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pots. After going through the registration process, guests are given a name badge and led into the main SpaceX office space. Musk’s cubicle—a supersize unit—sits to the right where he has a couple of celebratory Aviation Week magazine covers up on the wall, pictures of his boys, next to a huge flat- screen monitor, and various knickknacks on his desk, including a boomerang, some books, a bottle of wine, and a giant samurai sword named Lady Vivamus, which Musk received when he won the Heinlein Prize, an award given for big achievements in commercial space. Hundreds of other people work in cubicles amid the big, wide-open area, most of them executives, engineers, software developers, and salespeople tapping away on their computers. The conference rooms that surround their desks all have space-themed names like Apollo or Wernher von Braun and little nameplates that explain the label’s significance. The largest conference rooms have ultramodern chairs—high- backed, sleek red jobs that surround large glass tables—while panoramic photos of a Falcon 1 taking off from Kwaj or the Dragon capsule docking with the ISS hang on the walls in the background. Take away the rocket swag and the samurai sword and this central part of the SpaceX office looks just like what you might find at your run-of-the-mill Silicon Valley headquarters. The same thing cannot be said for what visitors encounter as they pass through a pair of double doors into the heart of the SpaceX factory. The 550,000-square-foot factory floor is difficult to process at first glance. It’s one continuous space with grayish epoxied floors, white walls, and white support columns. A small city’s worth of stuff—people, machines, noise—has been piled into this area. Just near the entryway, one of the Dragon capsules that has gone to the ISS and returned to Earth hangs from the ceiling with black burn marks running down its side. Just under the capsule on the ground are a pair of the twenty-five-foot- long landing legs built by SpaceX to let the Falcon rocket come to a gentle rest on the ground after a flight so it can be flown again. To the left side of this entryway area there’s a kitchen, and to the right side there’s the mission control room. It’s a closed-off area with expansive glass windows and fronted by wall-size screens for tracking a rocket’s progress. It has four rows of desks with about ten computers each for the mission control staff. Step a bit farther into the factory and there are a handful of industrial work areas separated from each other in the most informal of ways. In some spots there are blue lines on the floor to mark off an area and in other spots blue workbenches have been arranged in squares to cordon off the space. It’s a common sight to have one of the Merlin engines raised up in the middle of one of these work areas with a half dozen technicians wiring it up and tuning its bits and pieces. Just behind these workspaces is a glass-enclosed square big enough to fit two of the Dragon capsules. This is a clean room where people must wear lab coats and hairnets to fiddle with the capsules without contaminating them. About forty feet to the left, there are several Falcon 9 rockets lying next to each other horizontally that have been painted and await transport. There are some areas tucked in between all of this that have blue walls and appear to have been covered by fabric. These are top-secret zones where SpaceX might be working on a fanciful astronaut’s outfit or rocket part that it has to hide from visitors and employees not tied to the projects. There’s a large area off to the side where SpaceX builds all of its electronics, another area for creating specialized composite materials, and another for making the bus-sized fairings that wrap around the satellites. Hundreds of people move about at the same time through the factory—a mix of gritty technicians with tattoos and bandanas, and young, white-collar engineers. The sweaty smell of kids who have just come off the playground permeates the building and hints at its nonstop activity.PDF Image | SpaceX and the Quest
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