Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Conceptual Sketch of Fountain], untitled. Ink sketch on tracing paper with blue marker coloring, 7 1/2 x 12 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Conceptual Sketch of Fountain], untitled. Ink sketch on tracing paper with blue marker coloring, 10x12 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Design Concept. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall, Permanent Collection Gallery and Changing Exhibition Gallery. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of [Floor Plan], untitled. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Studies in the packing industry [by] the Bureau of business and economic research in co-operation with the Local community research committee of the University of Chicago and the Institute of American meat packers.

Mode of access: Internet.

Experiments and modification on electron cyclotron resonance ion sources at the Institute of Modern Physics

Uranium ion beams were produced from electron cyclotron resonance (ECR) ion sources by sputtering method this year at the Institute of Modern Physics. At first, we chose the Lanzhou ECR No. 3 ion source to implement the production experiment of U ion beams. Finally, 11 e mu A of U28+, 5 e mu A of U32+, and 1.5 e mu A of U35+ were obtained. A U26+ ion beam produced by the LECR2 ion source was accelerated successfully by the cyclotron. This means that the Heavy Ion Research Facility in Lanzhou (HIRFL) has accomplished the acceleration of the ion beam of the heaviest element according to the designed parameters. The Lanzhou ECR ion source No. 2 (LECR2), which was built in 1997, has served the HIRFL for eight years and needed to be upgraded to provide more intense high charge state ion beams for HIRFL cooling storage ring. We started the upgrading project of LECR2 last year, and the modified design just has been finished. (c) 2006 American Institute of Physics.

Pharmacogenomics of HIV Therapy: Summary of a Workshop Sponsored by the National Institute of Allergy and Infectious Diseases

Approximately 1 million people in the United States and over 30 million worldwide are living with human immunodeficiency virus type 1 (HIV-1). While mortality from untreated infection approaches 100%, survival improves markedly with use of contemporary antiretroviral therapies (ART). In the United States, 25 drugs are approved for treating HIV-1, and increasing numbers are available in resource-limited countries. Safe and effective ART is a cornerstone in the global struggle against the acquired immunodeficiency syndrome. Variable responses to ART are due at least in part to human genetic variants that affect drug metabolism, drug disposition, and off-site drug targets. Defining effects of human genetic variants on HIV treatment toxicity, efficacy, and pharmacokinetics has far-reaching implications. In 2010, the National Institute of Allergy and Infectious Diseases sponsored a workshop entitled, Pharmacogenomics A Path Towards Personalized HIV Care. This article summarizes workshop objectives, presentations, discussions, and recommendations derived from this meeting.

The Institute of Psychoplasmics

ABSTRACT: The Institute of Psychoplasmics is a group exhibition dealing with cults, rituals and the metaphor of the body politic. A key interest of the project is the way in which cultic groupings challenge the integrity of the social body by producing another within it. The exhibition, book and events explore parallels between the operations of new religious movements in the context of neo-liberalism and the forms of collectivity posited by contemporary art. These issues were addressed through a gallery display, academic essays, discussion, adult and children focused workshops and live performance event. The exhibition design, which considered the gallery as a research institute, itself investigated strategies of collaboration and psycho-social manipulation. The show was curated by Pil and Galia Kollectiv and commissioned by the Pump House Gallery in London and supported by Outset, Arts Council England and the Henry Moore Foundation. The exhibition included work by a.a.s., Insectoid, Diann Bauer, Amanda Beech, Mikko Canini, Seth Coston, Rod Dickinson, Pil and Galia Kollectiv, Tai Shani, Francis Upritchard and Roman Vasseur. A publication edited by the curators, features writing by Suhail Malik, Amanda Beech, Pil and Galia Kollectiv, Gilad Elbom, Tom McCarthy, Emily McMehen and Travis Jeppesen.

Mies van der Rohe's Illinois Institute of Technology: Analysis and History of a Compositive Development = El IIT de Mies van der Rohe: análisis e historia de un proceso compositivo

The Illinois Institute of Technology (iit) campus, Chicago, by architect Ludwig Mies van der Rohe, is often considered as a transitional work, usually acknowledged as significant for the reorientation of his professional career after he emigrated to the United States. Moreover, its favorable recognition today is somehow indicative of its relevance as a model for urban intervention in the contemporary American city and for contemporary city planning in general, not to mention the profound impact that it had on the cityscape of Chicago. However, today we know it was rather the result of a close collaboration between he and Ludwig Hilberseimer —later on, to be completed with Alfred Caldwell— who merged their personal ideas and expertise in the design for the first time. In addition to this, when one tries to locate the design within its own historical context and evaluate the sources of its approach to it, some contradictions arise. The major impact of the images produced by Mies to promote its realization —widely disseminated in most contemporary architectural periodicals— probably outshined the particular circumstances in which the design was conceived. In fact, it would never be materialized as originally presented, but it was, instead, continuously reworked according to land availability in the site —a circumstance often ignored by subsequent architectural critic, that enthusiastically praised the design even before it was fully completed. One of the main consequences of looking at iit from such a standpoint is that, when historically contextualized, one can appreciate that, due to the urban scale of its implementation process, the design had to face a complex reality very different to that initially planned by the architect, often far from his actual possibilities of intervention. Such approach is in contradiction with the common description of the design as a ‘tabula rasa’ that allegedly would have been formulated on the basis of a full denial of its context. On the contrary, the ever-changing circumstances of the design motivated a necessary re-interpretation of the relation between its executed fragments, in order to keep the original identity of the whole in an ever-changing context. This situation implied a continuous transformation of the design by means of a steady re-composition of its elements: as the number of completed buildings increased in its successive stages, their relation to their site-specific context changed, in a very particular process that these lines try to delineate. Requiring decades to be erected, neither of its authors would ever see the design finished as planned, partially because of the difficulties in acquiring the extension of land that it required. Considering the study of this process as able to provide a valuable gateway to understand the urban discourse that the architects entailed, the aim of these lines is to analyze the problems that the iit campus design had to face. As a starting point, a relationship between practice and theory in the activity of the authors implied in iit campus design has been assumed. Far from being interrupted during World War ii, strong historical evidence can be found to infer that both were developed in parallel. Consequently, the historical sequence of the preserved testimonies has been put into context, as well as their transformation while Mies remained in charge for the campus Master Plan. Notably, when seen from this perspective, some ideas already expressed during his previous European practice were still present during the design process. Particularly, Mies's particular understanding of certain architectural concepts — such as those of ‘order’ and ‘structure’—can be traced paralleling the theories about urban planning from his collaborators, a fact that possibly facilitated the campus successful development. The study of the way these ideas were actually redeveloped and modified in the American urban context, added to the specific process of the implementation of iit campus design, sheds a new light for a critical interpretation of the reasons that made it possible, and of the actual responsibility of Mies's collaborators in its overall development and final completion. RESUMEN El campus del Illinois Institute of Technology (iit) de Chicago, obra del arquitecto Ludwig Mies van der Rohe, es a menudo considerado como una obra de transición que, por lo general, ha venido siendo reconocida como relevante para la reorientación de su carrera profesional posterior a su exilio en los Estados Unidos. El reconocimiento del que goza el proyecto es indicativo, de algún modo, de su importancia como modelo para la intervención urbana en la ciudad norteamericana contemporánea y el planeamiento de la ciudad contemporánea en general, sin olvidar el profundo impacto que ha tenido sobre el paisaje urbano de Chicago. Sin embargo, hoy sabemos que el resultado se benefició de su estrecha colaboración con Ludwig Hilberseimer y se completaría más tarde con la de Alfred Caldwell, quienes unieron sus ideas y experiencia profesional en el proyecto por primera vez. Asimismo, cuando se intenta ubicar el proyecto dentro de su propio contexto histórico y evaluar los criterios de su manera de abordarlo, surgen algunas contradicciones. El considerable impacto de las imágenes producidas por Mies para impulsar su ejecución —ampliamente difundidas en la mayoría de publicaciones de arquitectura de la época— probablemente eclipsó las particulares circunstancias en las que el proyecto fue concebido. De hecho, nunca llegó a materializarse tal y como fue inicialmente presentado. Por contra, fue reelaborado de manera continua, de acuerdo a la disponibilidad de suelo en el emplazamiento; una circunstancia a menudo ignorada por la crítica posterior, que elogió con entusiasmo el proyecto antes siquiera de que fuese terminado. Una de las principales consecuencias de contemplar el iit desde semejante punto de vista es que, una vez contextualizada históricamente su puesta en obra, se puede apreciar que el arquitecto tuvo que enfrentarse a una compleja realidad urbana muy diferente a la inicialmente prevista —probablemente debido a la escala del proyecto— a menudo lejos de sus posibilidades reales de intervención. Este enfoque contradice la descripción habitual del proyecto como una ‘tabula rasa’, que supuestamente se habría formulado sobre la base de una negación completa de su contexto. Por el contrario, las circunstancias cambiantes del proyecto obligaron una necesaria reinterpretación de la relación entre sus frag mentos ejecutados, con el fin de mantener la identidad original del conjunto en un contexto en constante cambio. Esta situación implicó una continua transformación del proyecto por medio de una permanente re-composición de sus elementos: según se incrementaba el número de edificios construidos en las etapas sucesivas de desarrollo del conjunto, variaba su relación con el contexto específico en que se emplazaban, en un proceso muy particular que estas líneas tratan de perfilar. Al necesitar décadas para ser levantado, ninguno de sus autores vería el conjunto terminado según lo planificado, en parte debido a las dificultades para la adquisición de la extensión de suelo que demandaba. Asumiendo que el estudio de este proceso es capaz de proporcionar una valiosa puerta de entrada para elucidar el discurso urbano asumido por los Mies, el objetivo de estas líneas es analizar los problemas a los que el proyecto del campus del iit tuvo que enfrentarse. Como punto de partida, se ha supuesto una relación entre la práctica y la teoría en la actividad de los autores implicados en el proyecto del campus del iit. Lejos de interrumpirse durante la Segunda Guerra Mundial, existen evidencias históricas sólidas para deducir que ambas vertientes se desarrollaron en paralelo. En consecuencia, se ha contextualizado la secuencia histórica de los testimonios conservados, así como su transformación durante el periodo en que Mies estuvo a cargo del Plan General del campus. Significativamente, al ser contempladas bajo esta perspectiva, algunas ideas ya expresadas durante su práctica europea anterior resultan aún presentes durante la redacción del proyecto. En concreto, se puede trazar un paralelismo entre la comprensión particular de Mies de ciertos conceptos arquitectónicos —como los de ‘orden’ y ‘estructura’— y las teorías sobre el urbanismo de sus colaboradores, hecho que posiblemente facilitó el exitoso desarrollo del proyecto. El estudio de la manera en que estas ideas fueron reelaboradas y modificadas en el contexto urbano estadounidense, sumado al proceso específico de su aplicación en el proyecto del campus del iit, arroja una nueva luz para una interpretación crítica tanto de las razones que lo hicieron posible, como del papel real que los colaboradores de Mies tuvieron en su desarrollo y ejecución final.

The social evil in Chicago: a study of existing conditions with recommendations by the Vice Commission of Chicago, a municipal body appointed by the Mayor and the City Council of the City of Chicago, and submitted as its report to the Mayor and City Council of Chicago

Preface -- Outline of study -- Resolution of appreciation -- Introduction and summary -- Proposed ordinance -- Recommendations -- Existing conditions in Chicago -- The social evil and the saloon -- The social evil and the police -- Sources of supply -- Child protection and education -- Rescue and reform -- The social evil and its medical aspects -- Appendices: Text of revised statutes of Illinois and ordinances of the City of Chicago ; Tables ; Exhibits.

A guide to the collections of the Detroit Institute of Arts of the City of Detroit /

Mode of access: Internet.

Illustrations (three hundred and thirty-six engravings) from the Art gallery of the World's Columbian Exposition.

Plates printed on both sides.

Flint Institute of Arts 1928 to 1963.

Inscribed May 1966.