This essay explores how Viennese physicists who specialized in radioactivity research embodied visions of their new discipline in material terms, through the architectural design and the urban location of their institute. These visions concerned not only the experimental culture of radioactivity, or the interdisciplinarity of the field, but also the gendered experiences of those working in the institute's laboratories, many of who were women. In designing the Institute for Radium Research at the end of the 1910s -the first such specialized institute in Europe -physicists and architects were also designing the new discipline in a strong sense. In the architectural form of the building one can trace the aesthetics of the new discipline, the scientific exchanges of its personnel and the image of a newly formed community in which women were more than welcomed.

In a nuclear laboratory, a glove box is a windowed, sealed container equipped with two flexible gloves that allow the user to manipulate nuclear materials from the outside in an ostensibly safe environment. As a routine laboratory device, it invites neglect from historians and storytellers of science. Yet, since especially the Gulf War, glove boxes have put the interdependence of science, diplomacy, and politics into clear relief. Standing at the intersection of history of science and international history, technological materials and devices such as the glove box can provide penetrating insight into the role of international diplomatic organizations to the global circulation and control of scientific knowledge. The focus here is on the International Atomic Energy Agency.

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The case of women radium dial painters - women who tipped their brushes while painting the dials of watches and instruments with radioactive paint - has been extensively discussed in the medical and historical literature. Their painful and abhorrent deaths have occupied the interest of physicians, lawyers, politicians, military agencies, and the public. Hardly any discussion has concerned, however, the use of those women as experimental subjects in a number of epidemiological studies that took place from 1920 to 1990. This article addresses the neglected issue of human experimentation in relation to the radium dial painters. Although women's medical examinations have been classified as simple, routine measurements of radiation burden on the body and presented as a great offer to humanity, for more than fifty years those women had been repeatedly used as experimental subjects without proper consent. I argue that through this case it becomes obvious that the issue of defining what counts as human experimentation shifts from an epistemological to a serious ethical and political question, concerning the making of scientific knowledge while issues of gender related to this process are also discussed.