THE REVIVAL OF THE WOODEN AIRPLANE
Americans were not alone in the shift to metal in the interwar period; aviation technology had little respect for national boundaries. Although there were distinct design styles in particular firms, all the major industrialized powers followed the same general pattern with regard to airplane materials. By 1939, the air forces of Germany, France and Britain had all converted to metal structures, with aluminum alloys preferred. Italy and the Soviet Union lagged behind somewhat, continuing to use wood for some combat airplanes, but the trend in those countries was clearly towards metal as well.
Nevertheless, in the late 1930s, wood was poised for a significant revival in aircraft structures. Despite the apparent triumph of the all-metal airplane, wood construction had not remained static. In Germany, Britain and the United States, a few aviation researchers and airplane designers began exploring new construction techniques during the 1930s using synthetic resin adhesives. These new adhesives, which were based on common phenol-formaldehyde thermosetting plastics, eliminated the worst problems of traditional wood glues, especially the tendency to deteriorate when damp. In addition, the synthetic resins made possible significant improvements in the strength properties of laminated wood products, while permitting the use of various molding techniques that promised substantial savings in labor.9
In the United States, interest in the new adhesives was driven by the high skill levels and labor inputs required to manufacture all-metal airplanes. For metal airplanes, the key problem lay with the lowly rivet, a fastener required by the difficulty of welding heat-treated aluminum alloy. A small training airplane could require 50,000 rivets, and a large bomber nearly ten times as many; riveting accounted for some 40 percent of the costs of a typical airframe.10 According to Virginius E. Clark, a prominent American aeronautical engineer, “any type of structure which demanded such a multiplicity of reinforcing parts and so many thousands of rivets did not constitute the best final answer for rapid and inexpensive production.”11 In addition, rivets made it very difficult to obtain the extremely smooth external surfaces needed by high-speed airplanes. Although engineers developed various methods of flush riveting to deal with this problem, smooth riveted surfaces remained difficult and expensive to manufacture.12
Around 1935, Sherman Fairchild, president of the Fairchild Engine and Airplane Corporation, began to have doubts about the suitability of riveted all-metal construction for quantity production and high-speed flight. Fairchild assigned the task of eliminating the rivet to Clark, who was then Fairchild’s vice president for engineering. Clark turned his attention to resin-bonded wood veneers, which could be molded into large curved panels to produce a well-streamlined airframe. Clark began working with the Haskelite Manufacturing Corporation, formerly a major supplier of aircraft plywood. The Fairchild and Haskelite companies jointly developed a bag-molding technique for producing airplane parts of resin-bonded plywood, termed “Duramold” by Clark. In 1937 Clark designed a five-place commercial airplane with a Duramold fuselage, the Fairchild F-46, which completed its first flight on Dec. 5, 1937.13
Clark faced tremendous practical difficulties in developing manufacturing techniques using the new adhesives. The Duramold process represented a synthesis of two lines of development in wood products: molded plywood and resin-bonded “improved” wood. Bag-molding techniques were not new to airplane construction, having been used on the Lockheed Vega, the most successful high-speed airplane of the late 1920s. But in contrast to the casein-glued Vega fuselage, the thermosetting resins in Duramold required molding pressures as high as 100 psi and temperatures up to 280 deg. F, which made the molding equipment much more complicated and expensive.14
Although Duramold started as a civilian project, Clark almost immediately turned to the Army for development and production contracts. Clark, who had been chief engineer for Army aviation in World War I, promised the Army rapid production at low cost. In his correspondence with the Army in early 1938, Clark did his best to disassociate Duramold from wood. Duramold was based on wood, Clark admitted, but “we prefer, insofar as possible, to avoid the use of this word because of the unpleasant associations resulting from most unhappy experiences with ‘wooden’ airplanes in times past.” Instead, Clark attempted to link Duramold with plastics, which in the 1930s carried the aura of a progressive, science-based technology.15
The Army was not fooled. J. B. Johnson, the Army’s chief expert on airplane materials and a metallurgist by training, had no time for wood in any form. Duramold, insisted Johnson, was “simply” plywood glued with a synthetic adhesive.16 Johnson’s assessment of Duramold was shared by other engineers and officers at Wright Field, home of the Materiel Division, the Army Air Corps’ organization for aviation research, development, and procurement. Despite opposition from Wright Field, Clark was able to gamer some support from Army Air Corps officials in Washington, notably General H. H. Arnold, then assistant chief of the Air Corps. Nevertheless, in February 1938 the Secretary of War rejected a request to fund the development of Duramold and other “plastic” materials, arguing that “the present highly satisfactory all-metal airplane is the result of a long period of development at considerable expense. We should concentrate on the perfection of metal airplanes.”17 Clark never obtained an Army contract, and later left the Fairchild company to work with Howard Hughes on his large wooden flying boat.
These negotiations illustrate a struggle to define the symbolic meanings of “plastic” plywood. Clark sought to emphasize the symbolic link to plastics, a progressive technology ripe with manifold possibilities, while Johnson insisted on identifying Duramold with wood, a discredited material already rejected by the Army.18 Soon, however, interest in wood airplanes would be revived, not by its link with the modernity of plastics, but rather due to the threat of war.
More than anything else, it was the threat of war that revived American and European interest in wood airplanes. By itself, the technical promise of synthetic adhesives could not overcome the opposition rooted in wood’s symbolism as a traditional material. Proponents of synthetic adhesives did get some attention by invoking the symbolism of plastics, but this strategy could not prevent critics from pointing out that materials like Duramold consisted mainly of wood veneers. The prospect of war, however, brought problems of production to the foreground. Wood offered potential solutions to some of these problems, in particular shortages of metals, labor, and production facilities. Furthermore, the issue of production gave defenders of wood an opportunity to air a whole range of technical arguments concerning choice of materials.
Renewed interest in wood first emerged in Europe, where the growing threat of Nazi Germany was most keenly felt, especially after the Munich crisis of September 1938. In November 1938, the British journal Aeroplane published an article defending wood by F. G. Miles, a designer of small commercial airplanes and military trainers. Miles insisted that metal airplanes had not “not lived up to early expectations” for quantity production. Wood airplanes, he claimed, offered a number of advantages over metal in design and production. They could be designed more quickly, and they could take advantage of skilled labor in the wood-working trades. Miles predicted that costs would be lower and the supply of material greater. He insisted that, except for large aircraft, wood airplanes could meet the same demanding specifications as metal airplanes with regard to speed and durability. Similar arguments were presented in French and Dutch aviation journals.19
Beginning in 1939, the American aviation press also published a flurry of articles highlighting the new opportunities created by resin adhesives and plywood molding techniques. Most of these articles stressed advantages for war production, even before the German invasion of Poland. For example, in an article in the Scientific American, journalist Forest Davis pronounced molded plywood airplanes of “tremendous wartime significance.” Airplanes were “a machine-age paradox,” argued Davis, still largely made by hand while “automobiles roll off the assembly line like shelled peas into a basket.” Duramold provided the solution, making possible “a practically unlimited supply of stout, cheap, fast airplanes.”20 H. O. Basquin of Haskelite provided a similar but more sober assessment, pointing to the 170,000 workers in the furniture industry who could be shifted to wooden airplane production in wartime.21
Despite the interest in wood generated by the threat of war, proponents of wooden airplanes still had a long way to go to translate promise into practice. As Donald MacKenzie has pointed out, the inherent potential of a technology, which he terms the “intrinsic” properties, are ultimately irrelevant in choices between competing technologies. Most engineers and managers base their choices on extrinsic properties, that is, what the technology achieves in practice. But what a technology achieves in practice depends heavily on the resources devoted to its development. Beliefs about intrinsic properties can influence the allocation of resources to competing technologies, becoming in effect self-fulfilling prophecies, promoting the success of the technology that people believe has the most potential to succeed.22
Proponents of the new wooden airplanes understood this process. Through their interventions in the technical press, they hoped to convince the aeronautical community to devote its resources to solving the considerable development problems that stood between the promise and reality of wood construction. And the problems were indeed daunting. After more than a decade of neglect of wood, metal had a vast advantage in available design data, accumulated experience in manufacturing, and lessons learned from commercial and military service. Metal was in a similar position in the early 1920s, when wood framework structures were dominant. As with metal construction in the 1920s, only the military had the resources to compensate for this disadvantage.