polytechnic photos on Flickr

Team Middleman's robot, Ro-Bear, is seen as it starts the level one challenge during the 2014 NASA Centennial Challenges Sample Return Robot Challenge, Wednesday, June 11, 2014, at the Worcester Polytechnic Institute (WPI) in Worcester, Mass. Eighteen teams are competing for a $1.5 million NASA prize purse. Teams will be required to demonstrate autonomous robots that can locate and collect samples from a wide and varied terrain, operating without human control. The objective of this NASA-WPI Centennial Challenge is to encourage innovations in autonomous navigation and robotics technologies. Innovations stemming from the challenge may improve NASA's capability to explore a variety of destinations in space, as well as enhance the nation's robotic technology for use in industries and applications on Earth.

More about NASA's Sample Return Robot Challenge:

Robotics teams from the United States, Canada, Mexico and Estonia competed for $1.5 million in prize money at the 2014 NASA Centennial Challenges Sample Return Robot competition this June. Seventeen teams arrived to compete, 14 passed inspection and took to the challenge field on the Worcester Polytechnic Institute's (WPI) campus in Worcester, Massachusetts.

Read full article:

www.nasa.gov/centennial_challenges/sample_return_robot/sr...

Image credit: NASA/Joel Kowsky

Sample Return Robot website:

www.nasa.gov/robot

Sample Return Robot Flickr album:

www.flickr.com/photos/nasahqphoto/sets/72157645119986112/

________________________________

These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...

NUS by R~P~M

2 4

My NUS card from 1991/2. I look a lot like my son, except that I used to spray Sun-In in may hair.

WPI-USM 165 2018-01-27 DSC_9192 by Lewis Day

3

Worcester Polytechnic Institute Engineers (#21) vs. the University of Southern Maine Huskies

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

WPI 21-13 USM

165 pounds: Brendan Marion (WPI) over Josh Smith (USM), decision 3-1.

Not to be reproduced in any format or via any platform without express written permission.

Copyright protection asserted.

Florida Polytechnic University by A. Thompson

2

Lakeland, FL. Santiago Calatrava, architect.

WPI-USM 197 2018-01-27 DSC_8537 by Lewis Day

2

Worcester Polytechnic Engineers (No.21) vs. Southern Maine Grizzlies

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

WPI 21-13 USM

197 pounds: Michael Curtis (WPI) decision (6-0) over Brandon Cousino (USM).

Not to be reproduced in any format or via any platform without express written permission.

EX04 WPI-USM 149 2018-01-27 DSC_9482 by Lewis Day

2

Worcester Polytechnic Engineers (#21) vs. University of Southern Maine Huskies

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

WPI 21-13 USM

149 pounds (exhibition), unnamed wrestlers.

Not to be reproduced in any format or via any platform without express written permission.

Copyright protection asserted.

Florida Polytechnic University by Jose Bonilla

4

Kwantlen Polytechnic University by Bill Anderson

4 2

Marylebone student room by UniOfWestminsterArchives

1

PCL's Marylebone campus housed the Schools of Architecture and the Built Environment and the School of Management Studies. There was also accommodation on site in Luxborough Lodge. Today the site forms the Marylebone campus of the University of Westminster and has been comprehensively re-developed.

REMEMBER ME by Renegade98

3

How Do We Protect Sex Workers?

Montreal Massacre memorial raises hotly debated question.

View full article and comments here thetyee.ca/News/2006/12/06/SexWorkers/

By Catherine Rolfsen

Published: December 6, 2006

TheTyee.ca

Today, in memorials across the country, Canadians remember the murder of 14 women at Montreal's École Polytechnic, 17 years ago. The memorials have become a time to focus on violence against women. Here in Vancouver, where jury selection for Robert Pickton's trial is taking place, the issue has become inexorably tied to missing women and the safety of sex workers.

But among those commemorating, a deep fissure has emerged: how best to protect women in the sex trade.

One side says that because sex work will always exist, we should decriminalize or even legalize it to make it safer.

The other side says that doing that will only entrench the violence and legitimize the abuse.

Living in Community proposes to create "safe zones" for sex workers in Vancouver. And Vancouver's Pivot Legal Society has published two reports on the sex trade, arguing for the decriminalization of adult sex work. In Canada, selling sex between consenting adults is legal, but common aspects of the sex trade are outlawed, such as being in a "bawdy-house" and communicating "for the purpose of engaging in prostitution."

"You have sex workers working in extremely dangerous situations that are a direct result of the criminal laws," said Katrina Pacey, a lawyer with Pivot who co-authored their reports.

Pacey argued that these laws put sex workers in conflict with police, meaning that the sex workers are less likely to seek -- or receive -- help when they are in danger. "I don't think we really know about the rates of violence that are going on right now because I would argue, or at least I would guess, the vast majority do not get reported," she said.

She says that a black market is inevitable in cases of criminalization.

'Beyond decriminalization'

In September, Pivot released Beyond Decriminalization, a report examining the way that human rights and labour laws would be applicable to a decriminalized sex trade. The findings were based on interviews with 80 male and female sex trade workers from the street level, massage parlours and escort services.

"People need to listen to sex workers and ask them what they want," said Pacey. According to her research, they're not asking for abolition, but for the ability to regulate their own industry to make it safer.

There is a difference between decriminalization and legalization. The former would mean repealing sections 210-213 of the Criminal Code of Canada, while the latter would involve government regulation of the industry, comparable to legislation on alcohol.

Against decriminalization

But this weekend, many activists argued that both options would exploit women. At the Montreal Massacre Memorial at Vancouver Public Library organized by Vancouver Rape Relief and Women's Shelter, the main topic of discussion was how to protect sex workers. "I think those groups who argue for the legalization of prostitution as a way to create safety for women have unrealistic expectations as to what those kind of laws can actually do for women," said Daisy Kler, the organizer of the event.

Many activists worry that decriminalizing the trade would benefit pimps and johns while offering little protection for workers. The New York Times reported that legalization in the Netherlands, for example, has lead to a boom in the sex industry, but sex workers remain marginalized. ChildRight estimated that the number of prostituted children in that country had increased to 15,000 in 2001 from 4,000 in 1996, many trafficked from other countries.

Kler says statistics like these show the problems with considering sex work as a legitimate career option. "The idea that women are choosing this, and that it is respectful to be talking about it as choice, kind of seems perverse to me when you think that the average age of women who enter prostitution is 14," said Kler.

Wrong focus?

This sentiment was echoed by Gunilla Ekberg, a former advisor to the Swedish government, who helped implement laws in that country that shift the criminal focus from prostitutes to pimps and johns.

Ekberg decried the neo-liberal perspective in countries like the Netherlands that frame sex work as a choice. Power inequalities stemming from poverty, drug addiction and racism are left out of this analysis, Ekberg argued.

She said anyone who helps with decriminalization "stands on the side of those who profit from [sex workers]."

Ekberg described how Sweden has made "the purchase of sexual services" a crime punishable by up to a 10-year sentence. Meanwhile, she argued, "the women and girls in prostitution should be seen as victims of male violence against women." And she says, above all, they have a right to assistance to escape prostitution.

Protesting prevailing opinion

This weekend, two women disagreed with the prevailing opinion at the Montreal Massacre event. Susan Davis and Amanda Bonella, both sex workers and members of the B.C. Coalition of Experiential Women, a consortium of sex worker activists, wanted to participate in the day's discussions but were asked to leave a roundtable about harm reduction in the sex trade. They protested outside with signs, one of which read, "Stop exclusionist violence to sex workers."

"We need to have a trade association and safe places to work," said Davis. She called for "basic labour standards that every person, every worker in Canada, enjoys, and we get denied, just because of the nature of what we do."

Kler said she asked Davis and Bonella to leave because panellists -- including representatives from the Vancouver Area Network of Drug Users, Justice for Girls, and the B.C. Teachers' Federation -- had agreed to work towards the elimination, and not the legalization, of the sex trade. She insisted that former sex workers were at the table, but were not asked to identify themselves.

A rallying point for all parties was that greater social supports are needed for sex workers, especially for those who sell sex because of poverty and addiction. Rather than increased policing of sex workers, activists called for a guaranteed livable income, more detox beds and the support of women's centres.

But the future does not look bright for ground-level services for sex workers since Minister Bev Oda announced that she's closing three quarters of Canada's Status of Women offices, including the B.C. office. Provincially, more than 75 community groups help women with the support of the office, including the B.C. Coalition of Experiential Women.

Which is why social justice groups say they need to find common ground on which to fight what Pacey called the Conservative government's lack of attention to women's issues.

"The human rights issues faced by sex workers are certainly not getting any attention by this government," she said. "They deserve rights, they deserve dignity, they deserve to be cared for and they deserve to be alive and not die in the context of their job."

A rally against violence against women will be held tonight at the Vancouver Public Library at 350 West Georgia from 6:30-8 p.m.

Related Tyee stories:

The Montreal Massacre and the Status of Women

Survival Sex Work in BC's North

Create a Legal Brothel Zone? A Prostitute Says, 'No!'

WPI-USM 157 2018-01-27 DSC_9045 by Lewis Day

2

Worcester Polytechnic Engineers (No.21) vs. Southern Maine Grizzlies

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

WPI 21-13 USM

157 pounds: Tyler Marsh (Worcester Polytechnic) fall (at 5:28) over Zac Thompson (Southern Maine).

Not to be reproduced in any format or via any platform without express written permission.

acac021623_0374 by Cal Poly Humboldt Galleries

1

Polytechnic College Hotel by SMU Libraries Digital Collections

4

Title: Polytechnic College Hotel

Creator: Unknown

Date: ca. 1909

Part of: George W. Cook Dallas/Texas image collection

Series: Series 3: Photographs

Series 3, Subseries 3, Postcards

Series 3, Subseries 3d, RPPC, Texas

Place: Fort Worth, Tarrant County, Texas

Description: People stand on the upper walkway of the Polytechnic College Hotel.

Physical Description: 1 photographic print (postcard): gelatin silver; 9 x 14 cm

File: a2014_0020_3_3_d_0481_c_fortworthhotel.jpg

Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.

For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/gcd/id/2991

Florida Polytechnic by Burnt Umber

3 1

New Classroom building and campus design by Dr. Santiago Calatrava

WPI-JWU 174 2018-01-27 DSC_9921bw by Lewis Day

6

Worcester Polytechnic Engineers (#21) vs. Johnson & Wales University (RI)

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

JWU 26-9 WPI

174 pounds: Adrian Gonzalez (JWU) decision (8-2) over Mike Ilic (WPI).

Not to be reproduced in any format or via any platform without express written permission.

Copyright protection asserted.

Link to polytechnic by Ka Gee Ka

1

Athens by Aleksandr Zykov

2

Athens Polytechnic

Wien, 1. Bezirk (the art of very historic buildings of Vienna), Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße (MAK DESIGN LAB) by Alfred Lex

1

Koloman Moser (1868-1918)

Sliding Table for the Dressing Room of the Home of Eisler von Terramare

Vienna, 1902/03

Execution: Caspar Hrazdil (?)

Maple, partially stained dark, solid and veneered; nickel

Koloman Moser (1868-1918)

Schiebetisch für das Toilettezimmer der Wohnung Eisler von Terramare

Wien, 1902/03

Ausführung: Caspar Hrazdil (?)

Ahornholz, z.T. dunkel gebeizt, massiv und furniert; Nickel

H 2630/1981, Schenkung donation Gudrun von Webern

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Polytechnical choir by Henri Bergius

Family-Weekend-Dinner-Poly-5761a by Fulton Schools of Engineering

Florida Polytechnic University by Jose Bonilla

4

Polytechnic, Montana by Gary S

1

Yellowstone County. Eaton Hall, on the campus of Rocky Mountain College in Billings, seen in 2013. Rocky Mountain College was formerly known as Billings Polytechnic Institute and a Polytechnic post office operated on campus from 1910 (August 4) to 1955 (December 31). Ernest Eaton was one of the founders of the college and the first Polytechnic postmaster. Eaton Hall now serves as the administrative building at Rocky and was formerly the site of the Polytechnic post office.

2016 Sample Return Robot Challenge (NHQ201609040011) by NASA HQ PHOTO

1

Erica Tiberia, the sole member of team AL, works on one of her robots during a communications update period during the level two challenge at the 2016 Sample Return Robot Challenge on Sunday, Sept. 4, 2016 at the Worcester Polytechnic Institute (WPI) in Worcester, Mass. Seven teams are competing for a $1.36 million NASA prize purse. Teams will be required to demonstrate autonomous robots that can locate and collect samples from a wide and varied terrain, operating without human control. The objective of this NASA-WPI Centennial Challenge is to encourage innovations in autonomous navigation and robotics technologies. Innovations stemming from the challenge may improve NASA's capability to explore a variety of destinations in space, as well as enhance the nation's robotic technology for use in industries and applications on Earth. Photo Credit: (NASA/Joel Kowsky)

WPI-SUB 165 2018-01-27 DSC_10242 by Lewis Day

3

Worcester Polytechnic Institute Engineers (#21) vs. the College at Brockport, State University of New York Golden Eagles

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

Brockport 30-12 WPI

165 pounds: Ronan Ball (WPI) 10-3 decision over Jackson Bell (CB, SUNY).

Not to be reproduced in any format or via any platform without express written permission.

Copyright protection asserted.

Wien, 1. Bezirk (the art of very historical buildings of Vienna), Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße by alfred lex