John Brecher / msnbc.com

A crowd in the Georgetown neighborhood of Seattle watches NASA's Super Guppy aircraft approach Boeing Field, carrying a key piece of a space shuttle mockup that will go on display at Seattle's Museum of Flight.

SEATTLE — It may not be a real space shuttle, but it's ours.

Today NASA delivered a key piece of the mockup that astronauts used for space shuttle practice to the Museum of Flight in Seattle, my hometown. And it arrived aboard one of the most ungainly-looking airplanes ever built. The wingless mockup is known as the Full Fuselage Trainer, or FFT. The plane has a nickname that's more colorful: the Super Guppy.

The Super Guppy looks more like a Super Whale. The wide-body turboprop airplane has a cargo hold that's been built up into a bulbous shape, specifically to carry big stuff for outer space. Only five of the Guppies were ever produced, and they were used to cart spacecraft components around for the Gemini, Apollo, Skylab and shuttle programs. This Super Guppy is the only one of its kind still flying, and this week's odyssey with the most important piece of the Full Fuselage Trainer is one of the highest-profile flights the plane has ever taken.

For decades, the plywood-built FFT sat in a building at NASA's Johnson Space Center in Houston. The crew compartment — the part of the structure that was flown to Seattle today — was outfitted with all the buttons, switches, cockpit displays and middeck lockers that the real shuttles had. None of those gadgets worked, but they helped the astronauts get familiar with the layout before they started handling the real controls. Astronauts could also practice how they'd get out of the shuttle in the event of a landing-strip emergency.

With the end of the space shuttle era, NASA's Johnson Space Center no longer needed the FFT, so the space agency decided to donate it for display. The Seattle museum made a play for one of the flown shuttles, and even built a shuttle-sized, 15,500-square-foot Space Gallery to display it in. But Seattle lost out to Florida, California, New York and the "other Washington" in the competition for Atlantis, Endeavour, Enterprise and Discovery. The Full Fuselage Trainer served as the consolation prize.

Most of the FFT's plywood parts could be shipped up by traditional means for later assembly, but the shuttle crew compartment had to be transported all in one piece. That's why NASA's Super Guppy was called into service.

The airplane has a 25-foot-high, 25-foot-wide, 111-foot-long cargo compartment — big enough to hold the mockup's most awkward piece, even when it's bound up in shrink wrap and a protective steel frame. Over the past couple of days, the Super Guppy has been making a journey from its home at Ellington Air Force Base in Texas, over to California, and then up to Seattle at a top speed of around 200 knots. It wasn't exactly a record-setting pace — but what the Super Guppy lacks in speed, it more than makes up for in the "What the Heck Is That?" department.

The Guppy flew over my hometown and its surroundings with a Seattle-born astronaut, Greg Johnson, at the controls. Then it floated down to a landing right in front of the museum, which is adjacent to Boeing Field. One of the commentators at the museum called it a "beautifully ugly airplane."

Washington Gov. Christine Gregoire pointed to the craft with pride as the sky spit down rain. "When we get together in Washington state, we can land the big whale right behind me," she said.

Museum of Flight

NASA's Super Guppy and a chase plane fly above the mostly cloudy skies of Seattle.

Museum of Flight

After its touchdown at Seattle's Boeing Field, the turboprop-powered Super Guppy taxis over to the Museum of Flight next door.

Museum of Flight

The entire front of the Super Guppy swings open to reveal the cargo inside.

Museum of Flight

The 65,000-pound Tunner 60K aircraft cargo loader and transporter rolls toward the Super Guppy.

Museum of Flight

The cargo compartment for the Full Fuselage Trainer, wrapped in protective plastic, has been taken out of the Super Guppy for a short ride on the Tunner transporter to its new home in the Museum of Flight's Charles Simonyi Space Gallery.

Several thousand onlookers watched as the Super Guppy's entire front opened up to the side like a four-story-high door. 

"It's really cool that it's actually able to fly," Allison Kirkman, a 10-year-old student at Spirit Ridge Elementary School in Bellevue, Wash., told me as she watched from the tarmac. "It's an amazing plane, and how they built it is cool, too."

The shrink-wrapped shuttle crew compartment was moved out of the wide-yawning Super Guppy onto a 65,000-pound mobile transporter, then rolled over to the museum's Charles Simonyi Space Gallery. Over the next couple of months, the shuttle mockup will be assembled in a place of honor, alongside a Russian Soyuz capsule and a prototype lander that was used in Blue Origin's spacecraft development program. Museumgoers like Kirkman will be able to walk through the shuttle mockup's cargo bay — and they might even be able to crawl through the crew compartment, just like the astronauts did.

Kids, prepare to be amazed ... again.

Alan Boyle is msnbc.com's science editor. Connect with the Cosmic Log community by "liking" the log's Facebook page, following @b0yle on Twitter and adding the Cosmic Log page to your Google+ presence. You can also check out "The Case for Pluto," my book about the controversial dwarf planet and the search for new worlds.

Leigh Carmichael / MONA via Reuters

The installation "Cloaca Professional, 2010" by Belgium artist Wim Delvoye, which has been dubbed the "poo-machine" is shown on display at the Museum of Old and New Art (MONA) in Hobart, Australia.

SYDNEY -- Smelling excrement may not be everyone's idea of fun, but for those who like to push the boundaries, Australia's most controversial new museum may be just what they are looking for.

Dubbed "the subversive adult Disneyland", the Museum of Old and New Art (MONA) is located in Tasmania and features around 400 works of art from Egyptian mummies to Young British Artists including Chris Ofili and Jenny Saville.

But the most talked-about piece is the Cloaca Professional, labeled the "poo-machine." It was built by Belgian artist Wim Delvoye to mimic the actions of the human digestive system.

A series of glass receptacles hang in a row with the machine being "fed" twice a day on one end. The food is ground up "naturally," the way it is in the human body, and the device produces feces on the clock at 2 p.m. at the other end.

The smell is so powerful that not many visitors can take it.

"It put me off because of the overwhelming assault on the senses," said Diane Malnic, a Sydney-based accountant.

'Vomit room'
Yet this was her second visit in five months, following a family holiday in Tasmania earlier in the year. This time, she flew without her husband and children just to have another look at the collection, interested in Delvoye's other pieces.

She took great care to avoid the "smelly" parts and still talked vividly about the "vomit room" which was part of an earlier exhibit no longer on display.

"I wouldn't go back to see them," she said, laughing.

The Cloaca is part of a series of at least five similar machines built by the artist, another of which will soon be exhibited at the Louvre. It is the most hated piece in the museum but also the most visited.

The museum, which opened in January 2011, is owned by eccentric and philanthropist David Walsh, who made his fortune as a professional gambler, and features one of the largest private art collections in the world with an estimated value of around $100 million.

Leigh Carmichael / MONA via Reuters

The Museum of Old and New Art (MONA) in Hobart, Australia, features around 400 works of art from Egyptian mummies to Young British Artists including Chris Ofili and Jenny Saville.

Its motto is to shock, offend, inform and entertain.

"It definitely challenges your interpretation of what art is," said Malnic.

Elephant dung
Pieces include Chris Ofili's Holy Virgin Mary, which features elephant dung and porn-magazine cutouts of genitals. It caused controversy in 1996, with then-New York City Mayor Rudolph Giuliani reportedly describing Ofili's work as "sick".

Another much-talked-about piece is the Matrix by Jenny Saville, a full-frontal large painting of a naked transgender man with his modified genitals exposed.

"It's confronting," said Margarita Silva, a Melbourne-based dentist making during her third trip to the MONA.

Detractors argue that some of the pieces don't belong to a museum, which is also what Malnic initially thought. But upon reflection, she said the Cloaca machine opened her mind and argued that perhaps it was the future of art.

For Silva, her favorites were a soundproof room of 30 Madonna fans who were individually filmed singing a capella the artist's Immaculate Collection album. The other was a waterfall with droplets spelling out a series of words.

Keeping with the MONA's sensibility, none of its art work is grouped or chronological, leaving viewers to walk at random.

"Overall, it's a fantastic experience," said Silva.

The museum charges A$20 ($20) for entry and has drawn around 389,000 visitors in its first year.

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