Quaker Oats Cereal cylinder packaging
(so product is differentiated from other cereals on the shelf)

Faberware Coffee Percolator- Model 142B

Hall Ceramics                                         

Wedgewood Stove  1930's and 1950's shown

All American Pressure Cooker- No 907

Mason Jar

Eureka Mighty Mite- 1982

Hamilton Beach Drinkmaster- #30

Chromex Coffee Maker

Zeroll Ice Cream Scoop- #24

Sunbeam Toaster- model 20030 and model I9; [slots]

Vemcolite Task Light- VL-5; 1985

Kryptonite Bike Lock

Master padlock- #5

Hyde 5 in 1 Tool

Maglight flashlight

Bell System #500 rotary telephone

Rural US Mailbox

Colt Revolver- SSA .45

John Deere Lawn Tractor- hydro 165

Milwaukee Magnum Hole Shooter Drill- ½” reversible 1974

Porter Cable Finishing Sander- 330 speed block

Stanley steel Thermos- No. A-943C

Eames / Evans Products / Charles Eames-
Molded Plywood Chair

Formica Decorative Laminate- white skylark

Smokador Ash Stand- Servador table smoker ash stand

Fireplace designed by Wendell Lovett
made by Condon-King and also Majestic company

Philco- Predicta Television
TV as high tech instead of furniture

Holophane Prismatic Luminaire Light/lamp- #684
by Vearl Wince and Curt Franck

Abdite RLM Fixture- RD150

GRA-Lab Timer- #300

Bell and Howell 8mm movie camera 1950's
Kodak Super8 movie camera 1960's

Kodak Carousel/Eketagraph AF2

US Navy G1 Aviation Jacket- WW2

plan for post WW2 American Leather Jackets

Halliburton Luggage- attaché case model 2H-1045  1938

Gillette swivel disposable razor  1981

Hobie Cat cameron - #16

Frisbee

Airstream Trailer

Buck Knife- model #110

Head tennis racquet- Edge Composite version

Fender Telecaster Bass- 1972 model

Steinberger Bass- XL-2

Advent Radio- Model 400

Mcintosh Amp

Corvette String Ray- 1964

Ford Thunderbird- 1957 gun metal grey     

Chris Craft Motorboat- Capri 19  1956

Learjet- 250

Mercury Outboard- Mercury 20

Jeep Cherokee- 1974

Buckminster Fuller was an American architect, systems theorist, author, and designer. Between stints at Harvard, Fuller worked in Canada as a mechanic in a textile mill, and later as a laborer in the meat-packing industry. He also served in the U.S. Navy in World War I, as a shipboard radio operator, as an editor of a publication, and as a crash rescue boat commander. After discharge, he worked again in the meat packing industry, acquiring management experience. Fuller taught at Black Mountain College in North Carolina during the summers of 1948 and 1949, serving as its Summer Institute director in 1949. There, with the support of a group of professors and students, he began reinventing a project that would make him famous: the geodesic dome. Although the geodesic dome had been created some 30 years earlier by Dr. Walther Bauersfeld, Fuller was awarded United States patents. He is credited for popularizing this type of structure.

In 1949, he erected his first geodesic dome building that could sustain its own weight with no practical limits. It was 4.3 meters (14 feet) in diameter and constructed of aluminum aircraft tubing and a vinyl-plastic skin, in the form of an icosahedron. To prove his design, Fuller suspended from the structure's framework several students who had helped him build it. The U.S. government recognized the importance of his work, and employed his firm Geodesics, Inc. in Raleigh, North Carolina to make small domes for the Marines. Within a few years there were thousands of these domes around the world.

Fuller's first "continuous tension – discontinuous compression" geodesic dome (full sphere in this case) was constructed at the University of Oregon Architecture School in 1959 with the help of students. These continuous tension – discontinuous compression structures featured single force compression members (no flexure or bending moments) that did not touch each other and were 'suspended' by the tensional members.

For half of a century, Fuller developed many ideas, designs and inventions, particularly regarding practical, inexpensive shelter and transportation. He documented his life, philosophy and ideas scrupulously by a daily diary (later called the Dymaxion Chronofile), and by twenty-eight publications. Fuller financed some of his experiments with inherited funds, sometimes augmented by funds invested by his collaborators, one example being the Dymaxion car project. Fuller was awarded 28 United States patents.

In 1896, Louis Sullivan wrote:

It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human, and all things super-human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law

Sullivan, however, attributed the concept to Marcus Vitruvius Pollio, the Roman architect, engineer, and author, who first asserted in his book, De architectura, that a structure must exhibit the three qualities of firmitas, utilitas, venustas – that is, it must be solid, useful, beautiful. This credo, which placed the demands of practical use above aesthetics, later would be taken by influential designers to imply that decorative elements, which architects call "ornament", were superfluous in modern buildings, but Sullivan neither thought nor designed along such dogmatic lines during the peak of his career. Indeed, while his buildings could be spare and crisp in their principal masses, he often punctuated their plain surfaces with eruptions of lush Art Nouveau and something such as Celtic Revival decorations, usually cast in iron or terra cotta, and ranging from organic forms, such as vines and ivy, to more geometric designs and interlace, inspired by his Irish design heritage. Terra cotta is lighter and easier to work with than stone masonry. Sullivan used it in his architecture because it had a malleability that was appropriate for his ornament. Probably the most famous example of ornament used by Sullivan is the writhing green ironwork that covers the entrance canopies of the Carson Pirie Scott store on south State Street

Another signature element of Sullivan's work is the massive, semi-circular arch. Sullivan employed such arches throughout his career—in shaping entrances, in framing windows, or as interior design.

All of these elements are found in Sullivan's widely-admired Guaranty Building, which he designed while partnered with Adler. Completed in 1895, this office building in Buffalo, New York is in the Palazzo style, visibly divided into three "zones" of design: a plain, wide-windowed base for the ground-level shops; the main office block, with vertical ribbons of masonry rising unimpeded across nine upper floors to emphasize the building's height; and an ornamented cornice perforated by round windows at the roof level, where the building's mechanical units (such as the elevator motors) were housed. The cornice is covered by Sullivan's trademark Art Nouveau vines and each ground-floor entrance is topped by a semi-circular arch.

Because Sullivan's remarkable accomplishments in design and construction occurred at such a critical time in architectural history, he often has been described as the "father" of the American skyscraper. In truth, however, many architects had been building skyscrapers before or contemporarily with Sullivan. Chicago was replete with extraordinary designers and builders in the late years of the nineteenth century, including Sullivan's partner, Dankmar Adler, as well as Daniel Burnham and John Wellborn Root. Root was one of the builders of the Monadnock Building (see above). That and another Root design, the Masonic Temple Tower (both in Chicago), are cited by many as the originators of skyscraper aesthetics of bearing wall and column-frame construction respectively.

Sullivan is featured Ayn Rand's 1943 novel The Fountainhead as the fictional character Henry Cameron.  Although Rand's journal notes contain in toto only some 50 lines directly referring to Sullivan, it is clear from her mention of Sullivan's Autobiography of an Idea (1924) in her 25th anniversary introduction to her earlier novel We the Living (first published in 1936, and unrelated to architecture) that she was intimately familiar with his life and career.  Indeed, the term "the Fountainhead," which appears nowhere in Rand's novel proper, is found twice (as "the fountainhead" and later as "the fountain head") in Sullivan's autobiography, both times used metaphorically. The fictional Cameron is, like Sullivan – whose physical description he matches – a great innovative skyscraper pioneer late in the nineteenth century who dies impoverished and embittered in the mid-1920s. Cameron's rapid decline is explicitly attributed to the wave of classical Greco-Roman revivalism in architecture in the wake of the 1893 World's Columbian Exposition, just as Sullivan in his autobiography attributed his own downfall to the same event. The major difference between novel and real life was in the chronology of Cameron's relation with his protégé Howard Roark, the novel's hero, who eventually goes on to redeem his vision. That Roark's uncompromising individualism and his innovative organic style in architecture was drawn from the life and work of Frank Lloyd Wright is clear from Rand's journal notes, her correspondence and various contemporary accounts. In the novel, however, the 23-year-old Roark, a generation younger than the real-life Wright, becomes Cameron's protégé in the early 1920s, when Sullivan was long in decline.

The young Wright, by contrast, was Sullivan's protégé for seven years, beginning in 1887, when Sullivan was at the height of his fame and power. The two architects would sever their ties in 1894 due to Sullivan's angry reaction to Wright's private moonlighting in breach of his contract with Sullivan. After decades of estrangement, Wright would again become close to the now-destitute Sullivan in the early 1920s, the time when Roark first comes under the likewise impoverished Cameron's tutelage in the novel. Wright, however, was now in his fifties. Nevertheless, both the young Roark and middle-aged Wright had in common at that time that they both faced a decade of struggle ahead. After the triumphs earlier in his career, Wright came increasingly to be viewed as a has-been, until he experienced a renaissance in the latter half of the 1930s with such projects as Fallingwater and the Johnson Wax Headquarters.