have just had these wonderful low-mileage cars,” says George, “and they have done annual maintenance and they have cared for the mechanical systems. They’ve just been cautious about how many mile miles they’ve put on.”

In short, the best way to keep a car in driving condition is to, well, drive it. For the Silo, Grace Houghton.

IN THE STUDIO WITH INTERIOR DESIGNER CAROLA PIMENTEL

I was immediately drawn to Carola Pimentel’s work when I was approached by a mutual friend to help with social media and public relations. Carola’s careful use of natural light, neutral color palettes, and layering of statement art and vintage finds from Europe reminded me of my time spent in Sao Paulo, Brazil as a teenager. What I didn’t realize then was that the homes and restaurants I would visit blended a certain modernism (perfect for the Brazilian climate) with a layering of European history from Portugal, Italy, and Holland (brought by years of immigration). The look I am referring to is Midcentury Brazilian design, and Carola is closely inspired by its cousin, Tropical Modernism. To dig deeper into what defines these two similar styles, I sat with the Caribbean raised and Miami based designer to discuss her careful and thoughtful approach to creating a home. 


Full renovation of a house dating from 1925 in a family compound. Assure was involved in the project from the beginning working with CMA Design Studio Inc. on the preservation, modernization, and addition of new spaces.


Growing up in the Caribbean, what inspired you to pursue your studies and career in interior design?


My parents, contemporary and Latin American art collectors, introduced me to the world of architecture and décor when they took me to see a hotel they were developing together. They always tried to incorporate interesting art into their projects. I was very young, perhaps 7 or 8-years old, but I remember loving every minute of watching them create, alongside architects and builders, wonderful spaces. By high school, I knew I didn’t want to be an architect or engineer, but I wanted to somehow be a part of building and design. During a college fair I luckily learned of the opportunity to pursue my studies in Interior Design at Ringling College in Florida. You could say that an enjoyment of art-filled homes, as well as my parents’ involvement in the interiors and hospitality industries, prepared me for my career. 


Assure Interiors completed a renovation and addition to a 1990s property on a large plot in Stonegate for a new family who required more space.


Your heroes include Oscar Niemeyer, Lina Bo Bardi, and Luis Barragan – all key examples of Latin American modernist architects. What do you love about their approach to planning, layout, and décor? 


First and foremost, I live in a tropical climate and design for clients who often have homes in various tropical locations. It is therefore a practical choice to favor a clean aesthetic and distinctive structure that lets in plenty of ventilation and light. To clarify, I don’t design with tropical patterns and colors like a palm tree printed wallpaper. Instead, I design with durable materials, such as rich woods, cool stones, and warm leathers. I also pay a lot of attention to the surrounding geography and nature as they inform my choices in paint tones, wallpaper patterns, texture of fabrics, etc. 


This Bal Harbour apartment was a collaboration with a long-standing client who was downsizing from a large penthouse to create a new home for her, as well as a setting for an important collection of twentieth century art and design.


I understand that you collect contemporary art. How do your favorite artists, their styles, and their works inform your approach to color, texture, and form?


Yes, I love art and I get a lot of inspiration from my own collection of contemporary Latin American and European works. Some of my favorite artists include Uruguay’s Pablo Atchugarry and Carlos Capelán, as well as Brazil’s Ernesto Neto, to name a few… I am particularly drawn to small scale sculpture and wall mounted installations, and attracted by the 3D quality and impact the pieces create in the context of a room. For me, art is a very important element of an interior as it gives a room character.


Assure Interiors was commissioned by a young and social art collecting family to create serene, light-filled and functional interiors. Assure was also asked to incorporate a collection of European antiques, French, Italian, Spanish 1950’s to 1970’s furniture, decorative art, and family heirlooms.


You have developed Assure’s aesthetic and style. Could you elaborate on the studio’s sensibility and point of view?


Since the beginning, I founded my studio in 2000, my priority has always been my clients. Delivering interiors where they always feel like home. I have been very lucky to learn from my own curiosity as well as my client’s passion for art and collecting. We often incorporate vintage elements found on sourcing trips to Europe and Latin America and mix these with exciting designs from galleries such as Ralph Pucci and Cristina Grajales (among others). We design rooms that acknowledge and respect these beautiful and unique objects, and then choose lighting, furniture and fabrics that beautifully complement them. The interiors that we create for our clients are modern, practical, functional, and elegant.


The client did not want to sacrifice lifestyle or comfort while living in this Coconut Grove apartment temporarily in between houses. Assure Interiors, therefore, was asked to incorporate existing furniture and create a stylish base for the family.


Looking to the future, what projects are you most excited about that will be completed soon?


We have several interesting residences across Florida and the Bahamas that will be ready in the next few months. However, what excites me the most about being an interior designer is the opportunity to start from the very beginning and to work alongside the architects on designing and planning the layout of a brand-new home. I love every minute of it from start to finish, including details like plumbing, lighting, and finishes. At Assure Interiors we are incredibly hands on and creates highly nuanced, timeless and livable homes.


Assure Interiors renovated and extended a recently purchased house in Cocoplum for repeat clients (an international couple and their three children). For the Silo, Victoria Hood.
Photography: Mark Roskams

Ukraine: How UNESCO Supports Odesa’s Heritage & Cultural Life

Paris, 30 August 2022 – At a meeting with UNESCO Director-General Audrey Azoulay at the Organization’s Headquarters, Oleksandr Tkachenko, Ukrainian Minister of Culture and Information, announced that his country will request the inscription of Odesa on UNESCO’s World Heritage List. For its part, the Organization will deploy new measures to protect Ukrainian cultural heritage, particularly in Odesa and L’viv.

Since the beginning of the war, UNESCO has been deploying emergency measures in Ukraine as part of its mandate for education, culture, science, information and communication.

The Organization has mobilized close to $7 million USD/ $9.17 million CAD to date, provided numerous in-kind grants and made its experts available to advise professionals on the ground.

A working meeting was held at UNESCO Headquarters on Tuesday between Ms Azoulay, UNESCO Director-General, Mr Tkachenko, Ukrainian Minister of Culture and Information, and Ernesto Ottone, UNESCO Assistant Director-General for Culture, to ensure the proper implementation of these actions in the field of culture. On this occasion, the Minister also expressed new needs which UNESCO is committed to meet.

Image via artreview.com Artist I. Levi modifies existing artwork to reflect changes to old works caused by wartime damage that have occurred since the Ukraine War began. Inga Levi, March 15, 2020: The Willow’s Catkins have Blossomed, Klaipėda/ The House Window in the Obolon District after a Direct Airstrike, Kyiv, 2022, pencil

Inscription of Odesa on the World Heritage List

Oleksandr Tkachenko announced Ukraine’s decision to submit t the nomination of the Historic Centre of Odesa for inscription on UNESCO’s World Heritage List. Nationally recognized and protected, this site is located only a few dozen kilometres from the front line and has already been struck by artillery fire. On 24 July 2022, part of the large glass roof and windows of Odesa’s Museum of Fine Arts, inaugurated in 1899, were destroyed.

At the request of Ukraine, UNESCO has already mobilized international experts to provide technical support to the country so that this nomination can be examined urgently by Member States sitting on the World Heritage Committee, with a view of inscribing it on the World Heritage List and on the List of World Heritage in Danger.

The World Heritage Committee will also be recommended to add UNESCO’s World Heritage sites of Kyiv and L’viv, which are also under threat, to the List of World Heritage in Danger.

Image via artreview.com Inga Levi, March 5, 2022: Lviv’s view from the New Building / People are Hiding under the Ruins of the Bridge from the Russian Aircraft and Artillery, Irpin, 2022, pencil

UNESCO completes its emergency measures on the ground

In parallel to these steps and in view of the new needs expressed by professionals in the field, the Director-General announced at this meeting that UNESCO would strengthen its support to the city of Odesa by providing:

  1. Funding to repair the damage inflicted on the Odesa Museum of Fine Arts and the Odesa Museum of Modern Art since the beginning of the war, and to finance the hiring of additional staff dedicated to the protection of collections.
     
  2. Support for the digitization of at least 1,000 works of art in Odesa as well as the documentary collection of the Odesa State Archives, through the  provision of appropriate hardware.
     
  3. New equipment to the Odesa Regional Administration for the in situ protection of cultural property: protective panels, sandbags, fire extinguishers, fireproof fabrics and gas masks will be delivered to the Department of Culture, Religion and Protection of Architectural Heritage. They will allow the recovery of public monuments and sculptures, which has been underway since the beginning of the war, to continue.

With a view to boosting the recovery of Ukraine’s cultural sector, the Director-General also offered the Organization’s support for the creation of a UNESCO Cultural Centre in L’viv, as requested by the city mayor. It would be a place for artists to meet and share experiences, and would host training programmes, various activities and events. A budget of $1.5 million usd/ $1.96 million cad has already been earmarked to finance its opening and operational costs over several months.

In addition, the Director-General of UNESCO decided to deploy a liaison officer in Kyiv to coordinate these actions. The officer will complement the team of local experts already working in the field. For the Silo, Clare O’Hagan/UNESCO.

Free Presidential Helicopter Game Via White House Historical Association

NEW GAME Added to White House Experience App

“Fly Like Ike”

Players Can Pilot Presidential Helicopter Around Washington, D.C.

August, 2019 (Washington, D.C.) – The White House Historical Association has just launched a new game in its WHExperience mobile app called “Fly Like Ike.” This interactive game allows users to pilot the president’s helicopter and make stops to learn about several monuments and historic sites in Washington, D.C. before testing their aviation skills by landing on the South Lawn of the White House.

A picture containing grass, sky, outdoor

Description automatically generated

Helicopters have played an important role in transporting the president since 1957 when President Dwight D. Eisenhower became the first president to use a helicopter. The helicopter used in this game is a replica of the Official 2019 White House Christmas Ornament.

“Fly Like Ike” currently features these seven destinations: U.S. Supreme Court, U.S. Capitol, National Mall, Washington Monument, Jefferson Memorial/Tidal Basin, Lincoln Memorial, and the White House.

“Fly Like Ike” is the latest feature on the White House Historical Association’s WHExperience app, which is free to download on iOS, Android devices.

The WHExperience app also provides information and a link to purchase the  2019 Official White House Ornament, which commemorates President Eisenhower’s commitment to innovation as the first president to fly in a helicopter while in office in July 1957.

“Fly Like Ike” requires Wi-Fi or a data plan, and is compatible with iPhone 7 and up and devices running Android version 7.0 and up.  

The WHExperience app also includes virtual tours of the White House and a “Presidential Lookalike” selfie feature, which is powered by Amazon Rekognition technology. For the Silo, Jessica Fredericks.

About The White House Historical Association

First Lady Jacqueline Kennedy envisioned a restored White House that conveyed a sense of history through its decorative and fine arts. In 1961, the White House Historical Association was established to support her vision to preserve and share the Executive Mansion’s legacy for generations to come. Supported entirely by private resources, the Association’s mission is to assist in the preservation of the state and public rooms, fund acquisitions for the White House permanent collection, and educate the public on the history of the White House. Since its founding, the White House Historical Association has contributed more than $50 million USD in fulfillment of its mission.  

Warm History Behind Sanderson Centre 100th Anniversary

temple theatre brantfordOpened as the Temple Theatre on December 22, 1919, the centre was originally designed as a vaudeville and silent movie house. Opening night premiered with five acts of vaudeville and the silent movie “Heart of the Hills” starring Mary Pickford. As one of the premiere theatres in Canada at the time, the Temple was a “first-run” film house attracting films from all the major distributors.

The local orchestra members started collecting promotional photos of the acts who performed at the theatre and glued them to the walls, the doors, and the sides of their sheet music cabinets. Many of these photos were salvaged during renovations of the orchestra pit and are on display throughout the lobbies today, along with photos of our more recent performers.

The Temple Theatre was renamed the Capitol in the early 1930s. For fifty-seven years, the theatre entertained moviegoers, and occasionally drew up her movie screen to be used again as a stage. As the years passed, attendance waned and in August 1986, the final movie “One Crazy Summer” was shown at the Capitol Theatre.

temple theatre3The vision of reopening the theatre as a performing arts facility was born and was met with fantastic support from local citizens. The Brantford Heritage Theatre Foundation spearheaded a highly successful fundraising campaign for the restoration and renovation of the Capitol Theatre. The first performance was Evita on October 2, 1986, tickets sold out quickly and two more performances were added. On December 11, 1989, the theatre was renamed the Sanderson Centre for the Performing Arts, a tribute to the memory of the Sanderson family known for their generous support of local causes.

The original ceiling mural (shown above this article’s title) was reproduced aided by ghost images which remained and historical photographs. It is believed the mural is titled “The Three Muses” depicting Greek goddesses who preside over literature, sciences, and the arts. Canada’s premiere performer Anne Murray officially opened the newly restored theatre on September 8, 1990, with a gala presentation.

In June, 1991 the Sanderson Centre for the Performing Arts was proud to be awarded the prestigious “Theatre Preservation Award” presented by the League of Historic American Theatres. The Sanderson Centre joins a select few authentically restored historic facilities including Carnegie Hall in New York and the Elgin Winter Garden Theatres in Toronto.

sanderson centre marqueeAmid the grandeur of 1919, the theatre inspires all to treasure the past and cherish the present. The Sanderson Centre for the Performing Arts, together with the Sanderson Centre Foundation, continues to honour our heritage. We invite you to enjoy the archival collection of photographs and memorabilia showcased in the lower lobby.

As we approach our 100th anniversary there will be many celebrations and events during the year.

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