Richard B. Fuller Jr. “Bucky” 1895-1983 Design Scientist Inventor / Comprehensive Polymath Thinker American inventor, machinist, mechanic, laborer, WW1 Navy soldier, industrial manager, scientist, engineer, architect, designer, author, teacher, professor, and genius Tensegrity, Geodesic domes, Spaceship Earth, Ephemeralization, Synergy, Alternative, Vehicles, Fullerenes, Bucky balls, Tetrahedral Molecular Geometry, Drop City “I was brought up under an…
“We are called to be architects of the future, not its victims.” ~ Buckminster Fuller #quotes #buckminsterfuller #architect
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Buckminster Fuller: the visionary of structure
R. Buckminster Fuller was an American engineer, architect, and futurist who developed the geodesic dome—the only large dome that can be set directly on the ground as a complete structure and the only practical kind of building that has no limiting dimensions (i.e., beyond which the structural
Richard Buckminster Fuller
4D House model (later called the Dymaxion House), 1928. Photo: Alana Range Podcast @ www.nyas.org/snc/podcasts.asp
After starting an article about him in The New Yorker, I was pleased to see some of Buckminster Fuller's works on display at Sebastian + Barquet
Calvin Tomkins profiles the architect, inventor, and visionary.
A look at the designs that invented the spirit of tech.
Informational piece about architect Buckminster Fuller based on his design of the Dymaxion Map
TECHNE ARCHITECTURAL JUXTAPOSITION
Exhibition. Sep 22, 1959–Mar 1, 1960.
R. Buckminster Fuller, Synergetics Folio, 1977. Screenprint, sheet: 36 × 23 7/8 in. (91.4 × 60.6 cm). Whitney Museum of American Art, New York; gift of Leandro R. Rizzuto 2007.170.10
You can trace the history of ed-tech through many education philosophies and through many technologies. Too often we fail to trace that history at all – a pity because then we don’t thi...
The architect created the series of prints in the 1980s—now they’re on show and for sale.
Tensegrity, architecture and Buckminster Fuller
Buckminster Fuller taught at Black Mountain College during the Summer Session of 1948 and the Summer Session of 1949. Information on his experiences and impact at Black Mountain College and beyond is widely available. A brief synopsis can be found here: www.bmcproject.org/Biographies/FULLER%20BUCKMINSTER%20BIO... and more information on Fuller and his life and work is here: bfi.org/ Photos in this set were selected from the Visual Materials series of the Black Mountain College Research Project Papers. The finding aid for this series is available online here: www.archives.ncdcr.gov/ead/eadxml/sa_ncma_bmc_research_pr... The Black Mountain College Research Project (BMCRP) was conducted by the North Carolina Museum of Art from May 1, 1970 - February 14, 1973 and funded primarily by two grants from the National Endowment for the Humanities (NEH). The purpose of the project was to gather information and materials for an exhibit on Black Mountain College (BMC). The initial scope of the exhibit was to cover the contributions of Black Mountain College to the visual arts in the United States. After the first year of research, the scope of the project was broadened to include related areas of study such as dance, drama, literature and music. During the course of the project, the primary researcher Mary Emma Harris and other project staff members conducted approximately 200 taped interviews with former BMC students, faculty and related individuals. Project members took slides and photographs of objects created by BMC artists. In addition, many originals or copies of student notes, photographs, correspondence, college publications and other materials were donated to the project. Although the exhibit on Black Mountain College did not take place as planned, Mary Emma Harris, continued to work on the subject and eventually wrote a book entitled The Arts at Black Mountain College, published in 1987. Black Mountain College was an experimental school located in Black Mountain, N.C. Established in 1933 by John A. Rice and others, the purpose of the college was to educate the whole person, with an emphasis on the role of the arts and creative thinking. Despite the fact that Black Mountain College could rarely offer faculty more than room and board, a number of important teachers and artists were drawn to the school as part of the regular faculty or to participate in the school's Summer Institutes. Josef and Anni Albers, John Cage, Robert Creeley, Merce Cunningham, Max Dehn, Joseph Fiore, Buckminister Fuller, Edward Lowinsky, Robert Motherwell, Charles Olson, M.C. Richards, and Xanti Schawinsky were only a few of those who taught at Black Mountain College. In addition, the success of several of the college's students (such as Ruth Asawa, Edward Dorn, Kenneth Noland, and Robert Rauschenberg) helped to further the college's reputation in the area of the arts and the avant garde. The character and focus of Black Mountain College shifted over time, according to the make-up of the faculty and students. Personal and ideological conflicts were common and sometimes lead to major changes in the college community. Lack of funds added to the stress of the situation, as did the school's physical isolation and its sometimes strained relations with the local population. Eventually, the student enrollment and available funds dwindled until the college was forced to close in 1956.
