The Comparative Genius of Leonardo Da Vinci and R. Buckminster Fuller
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Chassis Design for SAE Racer
University of Southern Queensland Faculty of Engineering and Surveying Chassis Design for SAE Racer A dissertation submitted by: Anthony M O’Neill In fulfilment of the requirements of ENG 4111/2 Research Project Towards the degree of Bachelor of Engineering (Mechanical) Submitted: October 2005 1 Abstract This dissertation concerns the design and construction of a chassis for the Formula SAE-Aust race vehicle – to be entered by the Motorsport Team of the University of Southern Queensland. The chassis chosen was the space frame – this was selected over the platform and unitary styles due to ease of manufacture, strength, reliability and cost. A platform chassis can be very strong, but at the penalty of excessive weight. The unitary chassis / body is very expensive to set up, and is generally used for large production runs or Formula 1 style vehicles. The space frame is simple to design and easy to fabricate – requiring only the skills and equipment found in a normal small engineering / welding workshop. The choice of material from which to make the space frame was from plain low carbon steel, AISI-SAE 4130 (‘chrome-moly’) or aluminium. The aluminium, though light, suffered from potential fatigue problems, and required precise heat / aging treatment after welding. The SAE 4130, though strong, is very expensive and also required proper heat treatment after welding, lest the joints be brittle. The plain low carbon steel met the structural requirements, did not need any heat treatments, and had the very real benefits of a low price and ready availability. It was also very economical to purchase in ERW (electric resistance welded) form, though CDS (cold drawn seamless) or DOM (drawn over mandrel) would have been preferable – though, unfortunately, much more expensive. -
Tensegrity Systems in Nature and Their Impacts on the Creativity of Lightweight Metal Structures That Can Be Applied in Egypt
Design and Nature V 41 Tensegrity systems in nature and their impacts on the creativity of lightweight metal structures that can be applied in Egypt W. M. Galil Faculty of Applied Arts, Helwan University, Egypt Abstract The search for integrated design solutions has been the designer’s dream throughout the different stages of history. Designers have tried to observe natural phenomena and study biological structure behaviour when exploring creation within nature. This can happen through trying to follow an integrated approach for an objects’ behaviour in biological nature systems. Donald E. Ingber, a scientist, confirmed this by his interpretation of the power that affects cell behaviour. This interpretation was proved through physical models called “the Principle of Tensegrity”. It is an interpreting principle for connectivity within a cell that represents the preferred structural system in biological nature. “Tensegrity” ensures the structural stability arrangement for its components in order to reduce energy economically and get a lower mass to its minimum limit by local continuous tension and compression. The aim of this research is to monitor “Tensegrity” systems in biological nature with a methodology for use and formulation in new innovative design solutions. This research highlighted the way of thinking about the principle of “Tensegrity” in nature and its adaptation in creating lightweight metal structural systems. Such systems have many functions, characterized by lightweight and precise structural elements and components. Moreover, a methodology design has been proposed on how to benefit from Tensegrity systems in biological nature in the design of lightweight metal structures with creative application in Egypt. Keywords: Tensegrity, lightweight structure, design in nature. -
Kinematic Analysis of a Planar Tensegrity Mechanism with Pre-Stressed Springs
KINEMATIC ANALYSIS OF A PLANAR TENSEGRITY MECHANISM WITH PRE-STRESSED SPRINGS By VISHESH VIKAS A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE UNIVERSITY OF FLORIDA 2008 1 °c 2008 Vishesh Vikas 2 Vakratunda mahakaaya Koti soorya samaprabhaa Nirvighnam kurume deva Sarva karyeshu sarvadaa. 3 TABLE OF CONTENTS page LIST OF TABLES ..................................... 5 LIST OF FIGURES .................................... 6 ACKNOWLEDGMENTS ................................. 7 ABSTRACT ........................................ 8 CHAPTER 1 INTRODUCTION .................................. 9 2 PROBLEM STATEMENT AND APPROACH ................... 12 3 BOTH FREE LENGTHS ARE ZERO ....................... 17 3.1 Equilibrium Analysis .............................. 17 3.2 Numerical Example ............................... 19 4 ONE FREE LENGTH IS ZERO .......................... 21 4.1 Equilibrium Analysis .............................. 21 4.2 Numerical Example ............................... 24 5 BOTH FREE LENGTHS ARE NON-ZERO .................... 28 5.1 Equilibrium Analysis .............................. 28 5.2 Numerical Example ............................... 31 6 CONCLUSION .................................... 36 APPENDIX A SHORT INTRODUCTION TO THEORY OF SCREWS ............. 37 B SYLVESTER MATRIX ............................... 40 REFERENCES ....................................... 44 BIOGRAPHICAL SKETCH ................................ 45 4 LIST OF TABLES -
Structural Design of a Geodesic-Inspired Structure for Oculus: Solar Decathlon Africa 2019
Structural Design of a Geodesic-inspired Structure for Oculus: Solar Decathlon Africa 2019 A Major Qualifying Project submitted to the faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted By: Sara Cardona Mary Sheehan Alana Sher December 14, 2018 Submitted To: Tahar El-Korchi Nima Rahbar Steven Van Dessel Abstract The goal of this project was to create the structural design for a lightweight dome frame structure for the 2019 Solar Decathlon Africa competition in Morocco. The design consisted of developing member sizes and joint connections using both wood and steel. In order to create an innovative and competitive design we incorporated local construction materials and Moroccan architectural features. The result was a structure that would be a model for geodesic inspired homes that are adaptable and incorporate sustainable features. ii Acknowledgements Sincere thanks to our advisors Professors Tahar El-Korchi, Nima Rahbar, and Steven Van Dessel for providing us with feedback throughout our project process. Thank you to Professor Leonard Albano for assisting us with steel design and joint design calculations. Additionally, thank you to Kenza El-Korchi, a visiting student from Morocco, for helping with project coordination. iii Authorship This written report, as well as the design development process, was a collaborative effort. All team members, Sara Cardona, Mary Sheehan, and Alana Sher contributed equal efforts to this project. iv Capstone Design Statement This Major Qualifying Project (MQP) investigated the structural design of a lightweight geodesic-dome inspired structure for the Solar Decathlon Africa 2019 competition. The main design components of this project included: member sizing and verification using a steel and wood buckling analysis, and joint sizing using shear and bearing analysis. -
Bucky Fuller & Spaceship Earth
Ivorypress Art + Books presents BUCKY FULLER & SPACESHIP EARTH © RIBA Library Photographs Collection BIOGRAPHY OF RICHARD BUCKMINSTER FULLER Born in 1895 into a distinguished family of Massachusetts, which included his great aunt Margaret Fuller, a feminist and writer linked with the transcendentalist circles of Emerson and Thoreau, Richard Buckminster Fuller Jr left Harvard University, where all the Fuller men had studied since 1740, to become an autodidact and get by doing odd jobs. After marrying Anne Hewlett and serving in the Navy during World War I, he worked for his architect father-in-law at a company that manufactured reinforced bricks. The company went under in 1927, and Fuller set out on a year of isolation and solitude, during which time he nurtured many of his ideas—such as four-dimensional thinking (including time), which he dubbed ‘4D’—and the search for maximum human benefit with minimum use of energy and materials using design. He also pondered inventing light, portable towers that could be moved with airships anywhere on the planet, which he was already beginning to refer to as ‘Spaceship Earth’. Dymaxion Universe Prefabrication and the pursuit of lightness through cables were the main characteristics of 4D towers, just like the module of which they were made, a dwelling supported by a central mast whose model was presented as a single- family house and was displayed in 1929 at the Marshall Field’s department store in Chicago and called ‘Dymaxion House’. The name was coined by the store’s public relations team by joining the words that most often appeared in Fuller’s eloquent explanations: dynamics, maximum, and tension, and which the visionary designer would later use for other inventions like the car, also called Dymaxion. -
Design Method for Adaptive Daylight Systems for Buildings Covered by Large (Span) Roofs
Design method for adaptive daylight systems for buildings covered by large (span) roofs Citation for published version (APA): Heinzelmann, F. (2018). Design method for adaptive daylight systems for buildings covered by large (span) roofs. Technische Universiteit Eindhoven. Document status and date: Published: 12/06/2018 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
Buckminster Fuller’S Dymaxion Car
Darienite News for Darien https://darienite.com Buckminster Fuller's Dymaxion Car, Produced in Bridgeport in the 1930s: Cameron on Transportation Author : David Gurliacci Categories : Opinion, Transportation Tagged as : Buckminster Fuller, Cameron on Transportation, Cameron on Transportation 2019, Cameron on Transportation History, Cameron on Transportation History 2019, Dymaxion Car, Jim Cameron's Transportation Column, Jim Cameron's Transportation Column 2020 Date : December 26, 2019 Did you know that Bridgeport was once the home of “the car of the future?” It was the Tesla of its era, but only three were ever built. This mystery vehicle? The Dymaxion Car. The designer? Buckminster Fuller. Best known for pioneering the 1940s architectural design of the geodesic dome, Fuller was already inventing other things a decade earlier. It was the 1930s and the country was struggling through the Depression. Fuller saw the need for innovation, for “doing more with less,” and conceived of a mass-produced, pre-fabricated 1 / 4 Darienite News for Darien https://darienite.com circular house modeled after a grain silo. Built with aluminum, Fuller only saw two prototypes of the dwelling constructed, and even they weren’t actually built until 1945. Fuller called his design The Dymaxion House — Dy for dynamic, Max for maximum and Ion for tension. It was a major flop. Next, Fuller moved on to transportation, conceiving of the Dymaxion Car, an 11-person, three-wheeled vehicle that he hoped could fly using what he called “jet stilts.” And this was decades before the invention of the jet engine. Indeed, the Dymaxion Car looked a lot like a stubby zeppelin with a forward-facing cockpit and tapered, aerodynamic tail. -
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UC Irvine UC Irvine Previously Published Works Title Towards a performative aesthetics of interactivity Permalink https://escholarship.org/uc/item/6w42d6p2 Author Penny, SG Publication Date 2011-12-01 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Fibreculture Journal DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE issue 19 2011: Ubiquity issn: 1449 1443 FCJ-132 Towards a Performative Aesthetics of Interactivity Simon Penny University of California, Irvine Introduction As I write this, at the end of 2010, it is sobering to reflect on the fact that over a couple of decades of explosive development in new media art (or ‘digital multimedia’ as it used to be called), in screen based as well as ‘embodied’ and gesture based interaction, the aesthetics of interaction doesn’t seem to have advanced much. At the same time, interaction schemes and dynamics which were once only known in obscure corners of the world of media art research/ creation have found their way into commodities from 3D TV and game platforms (Wii, Kinect) to sophisticated phones (iPhone, Android). While increasingly sophisticated theoretical analyses (from Manovich, 2002 to Chun, 2008 to Hansen, 2006, more recently Stern, 2011 and others) have brought diverse perspectives to bear, I am troubled by the fact that we appear to have ad- vanced little in our ability to qualitatively discuss the characteristics of aesthetically rich interac- tion and interactivity and the complexities of designing interaction as artistic practice; in ways which can function as a guide to production as well as theoretical discourse. -
Now on View in the Entrance of Art Los Angeles Contemporary, Ramada Santa Monica Is the Fourth Iteration in Mark Hagen's Serie
Now on view in the entrance of Art Los Angeles Contemporary, Ramada Santa Monica is the fourth iteration in Mark Hagen’s series of space frame installations—this time housing the catalog of materials from independent publisher Artbook | D.A.P. Aluminum triangles join into modular architectural units, towering floor to ceiling and enclosing a corner of the lobby, where polished fossils (in fact fossilized feces) act as bookends. We've seen the future and we're not going titles Hagen’s 2012 space frame work, that one affixed with rough slabs of obsidian. The pleasure of this uneasy pairing springs from its clever twinning of aesthetics and eras of technology: the irregular cuts of obsidian with the uniformity of the space frame, the material of prehistoric weaponry with the template for 1950s modular design. We’ve seen the future and we’re not going both rejects technological accelerationism and admits a melancholic truth: our utopian techno-future simply has not come. This ambivalence about technology, the failure of positivism to deliver on its promises, animates Hagen’s space frame sculptures, as they call out to (and become implicated in) the sinister evolution of the form. In the middle of the twentieth century, space frames were perfected by utopian architect Buckminster Fuller in his geodesic domes. Now, luxury car manufactures including Audi and Lamborghini advertise their use of the space frame, testifying to the recherché design. This evolution is unsurprising. Buckminster Fuller’s ideals of totalizing efficiency as well as neologisms like “synergy” find exquisite expression in corporate management; the hippie communes founded on his principles collapsed within the decade. -
Buckminster Fuller Playboy Interview
Buckminster Fuller the Playboy interview February 1972 a cesc publication Buckminster Fuller - the 1972 Playboy Interview ©1972 Playboy cesc publications, P.O. Box 232, Totnes, Devon TQ9 9DD England Page 2 of 19 Buckminster Fuller - the 1972 Playboy Interview ©1972 Playboy a candid conversation with the visionary architect/inventor/philosopher R. BUCKMINSTER FULLER PLAYBOY: Is there a single statement you could make than the others and that makes him a challenge to the that would express the spirit of your philosophy? speediest and most powerful, and there’s a fight between the two and the one wins disseminates the FULLER: I always try to point one thing out: if we do species. The others can just go hump.’ more with less, our resources are adequate to take care of everybody. All political systems are founded Imagine how this happened with man - man in great on the premise that the opposite is true. We’ve been ignorance, born with hunger, born with the need to assuming all along that failure was certain, that our regenerate, not knowing whether or not he’ll survive. universe was running down and it was strictly you or He begins by observing that the people who eat roots me, kill or be killed as long as it lasted. But now, in and berries very often get poisoned by them, and he our century, we’ve discovered that man can be a sees that the animals that don’t eat those things don’t success on his planet, and this is the great change that get poisoned. -
Brochure Exhibition Texts
BROCHURE EXHIBITION TEXTS “TO CHANGE SOMETHING, BUILD A NEW MODEL THAT MAKES THE EXISTING MODEL OBSOLETE” Radical Curiosity. In the Orbit of Buckminster Fuller September 16, 2020 - March 14, 2021 COVER Buckminster Fuller in his class at Black Mountain College, summer of 1948. Courtesy The Estate of Hazel Larsen Archer / Black Mountain College Museum + Arts Center. RADICAL CURIOSITY. IN THE ORBIT OF BUCKMINSTER FULLER IN THE ORBIT OF BUCKMINSTER RADICAL CURIOSITY. Hazel Larsen Archer. “Radical Curiosity. In the Orbit of Buckminster Fuller” is a journey through the universe of an unclassifiable investigator and visionary who, throughout the 20th century, foresaw the major crises of the 21st century. Creator of a fascinating body of work, which crossed fields such as architecture, engineering, metaphysics, mathematics and education, Richard Buckminster Fuller (Milton, 1895 - Los Angeles, 1983) plotted a new approach to combine design and science with the revolutionary potential to change the world. Buckminster Fuller with the Dymaxion Car and the Fly´s Eye Dome, at his 85th birthday in Aspen, 1980 © Roger White Stoller The exhibition peeps into Fuller’s kaleidoscope from the global state of emergency of year 2020, a time of upheaval and uncertainty that sees us subject to multiple systemic crises – inequality, massive urbanisation, extreme geopolitical tension, ecological crisis – in which Fuller worked tirelessly. By presenting this exhibition in the midst of a pandemic, the collective perspective on the context is consequently sharpened and we can therefore approach Fuller’s ideas from the core of a collapsing system with the conviction that it must be transformed. In order to break down the barriers between the different fields of knowledge and creation, Buckminster Fuller defined himself as a “Comprehensive Anticipatory Design Scientist,” a scientific designer (and vice versa) able to formulate solutions based on his comprehensive knowledge of universe. -
Bibliography of Map Projections
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