In a broad sense Design Science is the grammar of a language of images rather than of words. Modern communication techniques enable us to transmit and reconstitute images without the need of knowing a specific verbal sequential language such as the Morse code or Hungarian. International traffic signs use international image symbols which are not specific to any particular verbal language. An image language differs from a verbal one in that the latter uses a linear string of symbols, whereas the former is multidimensional. Architectural renderings commonly show projections onto three mutually perpendicular planes, or consist of cross sections at differ ent altitudes representing a stack of floor plans. Such renderings make it difficult to imagine buildings containing ramps and other features which disguise the separation between floors; consequently, they limit the creativity of the architect. Analogously, we tend to analyze natural structures as if nature had used similar stacked renderings, rather than, for instance, a system of packed spheres, with the result that we fail to perceive the system of organization determining the form of such structures.

Synergetics, according to E. J. Applewhite, was Fuller's name for the geometry he advanced based on the patterns of energy that he saw in nature. For Fuller, geometry was a laboratory science with the touch and feel of physical models--not rules out of a textbook. It gains its validity not from classic abstractions but from the results of individual physical experience. Description by the Buckminster Fuller Institute, courtesy of The Estate of Buckminster Fuller

In 1970 and 1971, Fuller was concurrently composing a poem suggested by his new Morgan sloop “Intuition” and rewriting, with my collaboration, the projected first chapter of Synergetics called “Brain and Mind.” Fuller agreed with my suggestion that this first chapter had an integrity of its own separate from the rest of the Synergetics manuscript, and he felt that both of these works had an urgency that argued for their publication at the earliest possible date. WIth the help of Bill Whitehead, our editor at Doubleday, they were combined in Intuition, the first of his two books of blank verse. Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller

Hailed as one of the greatest minds of our times, Richard Buckminster Fuller (1895-1983) is known as an American visionary. Designer, architect, engineer, inventor, and philosopher, he was undeniably one of the key innovators of the 20th century.This volume provides a visually rich and complete overview of Fuller's design and architectural production, situating Fuller's projects in their historical context. The book features never-before-published material from the Fuller archives that were recently donated to Stanford University.Michael John Gorman's essay offers an in-depth analysis of Fuller's work-focusing more attention on his innovative architectural projects than to other aspects of Fuller's "design science"-as well as an interesting perspective on post-war American society and architectural culture. Chapters include concepts of Fuller's philosophy, his manifesto for mass-produced housing, the role of mobile shelter in transforming behavior, geodesic domes, and Fuller's early experiments. Fuller's achievements, astonishing design, and production are fully documented using original and often unknown archival materials.

The visionary American philosopher, inventor, architect, mathematician and poet, Buckminster Fuller, was asked to explain his vision of how the universe works to a group of children. The book that resulted provides the most straightforward exposition of his radical world view and a loveable personal portrait. Step by step explanations on the mysteries of the universe, with interruptions by the children who could not follow him, provide insight into his dynamic teachings.

Buckminster Fuller, inventor, thinker and architect, was one of the best known Americans of the twentieth century. Often compared to Leonardo da Vinci and called "the planet's friendly genius," he was the inventor of the geodesic dome, the man who coined the term "spaceship earth," and an educator without parallel. Yet, most of his books are out of print today. To remedy this situation, his longtime friend and architectural partner, Thomas Zung, has compiled a Bucky Fuller reader. This anthology consists of chapters selected from twenty of Bucky's many books, each with a new Introduction by such notables as Arthur C. Clarke, Steve Forbes, Calvin Tomkins, Dr. Martin Meyerson, Sir Harold W. Kroto, Arthur L. Loeb, E. J. Applewhite, and others. Altogether, this book provides an overview of a remarkable intellectual career and the best possible introduction to the man and his thought. Bucky Fuller was one of the most original thinkers and builders that America has ever produced, and this book makes his work available to a new generation at the beginning of a new millennium.

(Applause Books). Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One , The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street ; Underworld U.S.A. , a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor , which exposed the conditions in mental institutions; and White Dog , written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times ; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly ; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction