The Ethnographic Museum (Serbian Cyrillic: Етнографски музеј) is a museum located in Belgrade, the capital of Serbia. It is one of the oldest museums in the Balkans. The Ethnographic Museum in Belgrade fulfills its mission together with the efforts of various stakeholders in the domain of presentation, revitalization and development of crafts in Serbia.


The Ethnographic Museum in Belgrade was founded in 1901, when the Ethnographic Department was separated from the National Museum of Serbia. The inauguration of the first permanent exhibition of the museum was organized on 20 September 1904, during the centennial of the First Serbian Uprising. During the first years of its work, the activities of the Ethnographic Museum were focused on the purchase of museum items and the presentation of the Kingdom of Serbia abroad.
In World War I, a large number of museum items were destroyed, as well as the documentation and the library. The museum library was re-established in 1920. Today, its holdings contain about 60,000 publications: 33,000 books and about 27,000 journals dealing with ethnology, anthropology and related scholarly disciplines.
During World War II, museum objects were packed and removed from the building in which the museum was housed at that time. After the war, the museum was moved into the building of the Belgrade Stock Exchange at No. 13 Studentski Trg (Square).
The museum collections currently contain about 200,000 items, 56,000 of which are ethnographic objects.


After repeatedly changing location - from the home of Stevče Mihajlović which is located at the corner of Kneza Miloša and Birčaninova Street and the building at the corner of Njegoševa and Knjeginje Zorke Street (1938) to the adapted building of the guards of the court complex on Terazije (1945-1948) – the Museum in 1951 moved into the building on the corner of 13, Studentski trg and 2, Uzun Mirkova, which was built during 1933 and 1934, and it was designed by architect Aleksandar Đorđević. It was built for the needs of the former BSE, as a building for business and residential purposes. According to its architectural features, the building belongs to mature modernist concept, while the accented verticalism carries foreign, mostly German influences. Erected as a five-story building in a prominent position within the surroundings of the Academic park in the immediate vicinity of higher education buildings (building of Advanced School - today the Rectorate of the Belgrade University, building of the New University - today the Faculty of Philology), cultural institutions (building of Kolarac National University) and city administration buildings (the building of the Belgrade municipality – today the Yugoslav Cinematheque, city police) immediately after the construction, it was recognized as a piece of extraordinary value, and it is valorized today as an important part of the art deco architecture in Serbia. It had its original purpose of the stock market until the beginning of the Second World War and after the end of the war, one part of the building changed its purpose. At the beginning of the 1950s, a part of the basement, the ground floor, the mezzanine, the first and the second floor were ceded to the Ethnographic Museum. In the period from 1951 to 1954, renovation work of this part of the building was carried out for the purpose of placing museum collections and funds and organizing exhibition activities, and with the forthcoming adaptation conducted during 1983-1984, the building was tailored to the museum almost completely, on all five floors. Adaptations of the building are primarily related to customizing the interior to the new function, while the authenticity of its facade and monumental entrance area was preserved. As a work of urban-architectural, cultural and historical values within which there is a cultural institution which cherishes a rich ethnographic heritage, the Ethnographic Museum was established in 1984 as a cultural monument.


Until today, eight permanent exhibitions and about 300 temporary exhibitions were opened in the Ethnographic Museum. The permanent exhibition occupies three levels of the building. Today, the Ethnographic Museum houses a large number of ethnographic objects, distributed in private collections (furniture, jewelry, traditions, costumes, folk architecture, industry, animal husbandry, transport, cult objects, etc.), has one of the richest specialized libraries in the Balkans and publishes professional publications, has a great conservation service that handles virtually all types of materials, has a large exhibition space, organizes extensive ethnographic research and has a lot of will and knowledge to carry out an ethnological and anthropological study of the 19th century.
On June 7, 2013, in the Ethnographical Museum, a list of intangible cultural heritage of Serbia was presented, which consists of 27 elements.


1.	Jump up↑ Завод за заштиту споменика културе града Београда, досије споменика културе Етнографски музеј; З.М., „Етнографски музеј у Београду“, ГМГБ 1, 1954, 316–321.
2.	Jump up↑ Завод за заштиту споменика културе града Београда, часопис Наслеђе, Милан Просен, Градитељски опус архитекте Александра Ђорђевића (1890-1952) http://beogradskonasledje.rs/wp-content/uploads/2012/09/7/9_milan_prosen.pdf accessed 30.01.2017.
3.	Jump up↑ Belgrade City Institute for the Protection of Cultural Monuments /Ethnographic Museum
4.	Jump up↑ http://beogradskonasledje.rs/kd/zavod/stari_grad/kapetan_misino_zdanje.html accessed 30.01.2017.
5.	Jump up↑ http://beogradskonasledje.rs/kd/zavod/stari_grad/zgrada_kolarcevog_narodnog_univerziteta.html accessed 30.01.2017.
6.	Jump up↑ http://beogradskonasledje.rs/kd/zavod/stari_grad/zgrada_beogradske_opstine.html accessed 30.01.2017.
7.	Jump up↑ Милан Просен, Ар деко у Србији, рукопис докторске дисертације одбрањене на Одељењу за историју уметности Филозофског факултета Универзитета у Београду 2014. године, 335-336.
8.	Jump up↑ Serbian intangible heritage includes... (B92, 7 June 2013)


The Etropole Monastery is located 5 kilometres (3.1 miles) from the eponymous town, which lies to the north-east of the Bulgarian capital Sofia. The closest inhabited place is the village of Ribaritsa, which is 4 kilometres (2.5 miles) west of the monastery. The monastery lies among maple woodlands at the foot of the Balkan Mountains.
The monastery was founded during the Second Bulgarian Empire, either in the 12th or 13th century. According to a stone inscription reportedly placed into the foundations of the church, the exact year of its foundation is 1158, during the Byzantine rule of Bulgaria. The medieval part of the monastery's history is documented in its commemoration codex (pomenik), which also includes lists of medieval Bulgarian and Serbian monarchs.
The Etropole Monastery reached its apogee between the 16th and  18th centuries, when it emerged as the most important literary and cultural centre of the northern Bulgarian lands under Ottoman rule, with its own scriptoria and a calligraphic school with a characteristic style. Under abbots Anthony, Zachary and Raphael, who were in charge of the monastery from the 1620s to the 1640s, the Etropole Literary School was a major centre of production for chiefly religious manuscripts. Its influence spread throughout the Balkans to other schools of the time. Particularly active scribes of this period were the priest Valcho, hieromonk Daniel, John the Grammarian and Basil of Sofia. Thanks to the successful literary efforts of its community, the monastery was able to sustain itself through the sale of manuscripts, in addition to donations from wealthy locals. 76 works of the Etropole Literary School are housed by the National Library of Bulgaria and the Museum of Church History.
In the late 19th century, during the last decades of the Ottoman rule of Bulgaria, the time of Bulgaria's struggle for independence, the monastery provided shelter to national hero Vasil Levski and other anti-Ottoman revolutionaries. Levski even had a hiding place specially built for himself at the monastery. At present the monastery is inhabited by a small number of nuns.


The monastery's present main church (katholikon) is a large cruciform three-naved church that features five hexagon-shaped turret domes. The church was constructed in 1858 or 1859, though its exterior decoration was not finished until 1860 and its current set of interior frescoes were only painted from 1896 to 1907. The main material in the church's construction, limestone, may be the origin of the monastery's alternative name, Varovitets (from Bulgarian варовит varovit, "limy"). The church was designed by the architect Ivan Boyanov (Boyanin) from Bratsigovo and built to replace the old monastery church, which was destroyed because of its deteriorating condition. The same architect also designed a previous incarnation of the Saint Nedelya Church in Sofia.
In addition to the main church, the Etropole Monastery also includes two smaller chapels and various residential buildings in the Bulgarian National Revival style, which are situated in a grass-covered yard. The chapels are each dedicated to Saint John the Baptist and Saints Cosmas and Damian. One of the rooms in the residential quarters functions as a small museum to Vasil Levski, focusing on his time hiding at the monastery.
Among the valuable items in possession of the monastery are two 15th-century crosses with rich silver decoration and a gold-plated ossuary. The oldest icon from the Etropole Monastery is a rendition of the Holy Trinity of the Old Testament from 1598 painted by the teacher Nedyalko from Lovech; several 17th- and 18th-century icons previously in use at the monastery are now part of the National Art Gallery's collection.
The monastery celebrates its holiday on Pentecost, the feast of the Holy Trinity. In the woods in the vicinity of the monastery are the Varovitets Waterfall, 15 metres (49 feet) high, and its source, an eponymously named karst spring.


Ukiah, a wooden-hulled, double-ended ferryboat, was built in 1890 by the San Francisco and North Pacific Railroad Company at their Tiburon shipyard. She had a length at the waterline of 277 feet (84 m) (291 feet (89 m) overall), beam of 47 feet 7 inches (14.50 m)—78 feet (24 m) over guards—and hold depth of 15 feet (4.6 m).  Her original gross tonnage was 2,564 and net tonnage, 2,018 tons. The ship had a crew of sixteen, whose quarters were in the hold.
According to the National Register of Historic Places, Ukiah was originally built with a main deck for railroad cars and a second deck for passengers above. Numerous contemporaneous newspaper reports, however, state that both the passenger accommodations and railroad cars were located on the main deck. A broad stairway led from this deck to the promenade deck above, where the fore and aft pilot houses, along with staterooms for the officers, were located. Rising from the promenade deck were also several smaller decks for sightseers, accessible only by ladder.
Two standard-gauge railway tracks, on which the railroad cars were transported, were installed the length of the main deck through the center of the ship. Passenger accommodations were located on either side, fore and aft of the paddleboxes, with one side of the ship reserved for female passengers and the other for males. The female side included a moveable partition around the paddlebox that allowed passengers to move between cabins in privacy; this partition could be folded up to make room for railroad cars when required. The passenger decorations on each side differed, with the men's featuring grained panelling, and the women's, "parti colors, with gilt moldings and beadings". Floors on the ladies' side featured velvet carpets, while oilcloths sufficed for the men. At each end of the passenger quarters were vestibules, fitted with doors to prevent drafts. Seats throughout were built of semi-circular strips of cedar and black walnut, separated by black walnut arms. The main deck also featured a bar—located near the engine—toilets and a restaurant. Joinery work throughout the vessel was by Robert Bragg.
Ukiah was powered by a single-cylinder 1,700 horsepower (1,300 kW) vertical beam steam engine with a bore of 65 inches (170 cm) and stroke of 12 feet (3.7 m), built by the Fulton Iron Works of San Francisco. The NRHP states that the ship was originally fitted with four direct flue return tube boilers; again, however, contemporaneous newspaper reports differ, stating that steam was originally supplied by two steel boilers; these had a length of 25 feet (7.6 m) and shell of 12 feet (3.7 m), and operated at a pressure of 60 psi (410 kPa). Ukiah's paddlewheels were 27 feet (8.2 m) in diameter, and each fitted with 24 buckets having a width of 12 feet (3.7 m).
The ship was launched in San Francisco Bay on Saturday, May 17, 1890, at 10:40 pm, witnessed by a crowd of about 800 people, many of whom had arrived by a special train from San Rafael.


The ship originally carried people between San Francisco and Tiburon during the day and hauled railroad freight cars at night. On April 16, 1907 she sank at the foot of East Street, San Francisco due to errors in handling the off loading of railroad cars. She was later raised. In 1907, Ukiah was re-routed to the Sausalito–San Francisco Ferry Building route by its new owners, Northwestern Pacific Railroad.
As automobiles became more common, motorists wanted to "drive across the bay". Since there were no bridges on San Francisco Bay at the time, Ukiah was able to meet this demand via a refitted lower deck designed to handle vehicles. The deck above (also enclosed) was expanded for passengers.


During World War I, Ukiah carried munition-filled rail cars for the war effort. Overloading of the ship caused hull strains so severe that the government paid for complete rebuilding of the ship. Shipwrights at the Southern Pacific yard labored for two years—eventually replacing all of its structure above the waterline. This kind of reconstruction was called "jacking up the whistle and sliding a new boat underneath." The refurbished ferry was christened Eureka in honor of the Northern California city, which also happened to be the new northern termination of the Northwestern Pacific Railroad.
As a passenger ferry, she could carry 2,300 passengers and 120 automobiles. At that time, she was the biggest and the fastest double-ended passenger ferry boat in the world—299 feet 6 inches (91.29 m) long, with an extreme width of 78 feet (24 m) and gross tonnage of 2,420 tons.


Between 1922 and 1941 Eureka was on the Sausalito commuter run. As the largest of the Northwestern boats, Eureka made the heaviest commuter trips - the 7:30 from Sausalito and the 5:15 from San Francisco. Each trip averaged 2,200 passengers. During this period the upper deck included seating areas, a magazine stand, and a restaurant that served full meals.
Eureka was primarily a passenger boat, carrying very few cars. After 1929, though, she sometimes made an extra run from the Hyde Street Pier in San Francisco, carrying autos on Sundays.
Completion of the Golden Gate Bridge between San Francisco and Marin in 1937 doomed ferry service. Northwestern Pacific first cut service, then abandoned ferries altogether in 1941.
During the war years, Eureka joined a number of bay ferries in the work of transporting troops from Camp Stoneman in Pittsburg, California, up the Sacramento River, to the port of embarkation piers in San Francisco.
By the 1950s Eureka served by linking Southern Pacific's cross-country trains, which terminated at Oakland, with San Francisco until 1957, when she snapped an engine crank pin. That service was discontinued the following year. In 1958, Eureka joined the fleet of historic ships now at the National Historical Park.
In the late 1990s she was used as a main filming location for the TV-show Nash Bridges.
In October 1999, Eureka entered San Francisco Drydock for a $1 million restoration project focusing on the vessel's superstructure—the above-water portions of the vessel. A significant portion of that restoration was the replacement of the boat's "kingposts"—four large wooden structures that support the paddlewheels and upper decks.


Although a number of large ferryboats survive in the US, Eureka is the only one with a wooden hull. She is one of the most impressive remaining examples of traditional American wooden shipbuilding.
Beneath her upperworks, the round-bottomed hull is 42 feet (13 m) wide and 277 feet (84 m) long. The house rests on a platform extending 18 feet (5.5 m) from the hull on either side.
Her walking beam engine was originally powered by coal-fired boilers that were converted to oil in 1905. The engine was built in 1890 by the Fulton Iron Works in San Francisco. It is the only walking beam engine in the United States preserved in a floating vessel.
With the increased length of 5 feet (1.5 m), Eureka became the largest wooden passenger ferry ever built. She was certified to carry 3,500 people.


WikiWeb_Everett McKinley Dirksen United States Courthouse_0

The Everett McKinley Dirksen United States Courthouse, commonly referred to as the Dirksen Federal Building, is a skyscraper in the Chicago Loop at 219 South Dearborn Street. It was designed by Ludwig Mies van der Rohe and completed in 1964. The building is 384 feet (117 m) tall with 30 floors; it was named for U.S. Congressman Everett Dirksen. The building houses the United States Court of Appeals for the Seventh Circuit, the United States District Court for the Northern District of Illinois, the United States Bankruptcy Court, the United States Marshal for the Northern District of Illinois, United States Attorney for the Northern District of Illinois, and local offices for various court-related federal agencies, such as the Federal Public Defender, United States Probation Service, United States Trustee, and National Labor Relations Board. It is one of three buildings making up the modernist Chicago Federal Center complex designed by van der Rohe, along with Federal Plaza, the U.S. Post Office (Loop Station) and the Kluczynski Federal Building. Separate from the Federal Plaza, but opposite the Kluczynski Building across Jackson Boulevard, is the Metcalfe Federal Building.


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The Federal Center extends over two blocks; a one-block site, bounded by Jackson, Clark, Adams, and Dearborn streets, contains the John C. Kluczynski Federal Building and U.S. Post Office Loop Station, while a parcel on an adjacent block to the east contains the courthouse. A glass-enclosed great hall, 100 feet (30 m) wide and 25 feet (7.6 m) high, spans the center of the courthouse, serving as a visual gateway through the complex. From State Street on the east, one can look west down Quincy Street, through the courthouse, across Dearborn Street to the central plaza and post office beyond.
To its northwest is the freestanding Loop Station post office, which is one story with two workroom levels below grade. Directly across the street from the Kluczynski building is the thirty-story Everett M. Dirksen U.S. Courthouse. The courthouse contains 1.4 million gross square feet of space and is set at a right angle to the Federal Building high-rise across Dearborn Street. The Dirksen courthouse was designed with fifteen, two-story courtrooms located on the top ten stories of the building. Courtrooms were located away from the curtain walls to reduce audio and visual distractions. The simple but elegant book-matched black-walnut paneling and molded-plywood spectator benches are lit by ceiling fixtures covered with an aluminum grid. During the 1990s, additional courtrooms were created within the building in a style complementing the original details; Mies's initial design planned for future expansion of this nature.
The simple and well-proportioned steel-and-glass design of the Chicago Federal Center epitomizes the minimalist architectural approach favored by architect Ludwig Mies van der Rohe.  The structural framing of the buildings is formed of high-tensile bolted steel and concrete. The exterior curtain walls are defined by projecting steel I-beam mullions covered with flat black graphite paint, characteristic of Mies's designs. The balance of the curtain walls are of bronze-tinted glass panes, framed in shiny aluminum, and separated by steel spandrels, also covered with flat black graphite paint. This organization emphasizes the impressive height of the sleek towers. Franz Schulze, a scholar of Mies's work, has praised "Mies's uncompromising devotion to principle, together with his vaunted sensitivity to proportion and structural detail and the organizational scale, [that] combine to give the complex a monumental urban presence." The entire complex is organized on a 28-foot grid pattern subdivided into six 4-foot, 8-inch modules. This pattern extends from the granite-paved plaza into the ground-floor lobbies of the two towers, where the floors and elevator lobby walls are also granite. The lines of the grid continue vertically up the buildings, integrating each component of the complex. The 42-story, John C. Kluczynski Federal Building is the tallest of the three buildings. Both the Kluczynski and Dirksen buildings are elevated on open colonnades, called pilotis, at the plaza level.
In the early 1970s, the U.S. General Services Administration, under its Art in Architecture program, commissioned a steel sculpture for the plaza from the celebrated artist Alexander Calder. His creation, entitled Flamingo, was unveiled on October 25, 1974. The 53-foot-tall steel stabile, with its bright red color and graceful curves, provides a striking contrast to the dark, angular steel and glass curtain walls of the Federal Center buildings. In 1998, the stabile was conserved and lighting was added.
In celebration of the 2018 Illinois Bicentennial, Chicago Federal Plaza was selected as one of the Illinois 200 Great Places  by the American Institute of Architects Illinois component (AIA Illinois).


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Architects: Ludwig Mies van der Rohe; Schmidt, Garden and Erikson; C. F. Murphy Associates; A. Epstein and Sons
Construction Dates: 1960–1964
Location: Dearborn Street between Jackson Boulevard and Adams Street in downtown Chicago's central Loop
Architectural Style: International Style
Primary Materials: Steel and bronze-tinted glass; granite paving
Prominent Features: Striking glass tower; Projecting steel I-beam mullions; Open colonnades at tower bases; Flamingo stabile


Exeter Quay, also known as Exeter Quayside, is a part of the city of Exeter next to the River Exe and the Exeter Ship Canal. It was first used as a port in prehistoric times when a sandstone ledge was used to unload the ships of overseas traders. However, by 1381 the Countess Weir had blocked the river to shipping. In 1566 a canal was completed  to provide access for ships. Over time the number of ships using the quayside increased and so the quay was expanded in  the late 17th century. Further expansion occurred in 1830 when a new canal basin was dug. However, in 1840 the railways reached Exeter and the shipping began to decline. No longer used for shipping, the quayside is now mostly used for leisure included in the links below.
A manually operated cable ferry known as the Butts Ferry crosses the Exe at Exeter Quayside.


The following is a list of events that Quay hosts every year: Dragon Boat Racing, Canoe shows and races, Exeter Street Food Night Markets, Quayside Red Coat Guided Tours, Inside Outside Summer Craft Fair, and the Exe Descent.


The Exploratorium is the brainchild of Frank Oppenheimer, an experimental physicist and university professor. Oppenheimer, who worked on the Manhattan Project with his brother J. Robert Oppenheimer, was diverted from an academic career when he was forced to resign from his position at the University of Minnesota in 1949 as a result of an inquiry by the House Un-American Activities Committee. He was blacklisted from academic positions across the country, and withdrew with his family to run a Colorado cattle ranch for almost a decade.
Oppenheimer also began assisting local high school students with their science projects, eventually becoming the only science teacher at the high school in Pagosa Springs, Colorado. The field trips and experiments he did with his high school students would become a blueprint for the hands-on methods of teaching and learning he would later bring to the Exploratorium.
When Oppenheimer was invited to join the University of Colorado's physics department in 1959, he found himself less interested in traditional laboratory research and much more interested in exploring methods of provoking curiosity and inquiry.  He received a grant from the National Science Foundation, which he used to build models of nearly a hundred scientific experiments. This "Library of Experiments" would become the core of the Exploratorium's exhibit collection, and was the forerunner of the Exploratorium Cookbook, a manual explaining how to build these basic science exhibits.
Convinced of the need for public museums to supplement science curricula at all levels, he toured Europe and studied museums on a Guggenheim Fellowship in 1965. Three European museums, encountered during that year, served as important influences on the founding of the Exploratorium: the Palais de la Découverte, which displayed models to teach scientific concepts and employed students as demonstrators, a practice that directly inspired the Exploratorium's much-lauded High School Explainer Program; the South Kensington Museum of Science and Art, which Oppenheimer and his wife visited frequently; and the Deutsches Museum in Munich, the world's largest science museum, which had a number of interactive displays that impressed the Oppenheimers.
Back in the United States, Oppenheimer was invited to do the initial planning for a new branch of the Smithsonian, but he turned it down to work on what he called his "San Francisco project." In 1967, the Oppenheimers came to San Francisco with a view towards opening an independent museum of their own. Oppenheimer sought funding and support for the endeavor using a grassroots approach, bringing a written proposal and some handmade exhibits with him as he visited scientists, businesses, city and school officials, relatives, and friends. Many prominent scientists and cultural figures endorsed the project, and the offers of support, in conjunction with a $50,000 grant from the San Francisco Foundation, made the museum realizable.
In late August 1969, the Exploratorium opened with little fanfare at the Palace of Fine Arts. Oppenheimer "simply opened the doors." Although the building needed many improvements, Oppenheimer couldn't afford to make the changes, and decided to allow the public to come and watch exhibits being built and changes being made as part of the participatory ethos of the institution. An early proposal would have erected a wall between the workshop where exhibits were being developed and the main visitor areas.  Instead, Oppenheimer insisted that the workshop be placed without a wall, right next to the main entrance so that visitors could experience "the way a shop smells when you burn the wood in a saw, or smell the oil from a lathe." Above the workshop was a sign, made by the wife of George Gamow, a physicist, educator, and friend of Oppenheimer who had died just a year before the opening of the Exploratorium. "Here Is Being Created the Exploratorium a Community Museum Dedicated to Awareness" the inscription said.  (Today, a copy of this motto is inscribed above the main entrance to the new Exploratorium at Pier 15.)
Oppenheimer served as the museum’s director until his death in 1985. Dr. Robert L. White served as director from 1987 to 1990. Dr. Goéry Delacôte served as executive director from 1991 until 2005. Dr. Dennis Bartels served as executive director of the Exploratorium from 2006 to 2016. Chris Flink served as director from June 2016 through February 2022, when he was replaced by the former Chancellor of the University of North Carolina School of the Arts (UNCSA) and PBS executive, Lindsay Bierman. The museum has expanded greatly since the 1980s, increasing outreach, expanding programs for educators, creating an expanded Web presence, and forming museum partnerships around the world.


The Exploratorium at Pier 15 has a net-zero energy goal as part of its overall sustainability efforts. Setting this net-zero goal means that, while in operation, The Exploratorium will produce more energy on-site than it will consume on an annual basis. The museum highlights its sustainability efforts in visible ways throughout the museum as part of a stated intention to lead by example.
The Exploratorium, in order to reach its net-zero energy goal, produces energy with a roof-mounted array of photovoltaics.  There are 5,874 PV modules on the roof, totaling 78,712 square feet (7,312.6 m²), with a projected year-1 yield of 1.3 MW-AC/square foot (13.9 MW-AC/m²), or a total year-1 yield of 2,113,715 kWh.  Any surplus energy generated is intended to be fed back into the utility grid, as the projected annual energy use for the building totals at 1,275,936 kWh.
In addition to solar power, the museum makes use of an HVAC system that takes advantage of the relatively constant, moderate temperature of the bay water under the piers, which is 50 to 65 °F (10 to 18 °C), to heat and cool the building. The bay water is filtered and sterilized before it is brought into a 4,000 US gallons (15 m³) cistern below the pier, where it is held for use.  When needed, the bay water is moved to a titanium heat exchanger, of which the building has two, where it is either used to heat or cool water that is cycled through a system of thermally activated radiant slabs.  There are 27 miles (43 km) of plastic tubing in the radiant heating system in the floor, creating 82 different heating and cooling zones with distinct control systems. After the bay water passes through the heat exchangers, it is returned to the San Francisco Bay as allowed by a permit issued by the California Regional Water Quality Control Board.
Most of the energy savings are expected to come from using the bay water as a heat sink for the building’s cooling needs.  When the temperature of the bay water is below that of the chilled water return from the radiant pipes, which is the case for most of the year in the Bay Area’s temperate climate, the system works in waterside economizer mode.  In this mode, the cooling loads are met either entirely or partially through passive heat exchange between the colder bay water and the warmer return water, greatly reducing the building’s energy needs.
The Exploratorium at Pier 15 has a separate system for its ventilation needs, pairing a dedicated outdoor air system (DOAS) with displacement ventilation distribution to bring outdoor air into the building.  By integrating radiant heating and cooling and displacement ventilation, the Exploratorium has greatly reduced the portion of its HVAC system that relies on forced air.  Reducing the size of a building’s forced air system has the associated benefits of both lower energy loads as well as reduced ductwork, both of which are cost-saving.
The Exploratorium has multiple features designed to reduce its water consumption.  Two large cisterns under the structural beams connecting the southeast pilings capture up to 338,000 US gallons (1,280 m³) of rainwater and fog runoff for reuse in the facility. The plumbing is designed for water conservation, with waterless urinals and dual-flush toilets projected to save an annual million gallons of water. Additionally, the bay water heating and cooling system is estimated to save two million gallons of potable water a year by eliminating the need for traditional evaporative cooling towers.
The Exploratorium at Pier 15 also makes use of natural light in the effort to reduce energy loads.  The existing building had many clerestory windows and an overhead skylight that runs the length of the interior space.  In compliance with historic preservation requirements, the building’s façade was left mostly unchanged, allowing for much of the interior space to benefit from the existing architecture’s ample daylight.  The retrofit did include the addition of high performance glazing to the existing windows.
In January 2014, the Exploratorium was awarded LEED Platinum certification. According to the New York Times, "After a two-year post-opening shakedown period of monitoring and adjusting the systems, the Exploratorium hopes to become the largest net-zero-energy-use museum in the United States and possibly the world."


The new site contains over 600 exhibits, 25% of which were developed specifically for the Pier 15 site. With the exception of some art installations, all exhibits are developed and made onsite. The indoor and outdoor spaces are divided into six galleries, each highlighting a specific content group. Many exhibits are mobile, however, and move among different galleries; similarly, not all exhibits fall into distinct categories.
Exhibits cover a range of subject areas, including human perception (such as vision, hearing, learning and cognition), the life sciences, physical phenomena (such as light, motion, electricity, waves and resonance, and magnetism), local environment (water, wind, fog, rain, sun, and other elements, as well as cityscape, landscape, and the flora and fauna of the Bay) and human behavior (such as cooperation, competition, and sharing).


The West Gallery focuses on human behavior.  Its signage and exhibits encourage visitors to play with perception; investigate memory, emotion, and judgment; and experiment with how people cooperate, compete, and share. It holds exhibits such as Poker Face (partners try to assess when someone is bluffing), Trust Fountain (an experimental exhibit from the museum’s National Science Foundation-funded Science of Sharing project, this two-person drinking fountain is based on the Prisoner’s dilemma, a classic scenario centering on negotiation and trust), and the Tactile Dome, a pitch-black environment visitors explore by touch, which was originally designed by Carl Day, August Coppola, producer. The West Gallery also included the temporary exhibition The Changing Face of What is Normal: Mental Health, which showcased the personal artifacts of patients from the now-decommissioned Willard Psychiatric Center, which was on view through April 2014.
The West Gallery also houses the Kanbar Forum, a cabaret-style theater that will host music events, science lectures, and other programs when it opens in summer 2013.


The South Gallery is a workshop area where visitors can engage in hands-on making, located directly across from the Exploratorium's own internal exhibit workshop, which is also open to their view. Oppenheimer wanted visitors to be able to “smell the oil”, and insisted that the usually hidden exhibit-building activities be on display as an exhibit in its own right. Exhibits in the South Gallery highlight a DIY aesthetic, and include Animation Stations where visitors can make their own stop-motion films.
Artworks on display include the Tinkerer’s Clock (a 22-foot-high clock constructed by artist Tim Hunkin, with figurines in his noted cartoon style that can be manipulated by visitors and unfold into a clockface on the hour); and Rolling Through The Bay (a sculpture made by artist Scott Weaver over the course of 37 years, utilizing over 100,000 toothpicks and depicting many of the Bay Area’s iconic landmarks, through which a ping-pong ball can roll on one of several different "tours").


The Bechtel Central gallery houses many of the "classic" Exploratorium exhibits, including many of those that have been on display since the very earliest years of the museum. It includes a mix of new and old exhibits that investigate physics and the perception of light, color, and sound, such as Sound Bite (a demonstration of hearing with the jawbone instead of the ears) and Bright Black (a trick of perception convinces viewers that an object is white when it is almost entirely black).


The East Gallery houses a much-expanded selection of life sciences exhibits. Many exhibits relate directly to the immediate local environment, such as the Glass Settling Plate (barnacles and other creatures are grown on a plate in the Bay, then put live under a mobile microscope to be observed from both above and below) and the Algae Chandelier (visitors can pump air to nourish overhead tanks of colorful phytoplankton). Other exhibits explore different biological systems and processes, such as the imaging station with mouse stem cells, the live cow’s eye dissections, and the Live Chicken Embryo (one of the oldest of the Living Systems exhibits, showing live chicken embryos at different stages of development).


The Bay Observatory building is the only new building constructed on the Exploratorium’s campus. It holds the Seaglass restaurant on its lower level and exhibits on the upper level relating to the waterfront and the cityscape. The gallery focuses on what visitors can see in real time, including the movement of clouds and tides, the changing waterfront, the movement of ships, and interpretation of oceanographic data. The Observatory has glass walls on all four sides to facilitate observation. Many of the exhibits were developed specifically for the location, such as Oculus (a circular opening in the ceiling that allows the entire gallery to be used as a timepiece, tracking seasons, solstices, and the sun’s movement), Visualizing the Bay (a 3-D topographic map of the Bay Area that allows visitors to see real data mapped over the landscape, such as the movement of fog and the salinity of the Bay over the course of days or years), and the Map Table (an assortment of historic and contemporary maps and atlases displaying different views and perspectives on the landscape).
The Bay Observatory also houses the Wired Pier project, which consists of more than a dozen sensors on and around the Bay Observatory that stream real-time data about the surrounding environment, such as quality of air and bay water, weather, tides and pollution, and compile it into interactive visualizations.


The Outdoor Gallery comprises the north, south, and east aprons of Pier 15, and extends through both ticketed and unticketed space. Focus is on direct interaction with the Bay environment, which can be seen in exhibits such as Color of Water (an installation of 32 distinct color swatches suspended below the rail surrounding the pier so that visitors can investigate the changing colors of the Bay’s water). Another notable exhibit is Remote Rains, which allows visitors to choose a past rainstorm as profiled by the Hydrometeorology Testbed, which is then recreated by a rain machine that duplicates the frequency, size, and velocity of the raindrops, giving a tangible experience of NOAA research data on storms.
Along the publicly accessible bridge connecting Piers 15 and 17, artist Fujiko Nakaya created an installation called Fog Bridge #72494 that creates bursts of fog for six minutes every half-hour as the first in a series of large-scale temporary installations called Over the Water.  The Fog Bridge is 150 feet (46 m) long and makes use of 800 nozzles to create the fog, which Nakaya hopes will inspire visitors to pay attention to the nature of one of San Francisco’s best-known weather patterns.  Although originally slated to be temporary, it is now on permanent display. A desalination system, located in Pier 17, conditions bay water for use in the artwork.


The Exploratorium campus includes 1.5 acres (0.61 ha) of publicly accessible open space. This includes the plaza facing on the Embarcadero, the connector bridge between Piers 15 and 17 where Fog Bridge # 72494 is installed, the south apron of Pier 17, and the east and south aprons of Pier 15. This public space overlaps with the Outdoor Gallery, and includes some notable exhibits, such as the Aeolian Harp (an expanded version of the original installation by Doug Hollis on the roof of the Exploratorium at the Palace of Fine Arts, first created in collaboration with Frank Oppenheimer in 1976)  and the Bay Windows (visitors spin disks filled with samples of Bay mud, sand, and gravel gathered from five distinct regions of the Bay itself).


The lower level of the Bay Observatory Building houses the Seaglass Restaurant, which, like the Seismic Joint Cafe, is open to unticketed members of the public. Both the Seismic Joint and Seaglass are run by Loretta Keller, chef-owner at Coco500, in partnership with Bon Appetit Management Company.


The Exploratorium seeks to bring hands-on inquiry to education, including training teachers in the teaching of science. Between 1995 and 2012, an estimated 6,400 educators from 48 states and 11 countries directly participated in Exploratorium workshops.


The Teacher Institute, founded in 1984, is an Exploratorium-based professional development program geared towards middle and high school science teachers. In addition to providing workshops at the museum that teach hands-on and inquiry-based teaching methods, it provides coaches and support for novice teachers. Studies have shown that while 30 to 50 percent of new teachers leave the profession within five years, the retention rate for teachers who go through the Teacher Institute is 85 to 90 percent.
The Teacher Institute is also home to the Iron Science Teacher, a national competition that celebrates innovation and creativity in science teaching, which originated at the Exploratorium in San Francisco. Parodying the cult Japanese TV program, Iron Chef, this competition showcases science teachers as they devise classroom activities using a particular ingredient — an everyday item such as a plastic bag, milk carton, or nail. Contestants are currently or formerly part of the Exploratorium's Teacher Institute and compete before a live audience for the title of "Iron Science Teacher". Shows are also archived on the Exploratorium's website.
Two out of three teachers applying were being turned away due to space limitations, by the time the Exploratorium closed at its former location; following the move to the Piers, the Exploratorium has been expanding its professional development for teachers through the Teacher Institute. As of 2013, two MOOC courses were also being made available through MOOC provider Coursera. One course integrates engineering into middle and high school STEM classrooms, and the other integrates making and tinkering activities into elementary and middle school classrooms.


The Exploratorium operates several programs centering on informal learning. The Institute for Inquiry (IFI) is a professional development program of the Exploratorium geared towards educators, scientists, administrators, and policymakers. The Institute is a recipient of National Science Foundation funding and designs programs, materials and tools to help leaders in the science education community further the role of inquiry in elementary science education and strengthen reform efforts. It consists of workshops and an online library of resources available to participants in the Institute.
The Institute for Inquiry partnered with the Sonoma Valley Unified School District on a program combining science education with English Language Development (ELD). Data from the two-year pilot study showed that a professional development program designed to help teachers integrate ELD strategies into science lessons had a significant, measurable impact on the achievement of students in both ELD and in science.
The Center for Informal Learning and Schools (CILS) is a collaboration between the Exploratorium, the University of California Santa Cruz, and King's College London. CILS studies the intersection between museums and schools as centers of informal learning with the intention of understanding how informal science learning occurs and how informal educational centers such as the Exploratorium can contribute to science education reform.
The Tinkering Studio began in 2008 as an in-house program geared towards maker culture and a “think with your hands” approach. It is housed within the museum in a dedicated space in the South Gallery, where it runs free do-it-yourself activities for museum visitors; it also shares its work with a larger audience of educators in afterschool programs, schools, museums and other learning environments. It is being cited as a prototype for similar programs across the globe, including South Korea, Canada, India, and Saudi Arabia. The Exploratorium also operates as afterschool tinkering program in partnership with San Francisco chapters of the Boys and Girls Club. In 2012 the Exploratorium was awarded a grant to create the California Tinkering Network, in collaboration with the Community Science Workshops, Techbridge, the Discovery Science Center, the California Afterschool Network, and the California STEM Learning Network. These organizations partner with over 20 local afterschool or summer programs to provide STEM-enriched activities for children in underserved communities. The initiative was designed to test an adaptable model for providing tinkering activities to promote learning and development in an afterschool setting.
The Exploratorium also houses a number of other educational resources. These include the Learning Commons, a library and media resource center that houses a collection of print and digital science teaching resources for use by regional educators; a webcast studio, located in the Central Gallery, which produces 75 educational Webcasts from the museum and locations around the world annually, including a live webcast of the Mars Curiosity Rover launch and landing; and Lifelong Learning, which creates educational programming for children, teens, family groups, and adults. Lifelong Learning programs further the Exploratorium’s stated dedication to informal learning and the museum as teaching tool, and include day camps, workshops for families, the Homeschool Science series (in-house classes geared specifically towards homeschooled students), the Girl’s Science Institute (multi-day workshops geared towards girls 9-11), and excursions for adults. The Exploratorium has also published a number of books, and many of the 50,000 pages on its website are hands-on activity ideas or science experiments in the museums’ signature open-ended style.


The Exploratorium operates several educational outreach programs. The Community Outreach Program works with community organizations to provide exhibit-based educational activities for underserved children and families in the local community. The Exploratorium is also home to XTech, a science education program for underserved middle school students. Begun in 2006, XTech was primarily funded by a National Science Foundation grant and provided afterschool activities in science, engineering, and technology in partnership with two community-based organizations in the Bay Area. XTech serves over 100 students a year in addition to 10-15 youth facilitators.


The Exploratorium Explainer program, which has been operating since the museum opened, hires and trains high school students and young educators each year. The program tripled its capacity, hiring 300 Explainers, following the relocation to Pier 15 in 2013. The Explainers function essentially as docents. There are two types of Explainers: High School Explainers, who are teenagers, and Field Trip Explainers, who are college students and young educators. The program was conceived by Frank Oppenheimer in the early days of the museum. He wanted to provide a visitor experience that was a learning experience in a museum context and allowed for guesswork and the absence of "correct" answers. He felt young people would be more capable than adults at conveying the open-ended experience he was looking for. His plan with the Explainers was to "loosen up the whole feeling of learning." Oppenheimer also intended the program to allow students to experience learning outside the framework of their school systems. The Explainers come from a highly diverse array of socioeconomic backgrounds, and he hoped they would bring families and friends who would not otherwise be likely to visit a museum. Both the High School and Field Trip Explainers are paid positions.
The Explainer Program was inspired by the staff demonstrations Frank observed at the Palais de la Decouverte, although the facilitators at the Palais when Oppenheimer visited were either graduate students or practicing scientists. The success of the Exploratorium’s Explainer program led the Palais to eventually hire teenage explainers of their own. Former Explainers often cite their experiences at the Exploratorium as defining elements of their success, including several notable tech CEOs.


Despite being generally thought of as a science museum, the Exploratorium has always incorporated both science and art. As early as 1966, Frank Oppenheimer presented a paper discussing the connections between art and science, and the role of a museum in appealing to both casual visitors and serious students of all ages.
The formal artist in residence program was started in 1974, but artworks such as Bob Miller’s Sun Painting were commissioned shortly after the museum was opened in 1969. Since the founding of the artist in residence program, over 250 artworks in various disciplines have been created.
Each year, the museum invites ten to twenty artists to participate in residencies ranging from two weeks to two years. Artists-in-residence work with staff and the visiting public to create original installations, exhibits, or performances. Artists are given a stipend, housing, travel expenses, and technical support, and they have at their disposal the Exploratorium's full array of metal and woodworking shops and materials. Two artists-in-residence who went on to become staff members have been awarded MacArthur Fellowship "genius" grants: Walter Kitundu and Ned Kahn.
The new Embarcadero campus opened with more than 40 pieces by prominent artists, including Douglas Hollis, Golan Levin, Lucky Dragons, Amy Balkin, and Fujiko Nakaya. The Center for Art and Inquiry, a new project at the new location, is an initiative to catalyze and orchestrate art across the museum.
The Exploratorium has an equally long history with musical, film and other performances. Participating artists and performers included Laurie Anderson, John Cage, Philip Glass, Steve Reich, Brian Eno, Ali Akbar Khan, Trimpin, and The Mermen.
In addition to the artists in residence, the museum’s Osher Fellows Program hosts 4-8 resident scholars, scientists, educators, and artists every year. Notable Osher Fellows have included Walter Murch, James Crutchfield, Christian de Duve, Arthur Ganson, Tim Hunkin, Lewis Hyde, Evelyn Fox Keller, Guillermo Gómez-Peña, Rosamond Wolff Purcell, Oliver Sacks, Mierle Laderman Ukeles, and Juan Felipe Herrera.


In 2007, the Exploratorium was highlighted in the book Forces For Good as one of the 12 most effective non-profits in the United States, and was the only West Coast institution and only museum to make the list. It has inspired science museums worldwide, including the Reuben H. Fleet Science Center in San Diego, the Garden of Archimedes in Florence, Italy and the Exploratory (museum) in Bristol, UK. In 2003, The Oxford Companion to the History of Modern Science noted that about 400 science centers in 43 countries were established after the example of the Exploratorium.


In 2012, 570,000 people visited the Exploratorium; 55% were adults and 45% were children. Geographically, 52% were from the Bay Area, 24% from the rest of California, 14% from other states, and 10% outside the US. Some 36% received free or discounted admission, and 44,000 attended on free admission days. Prior to the relocation, 97,000 students and chaperons visited the museum each year; of these, 67,000 participated in the Field Trip program. It was estimated that 180 million people visited Exploratorium exhibits at science centers and other locations worldwide.
Annual attendance at the new Pier 15 location was anticipated to exceed one million. However, in August 2013, the New York Times reported that although attendance had soared, revenues still fell short of goals, forcing the Exploratorium to lay off around 1/5 of its staff. Museum officials had decided not to make a big publicity push upon reopening, fearing the overcrowding experienced by the California Academy of Sciences in 2008, but this was later viewed as "an opportunity lost".  A staffer (expecting himself to be laid off) observed that the Exploratorium seemed to be "moving from visionary, internally developed work to work-for-hire for other museums around the world”, as the management scrambled to earn more money from consulting for other organizations to replace unrealized admissions revenue. On April 17, 2014 the Exploratorium announced that attendance in the first year since re-opening was 1.1 million visitors, and that other key statistics had doubled or tripled.


Online since 1992, the Exploratorium was one of the first museums to build a site on the World Wide Web. The site serves 13 million visitors each year. It has received six Webby Awards since 1997, including four for Best Science Website and one for Best Education website, and has been an honoree an additional ten times.
The Exploratorium's website is an extension of the experiences on the museum's floor and provides a large number of hands-on activities and exhibits for online-only visitors. The Exploratorium also broadcasts live video and/or audio directly from the museum floor (or from satellite feeds in the field, at such locations as Antarctica or the Belize rainforest) onto the Internet from its Webcast Studio. Webcasts provide access to special events, scientists, and other museum resources for audiences on the Web.


The Exploratorium has a number of partnerships with other organizations. One notable current partnership is with the National Oceanographic and Atmospheric Administration (NOAA).  NOAA research vessels periodically berth at the end of Pier 15 and use the working biological labs featured in the museum to bring their research and data to the public. A number of exhibits at the Exploratorium, such as Remote Rains, are based on NOAA data. NOAA scientists additionally provided training for the Explainer program to assist Explainers in explaining science to visitors based on the NOAA’s areas of research.


Community π Day started at the Exploratorium by Larry Shaw and is celebrated annually on 3/14 (March 14). Iron Science Teacher competition (like Iron Chef) showcases science teachers as they devise classroom activities using a particular ingredient. Monthly events include "Full-Spectrum Science with Ron Hipschman". Every Thursday is "After Dark" for adults.


The Exploratorium maintains exhibits in public Bay Area spaces. The Outdoor Exploratorium consists of 14 different exhibits relating to the local environment, all placed outside in the Fort Mason area and accessible to the general public.
The Wave Organ is another notable public artwork of the Exploratorium. Created by former staff artist Peter Richards, this acoustic sculpture is situated on a point of land jutting into the San Francisco Bay not far from the Exploratorium’s original Palace of Fine Arts location.


The Eyüp Sultan Mosque (Turkish: Eyüp Sultan Camii) is in the Eyüp district of Istanbul, outside the city walls and near the Golden Horn. On a much older site, the present building dates from the beginning of the 19th century. The mosque complex includes a mausoleum marking the spot where Ebu Eyüp el-Ansari (Abu Ayyub al-Ansari), the standard-bearer and companion of the Prophet Muhammad, is said to have been buried.
Because of its particular sanctity, the mosque played a role in the coronation ceremony for new Ottoman Sultans, who came here  - processing along the grand Cülus Yolu (Accession Way) -  to be girded with the sword of Osman at the start of their reigns. Today it's popularity as a pilgrimage destination means that it is full of shops selling religious items such as prayer rugs and beads. There is also an area set aside for the feeding of pigeons which is regarded as holy in Islam.
The mosque is within short walking distance of the Eyüp tram stop on the T5 line from Alibeyköy to Çibali. It is also served by regular buses from Eminönü, Taksim and other parts of the city.


As a Companion of the Prophet Muhammad, Abu Ayyub al-Ansari is greatly venerated by Muslims and the site of his türbe (tomb) is of particular importance. The mausoleum is positioned on the north side of a courtyard opposite the main entrance to the prayer hall of the mosque.
The mosque is also important for Muslims because it holds relics believed to have belonged the Prophet Muhammad.
Because of the extreme holiness attached to the mosque, many important Ottoman officials and royal family members chose to be buried nearby. They include Sokollu Mehmet Paşa, an Ottoman vizier, or chief minister, who served under sultans Süleyman the Magnificent and Selim II. Also buried here are Siyavuş Paşa, another 16th-century grand vizier, and Lala Mustafa Paşa who conquered Cyprus for the Ottomans in the 16th century. Their tombs stand close to the mosque, as do those of Adile Sultan and Mihrişah Valide Sultan, royal women who were buried in grand complexes along the Cülus Yolu (Accession Road). A little more out on a limb, overlooking the water is the tomb of Sultan Mehmed V which was designed by Mimar Kemaleddin Bey in 1918. Behind the mosque Eyüp Cemetery winds up the hill to a lookout point overlooking the Golden Horn. It is crammed full of the gravestones of those who wanted to be buried close to the mosque.
In modern times the holiness of the mosque means that boys who are about to undergo circumcision (sünnet) are sometimes brought here in their special finery. Mass circumcision sessions are organised here for boys from poorer homes (these resumed in 2022 after a break caused by Covid-19 precautions). During Ramadan this is also a popular place for people to break their fast at iftar, with many choosing to picnic in the courtyard of the mosque. Throughout the year Eyüp Sultan is also a destination of pilgrimage (ziyaret) for people visiting from all over the country.


The mosque is named after Abu Ayyub al-Ansari (Eyüp Sultan in Turkish), a companion and trusted friend of Muhammad, who is believed to have died here during the first Arab siege of Constantinople in the 670s.
A mosque complex (külliye) was constructed on the site in 1458 by the Ottoman sultan Mehmed II only five years after the conquest of Constantinople in 1453. Mehmed II was reportedly motivated to build the mosque after his teacher, Akşemseddin, had a dream about building a commemorative mosque at the burial place of al-Ayyub al-Ansari. When al-Ansari's tomb was found in 1458 the mosque was built next to it.
In the early 18th century, Sultan Ahmed III rebuilt the two minarets of the mosque in their current form. By the end of the 18th century the mosque was in a ruinous state, perhaps as a result of earthquake damage, and in 1798 sultan Selim III ordered the whole structure other than the minarets to be pulled down and rebuilt n Baroque style - this work was completed in 1800. The new mosque made use of the Classical Ottoman tradition by following the octagonal baldaquin design, similar to the Sokollu Mehmed Pasha Mosque in the Azapkapı neighbourhood, but much of its decoration is in the contemporary Baroque style. The eastern minaret was rebuilt in the original style by Mahmud II in 1822.


Despite the relatively late date of its reconstruction, the Eyüp Sultan Mosque is still faithful to the traditional style of Ottoman architecture popularised by Mimar Sinan in the 16th century; in particular it has been compared to his Azapkapı Mosque. It is not especially elaborate either since it has just two minarets and a standard-sized dome. However, it does have a large outer courtyard leading up to the inner courtyard which houses the shrine of Ebu Eyüp el-Ansari. The outer courtyard lacks the usual şadırvan (ablutions fountain) but does have a long enclosed corridor that would once have been used for the sultan's private access but now serves women worshippers. The inner courtyard is much smaller, with a grave in the centre with fountains at its corners. A lengthy portico shelters the entrance to the prayer hall.
The mosque was once the centre of a larger külliye (mosque complex) including a medrese (theological school) and imaret (soup kitchen). These were both lost of the redevelopment that created a large public square in front of the mosque although the hamam (Turkish bath) still survives.


The wall of the mausoleum facing the portico is covered with panels of Iznik tiles dating from different periods and brought together during the reconstruction of the mosque in 1798–1799.  The walls of the mausoleum's  vestibule are also covered in Iznik tiles, many of them showing the characteristic sealing-wax red glaze known as Armenian bole and dating from around 1580, a highpoint for İznik tile design. Similar tiles in the Victoria and Albert Museum in London may once have covered the walls of the since demolished entrance hall (camekân) to the baths. The British Museum also has a panel of three navy and turquoise Iznik tiles, dating from around 1550, that are similar to some of those decorating the outside wall of the shrine.
In 2022 a man with a hammer damaged the tiles on either side of the dua penceresi (prayer window) in the courtyard of the mosque, claiming that devil's horns were incorporated into their design.


This term refers to the fact that the weight of the main dome is supported by eight principal pillars arranged in an octagonal formation.
The Victoria and Albert Museum in London has a panel of 24 tiles, the Louvre in Paris has a panel of eight tiles, the David Collection in Copenhagen has a tiled panel, and the Metropolitan Museum of Art in New York has a single tile. The Calouste Gulbenkian Museum in Lisbon has a panel of 10 tiles.


The fjord is long and narrow and measures 60 km from its head to its mouth. Its greatest width is 15 km between Ólafsfjörður and Gjögurtá at the fjord's mouth, but for the greater part of its length it is mostly 5–10 km wide.
The fjord is surrounded by hills and mountains on both sides; the mountains are taller on the west side, in the mountain range of the Tröllaskagi peninsula. In the outer part of the fjord there are no lowlands along the coast as the steep hills roll directly into the sea. Further south in the fjord there are strips of lowland along both coasts; these are wider on the west side.
Several valleys lead from Eyjafjörður: most of them to the west, where the two most significant are Hörgárdalur and Svarfaðardalur. Dalsmynni is the only valley on the east side. However the largest valley in the area is Eyjafjarðardalur, which runs directly south from the fjord itself. It is about 50 km long, and is home to one of Iceland's largest agricultural regions.
Several rivers flow into Eyjafjörður: the most significant are Eyjafjarðará and Hörgá (whose valleys are named above), and Fnjóská (which flows into the fjord via Dalsmynni).
The island of Hrísey in the middle of Eyjafjörður is the second largest island off the coast of Iceland and often referred to as "The Pearl of Eyjafjörður".
Eyjafjörður contains a number of hydrothermal vents in shallow (20 to 65 metres) water, with cones rising up to 20 metres below the water surface.


The largest town by far is Akureyri; other settlements in the region are: Dalvík (the only other settlement with over 1000 inhabitants), Ólafsfjörður, Hrísey, Árskógssandur, Hauganes, Hjalteyri, Hrafnagil, Svalbarðseyri and Grenivík. Most of these settlements base their livelihood on fisheries and agriculture, but Akureyri is also a service center and the site of a growing university.


Fairfax House is a Georgian townhouse located at No. 27, Castlegate, York, England, near Clifford's Tower and York Castle Museum. It was probably built in the early 1740s for a local merchant and in 1759 it was purchased by Charles Gregory Fairfax, 9th Viscount Fairfax of Emley, who arranged for the interior to be remodelled by John Carr (architect). After the Viscount's death in 1772, the house was sold and subsequently passed through a number of local families before spending some time as a Gentleman's Club, a Building Society and a cinema. The property was bought by York Civic Trust in the 1980s and completely restored to its former grandeur. Fairfax House is now a museum open to the public and a Grade I listed building.


In 1761, Viscount Fairfax employed the Yorkshire architect John Carr to remodel the house at 27 Castlegate.  The work was completed in 1765. The interior has some of Yorkshire's finest mid-C18 plasterwork by James Henderson (fl. c. 1755–1778) and Giuseppe (Joseph) Cortese (fl. c. 1745–1778) and carved woodwork. The wrought iron balustrades on the staircases were by Maurice Tobin (fl. 1762)  Wrought iron gates and railings fronting Castlegate were removed when the street was widened, but were recorded by York architect and artist Ridsdale Tait.
Viscount Fairfax died in 1772 and his title became extinct. Subsequent occupants included Sir Walter Vavasour, 6th Baronet of Haslewood (1780), William Danby (1787), Peregrine Wentworth (1792), Sir John Lister Kaye, 1st Baronet Lister-Kaye of Grange (1820) and Mrs Ann Mary Pemberton (1840–65).  At some point after this, Fairfax House, renamed St. George's Hall, became neglected and fell into disrepair, and in the late 19th and early 20th century, part of the property was used as a dance hall.  In 1921, St George's Cinema, adjacent to Fairfax House, was opened and the building was expanded. It closed in 1970 and the City Council acquired the dilapidated building. The City sold it to York Civic Trust, which between 1982 and 1984 under architect Francis Johnson renovated the building and turned the defunct cinema's entrance into the main entrance to Fairfax House. The York Conservation Trust subsequently purchased the house, leasing it back to the Civic Trust.
On the death in 1980 of Noel Terry (of the Terry's chocolate business), his collection of Georgian furniture and clocks was donated to York Civic Trust and subsequently housed in the period rooms of Fairfax House. The collection has since been expanded by acquisition and donation, including in summer 2017 a re-discovered wooden panel carved by Grinling Gibbons while learning his trade in York.
York Civic Trust headquarters is in the house, which is open for the public to see the rooms and exhibitions.


Falakro Oros (Greek: Φαλακρό όρος, translated in English as: "Bald mountain"; Bulgarian: Боздаг, Bozdag; Turkish: Bozdağ, translated in English as: "Gray mountain") is a mountain in the Drama regional unit, eastern Greek Macedonia, northern Greece. The elevation of its highest summit, Profitis Ilias, is 2232 meters above the sea level. There is a ski resort on the mountain.
А very small part of a low northern offshoot of Falakro extends into Bulgarian territory, just south of the village of Beslen in Blagoevgrad Province. The highest point that is part of Bulgaria is the forested peak Chiplakbair (1090 metres high) on the border between the two countries.


The oldest part of the church dates from the second half of the 14th century. Construction of the relatively large church must be seen in connection with the economically important medieval herring-trade and the Scania Market (Skänemarkedet), in which Falsterbo and neighboring Skanör played a central role. The earliest church was a simple, undecorated brick building. The nave is the oldest part of the church. The present choir was added during the 15th century and at about the same time the presently visible vaulting was constructed. The tower, with its crow-stepped gables typical for medieval Danish churches (Scania only became Swedish in 1658), is probably also from the 15th century. A number of murals which have been uncovered from 1953 onwards were probably also painted over during the reconstruction of the church during this time.
The church contains some noteworthy interior details. The sculpted baptismal font is the earliest piece in the church, dating from the 14th century. The main altar is from the second half of the 15th century and probably made by Hermen Rode of Lübeck, or in his atelier. A smaller side-altar is from the same time period and likewise from northern Germany. There is also a sculpture depicting Saint Christopher made circa 1390, and attributed to Master Bertram of Minden. Two free-standing medieval Madonnas, one reputedly of French origin, can also be mentioned, as can a sculpture depicting a kneeling princess - the only remnant of a Saint George and the Dragon group, supposedly by master carver Henning Roleve of Rostock, another northern German late Gothic sculptor.


The church was originally built around the year 1150 at Fortun in Sogn, a village near the inner or eastern end of Sognefjord. In 1879,
the new Fortun Church (Fortun kyrkje) was constructed as a replacement for the medieval stave church. Fantoft Stave Church was threatened with demolition, as were hundreds of other stave churches in Norway. Fantoft Stave Church was bought by consul Fredrik Georg Gade and saved by moving it in pieces to Fana near Bergen in 1883. Outside the church stands a stone cross from Tjora in Sola.
On 6 June 1992, the church was destroyed by arson; the first in a string of church burnings by members of the early Norwegian black metal scene. At first, the fire was thought to have been caused by lightning or an electrical failure. In 1994, Varg Vikernes of the one-man band Burzum was found guilty of burning Old Åsane Church and Storetveit Church in Bergen, the burning of Skjold Church in Vindafjord, and the burning of Holmenkollen Chapel in Oslo. He was also charged with the burning of Fantoft stave church, although the jurors voted not guilty. The judges called this an error but did not overturn the decision. Reconstruction of the church began soon after the fire, taking six years to complete. Since 1997, the church has been surrounded by a security fence.
A photograph of the church's burnt shell appears on the cover of the 1993 Burzum EP Aske (Norwegian for "ashes").


Farne Lighthouse is a lighthouse on the southern tip of Inner Farne (one of a group of islands off the coast of North Northumberland). Built in the early 19th century, it still functions as a lighthouse and is managed by Trinity House (England's general lighthouse authority). In 1910 it was one of the first Trinity House lighthouses to be automated.


Farne Lighthouse was one of a pair built on Inner Farne by the Corporation of Trinity House in 1811, both of which were designed by Daniel Alexander to replace an earlier coal-burning light which had been established on the island by Captain John Blackett in 1778.
Farne Lighthouse (originally named Farne High Lighthouse) is a cylindrical white tower, 13 m (43 ft) tall with a lighthouse keeper's cottage attached to its base. It was initially provided with a revolving array of seven Argand lamps and reflectors, which displayed a single white flash every 30 seconds. In 1910 it was converted to run automatically on acetylene (manufactured in an adjacent producer plant and controlled by a sun valve); a new fixed third order Fresnel lens was installed in the lantern and a red sector was added to the main light to indicate lines of approach that were hazardous for shipping. (That same year saw the nearby Bamburgh Lighthouse established, with a sector light that worked in conjunction with the Inner Farne light.) This arrangement largely remains in place, except that in 1996 the light was converted from acetylene to solar powered electric operation.
The other lighthouse on the island (Farne Low Lighthouse) was an octagonal tower, 8 m (26 ft) tall, placed 150 m (490 ft) away from the first, close to the north-west tip of the island. It served to warn shipping of the Megstone, an isolated rocky island lying (in line with the two lights) just under a mile away to the north-west. Whereas the High Light revolved, the Low Light showed a fixed beam from a single Argand lamp and reflector; it was monitored by the keeper at the High Lighthouse, the light being made visible through a small aperture in the rear of the Low Lighthouse.
After the High Light had been modified and automated in 1910, use of the Low Light was discontinued; before long it was demolished along with most of the keepers' accommodation (which was now no longer needed).


The tower is 13 m (43 ft) tall with a range for the white light of 10 nautical miles (19 km; 12 mi) and the Red 7 nmi (13 km; 8.1 mi). Farne Island Lighthouse was sold on 6 June 2005 to the National Trust for £132,000; nevertheless it remains an operational lighthouse, with relevant areas of the building having been leased back to Trinity House for a peppercorn rent. In 2022 permission was given for the lamp to be replaced with an LED arrangement, which will continue to function within the original lens.


Rowlett, Russ. "Lighthouses of Northeastern England". The Lighthouse Directory. University of North Carolina at Chapel Hill. Retrieved 1 May 2016.
Farne Island Lighthouse Trinity House. Retrieved 1 May 2016
Jones, Robin (2014). Lighthouses of the North East Coast. Wellington, Somerset: Halsgrove. p. 28.
"Farne Lighthouse". Trinity House. Archived from the original on 10 March 2013.
"Inner Farne Lighthouse - DAS incorporating Heritage Report (Nov. 2021)" (PDF). Northumberland County Council. Trinity House. Retrieved 9 May 2022.
"Farne Lighthouse". Worldwide Lighthouses. Retrieved 26 February 2019.
"Lighthouses on the Farne Islands". National Trust. Retrieved 26 February 2019.
Middleton, Penny. "Historic Environment Survey for the National Trust: The Farne Islands" (PDF). Archaeo-Environment Ltd. Retrieved 26 February 2019.
Elliot, George H. (1875). European Light-House Systems. London: Lockwood & co. p. 130. Retrieved 10 March 2019.
Original design: elevation.
Original design: section.
"The General Lighthouse Fund 2004-2005" (PDF). The Stationery Office. Retrieved 21 January 2020.
Smith, Ian (17 February 2022). "Northumberland lighthouse works get the green light". Northumberland Gazette. Retrieved 9 May 2022.


WikiWeb_Faro Los Morrillos de Cabo Rojo_1

Located at the southwestern tip of the island of Puerto Rico, the construction of this lighthouse was completed in 1882. It was built to guide passing ships through the southeast entrance from the Caribbean Sea through the treacherous Mona Passage into the Atlantic Ocean. The lighthouse is located over a white lime cliff which is surrounded by salt water lagoons and marshes. The cliffs surrounding the lighthouse drop over 200 feet into the ocean.
The lighthouse's architecture is distinguished by its simplicity, with minimal decoration and an unelaborated cornice repeated through the structure. The illuminating apparatus is housed in a cast-iron, copper and glass lantern. The lenticular lens was manufactured by the French firm Sautter, Lemonnier and Company.
Originally, the lighthouse was staffed by two keepers and an engineer, who lived on the grounds with their families. In 1967 the lighthouse was renovated and its operation is currently completely automated. The structure itself has been abandoned for decades, although recent the local government as well as local civic groups, such as Caborrojeños Pro Salud y Ambiente, are pushing towards turning the old lighthouse keeper's house into a museum. The project was taken over by the municipality, an action that lost U.S. Federal government funds that had been assigned for it. The municipality took over the renovations, which, according to critics, has irrevocably damaged the historical significance of the internal structure.


Farris is a 20 km long fresh water moraine-dammed lake near the Norwegian coastal town Larvik. The lake would have been a salt water fjord had it not been dammed by an end moraine left by the latest ice age. Farris is drinking water reservoir for some 170,000 people. The largest island in the lake is Bjørnøya.
The mineral water brand Farris is named after the lake.


The Fatima Khatun Mosque (Arabic: جامع جنين الكبير, also known as the Great Mosque of Jenin) is the main mosque of the Palestinian city of Jenin in the northern West Bank. Adjacent to the mosque is the still-active Fatima Khatun Girls' School.


A ruined mosque dating back to 636 CE stood on the site of the modern-day mosque. It was renovated during the Mamluk era in the 14th-century, but again fell into ruin.
The existing structure was founded in 1566 by Fatima Khatun, the wife of Lala Kara Mustafa Pasha, the Bosnian governor of Damascus during the reign of Ottoman sultan Suleiman the Magnificent. Fatima Khatun paid regular visits to the area, but took a particular liking to Jenin while traveling towards Jerusalem for pilgrimage. In the center of Jenin, she decided to have the building established atop the remains of the old mosque. Numerous religious trusts (waqf) including a local public bath (hamaam) and many of the nearby shops were designated to fund the Fatima Khatun Mosque thereafter.
Today, it serves as Jenin's largest mosque.


Fawwara Gate (Maltese: Bieb il-Fawwara - fawwara literally means spring of water, or a fountain), also known as Gzira Gate (Bieb Il-Gzira), Sliema Gate, Testaferrata Gate and Tower Gate (Bieb it-Torri), is a late 18th-century archway built during the rule of the Order of St. John in Gżira, Malta. The archway was built as a commemoration of a new principal main road that is set on a long stretch of lands from Msida to Sliema; today being two roads namely Msida Road and Rue d'Argens.


The archway is located near Rue d'Argens on the way from Msida to Sliema. The archway was said to have been dismantled by members of the Sliema Historic Society (SHS), but this was categorically denied by Salvino Testaferrata Moroni Viani by providing primary sources as evidence. Today the archway stands in a less notable place as the area has been built up, and it is generally ignored for standing on a side road of Gzira next to Muscat Motors, a car showroom. It is few metres away from the Empire Stadium, the former national Maltese football stadium.


The archway was built by the aristocratic Testaferrata family in 1796 when Fra Nicolaus Butius saw the need for the development of a main road in the area to facilitate movement from Msida to Sliema, with this event commemorated with the structure itself. The gate originally stood in the locality of Birkirkara but with the passage of time the area where it stands became a separate locality as Gzira. Another similar archway with similar architecture was built in Ta' Xbiex, the Ta' Xbiex Gate by the same Testaferrata family. This was demolished in 1989 and the exact location it stood is unknown but was in the parameters of Brockdorff Street. The Fawwara Gate was a source of inspiration to 19th-century painters. A fortified tower was located in the whereabouts of the building, with the gate possibly serving as a gateway to the tower. The street where the gate is found is named for the tower as Triq it-Torri.
The archway has been left in a dilapidated state for quite some years, having had unprofessional restoration in 1908 with the use of cement causing it more harm.  Since 1933 the archway was given to the responsibility of a business as part of the contractual lease of a site in the vicinity. However no maintenance has ever been recorded to have taken place until it came to a wider public criticism of its neglect. At one point, the actual owners being the Sant Fournier family at the time sold the business due to financial constrains caused by WWII.
On the turn of the 21st century the gate was caught by the attention of the Sliema Historic Society (SHS), bringing the attention of the local media, leading and exposing outrage of its state. In 2011-2012 the arch was in danger to collapse and for this reason it was listed under the Emergency Conservation Order with the use of the Environment and Development Planning Act 2010 with the use of article 82. The government of Malta was sensitive of not infringing law as the archway stands on private property. The business owner took responsibility to restore the archway and works of restoration were carried out in 2013. Today the archway is in a good state of preservation and open to public any time of the day.
It has been initially suggested that the gate be graded as grade 2 national monument but was later graded as grade 1 national monument in the final decision of the Malta Environment and Planning Authority (MEPA).


In a 1930 publication by Sir Temi Zammit the archway is praised for it architecture with Zammit referring to it as "a beautiful stone gateway." On the archway one finds the coat of arms of the Testaferrata family and an inscription.


Built for the Federal Reserve Bank of Boston to replace the 1922 building which now houses the Langham Hotel Boston, the building was completed in 1977 and is 614 feet (187 m) tall with 32 floors.  It was designed by Hugh Stubbins of The Stubbins Associates, Inc. and was reportedly one of his favorite buildings. The design stood in contrast to that of the other Reserve Banks, which resembled fortresses. It sometimes referred to as "the washboard" building or "Venetian Blind" building


The building consists of an office tower and a four-story wing, built between December 1972 and November 1974. The office tower has a glass front and an anodized aluminum exterior, with office floors that rise from a 140-foot bridge and a 600-ton steel truss.
It features an auditorium that is named for Frank E. Morris, the President and Chief Executive Officer of the Federal Reserve Bank of Boston from 1968 to 1988. It was designed to meet the Bank's needs and is also available to the community, offering lunchtime concerts as well.
Gardens are incorporated above street level.


Aspen Specialty Insurance Co.
Cavan Group, The
ConnectEDU
Federal Reserve Bank of Boston
 Italy (Consul General) - 17th Floor
Craig & Macauley P.C.
Harvard Management Company
Kforce
Krokidas & Bluestein LLP
Middleton & Company, Inc.
Peabody & Arnold LLP
Wolf, Greenfield P.C.
600 Atlantic Federal Credit Union


2010 — United States Green Building Council (USGBC), prestigious "LEED-EB Gold designation." "LEED for Existing Buildings: Operations & Maintenance" is a rating system that recognizes buildings with superior operational efficiency and minimal environmental impact.
2009 — The Building Owners and Managers Association (BOMA) of Boston, "The Office Building of the Year" (TOBY).
2010, 2008 — U.S. Environmental Protection Agency (EPA), "ENERGY STAR Award."
1979 — The American Institute of Architects New England Regional Council, "AIA Award for Excellence in Architecture."


In the 2006 Martin Scorsese film The Departed, in the scene where Colin Sullivan (Matt Damon) gets caught on the roof by undercover cop Billy Costigan (Leonardo DiCaprio), the building can be seen in the background.
In 2020, the building appeared in the background of a scene in the second episode of Star Trek: Picard as Picard and Laris beam into Dahj's apartment.


The estate originated with the Felbrigg family. It passed to John Wyndham (died 1475) and remained in that family for centuries.
Thomas Wyndham (died 1522) was a councillor to King Henry VIII. Later, residents included John Wyndham (1558–1645) who was probably the builder of Felbrigg Hall. The last Wyndham or Windham of Felbrigg was William Wyndham (died 1810). Much land had been added to the medieval estate in the 17th and 18th centuries.
Above the entablature the family arms and the projecting bays bear the words GLORIA DEO IN EXCELSIS in pierced stone, surmounted by heraldic beasts.
The last owner of the house, before it passed into National Trust ownership, was Robert Wyndham Ketton-Cremer. His heir, his brother Richard, was killed in action in the Second World War. Robert's memorial to Richard is in the woods behind the house.
Robert Wyndham Ketton-Cremer wrote a number of books, particularly about Norfolk, including Felbrigg: the Story of a House, and Norfolk in the Civil War, Faber, 1969. Robert Ketton-Cremer never married, and with no heirs, left the estate to the National Trust on his death in 1969. Part of the estate was acquired by Beeston Hall School.
Christopher Mackie was the administrator, or houseman, of Felbrigg Hall until 1990. His wife Mary Mackie wrote three books on their experiences there: Cobwebs and Cream Teas, Dry Rot and Daffodils and Frogspawn and Floor Polish.


Today the Felbrigg estate covers approximately 1,760 acres (about 7 km²) of parkland including the 520-acre (2.1 km²) of Great Wood, which shelters the house. There is public access to the grounds along a number of waymarked walks through the estate, including the Weavers' Way long-distance footpath. National Cycle Network regional routes 33 and 30 also pass through the estate.


Felbrigg garden is laid out in two different styles. The west garden is laid out in the style of a typical Victorian pleasure ground, arranged around an 18th-century orangery. Accentuating the play between light and shade, its formal lawns are interspersed with areas of dark shrubbery. This garden features a number of specimens from North America including red oaks, western red cedars, and a meadow with a walled garden. There are double borders of mixed shrubs, a herbaceous border, and more. The orchard has been planted with varieties of fruit known to have grown in the garden during the 19th century. The gardens are home to the National Collection of colchicums.
The gardens are Grade II* listed on the Register of Historic Parks and Gardens and Felbrigg Woods is a Site of Special Scientific Interest.


To mark the 50th anniversary of the decriminalisation of sexual activity between men in England and Wales, the National Trust in summer 2017 organised a "Prejudice and Pride" campaign highlighting the LGBT themes in its properties. At Felbrigg Hall, a short film narrated by Stephen Fry stated that Robert Wyndham Ketton-Cremer had been widely known to be homosexual, though others claimed that this was only known by his close friends. Two of Ketton-Cremer's godchildren criticised the decision, claiming that a public outing would have been against Ketton-Cremer's wishes and accusing the Trust of using their godfather to generate publicity.
The Trust also requested that volunteers wear a badge featuring the charity's logo atop the colours of the LGBT pride flag. Of the house's 350 volunteers, ten refused and were asked to take backstage roles during the campaign. Sections of the press called on the Trust to reverse its decision, and some members cancelled their membership over the issue. The Trust subsequently U-turned on the wearing of badges.


The Feldberg is situated southeast of Freiburg im Breisgau and is surrounded by the municipalities of Hinterzarten (northeast), Titisee (east), Menzenschwand (south), Bernau (also south) and Todtnau (southwest). About two kilometres southeast of the summit lies the village of Feldberg (1,277 metres (4,190 ft)).
Between the main peak (1,493 metres (4,898 ft), also known as the Höchste or "Highest", and its subpeak, the Seebuck (1,448 metres (4,751 ft)), just under 2 kilometres (1.2 mi) away, is a saddle, the Grüble, from which a wide spur, the Baldenweger Buck (1,460 metres (4,790 ft)) branches off. The saddle initially descends gently and then ever more steeply into the valleys on either side. From the Seebuck the Feldberg drops steeply away to the northeast into the Feldsee, a lake of glacial origin at about 1,000 metres (3,300 ft) altitude. Deeply incised valleys run northwest towards Freiburg (the Zastler and St Wilhelmer valleys) and southwest towards Basle (Wiesental valley).
The main car park below the Seebuck can be reached from the B317 (federal highway) running from Titisee to Lörrach (near Basle) over the Feldberg Pass. A train service of the Three Lakes Railway serves the station of Feldberg-Bärental, at 967 metres (3,173 ft), the highest DB station on standard gauge track. A bus service connects with the station. The Seebuck, which is topped by an old transmission tower, the Feldberg Tower, once a radio tower, since 2013 a ham museum can be reached from the valley station in Feldberg-Ort on a short chairlift. From this point the summit of the Feldberg is about 2 kilometres (1.2 mi) away. It is only accessible to the public on foot or by bicycle.
The numerous point-to-point radio systems of the Bundeswehr and the American and French armies dating from the Cold War period have been since taken down. Today Feldberg is marked by the old and new television towers and the Bismarck monument on the Seebuck.
Altogether there are more than 28 ski lifts and slopes around the Feldberg. The actual summit itself is situated outside the skiing areas. Several cross-country skiing trails around the peak and around Herzogenhorn opposite are popular with cross-country skiers. The whole area, with ski-runs of Alpine character, is popular for ski touring.


Most of the Feldberg area has the status of a nature reserve due to its subalpine vegetation. The Feldberg Nature Reserve is the oldest and largest in Baden-Württemberg and has been under the charge of a full-time ranger since 1989. Since 2001 it has been the responsibility of the Southern Black Forest Nature Conservation Centre, based in the Haus der Natur ("Nature House"), to look after the reserve. They have a permanent, interactive exhibition and a comprehensive programme with events in the reserve. In 2005, a new nature trail was established immediately behind the house.


The Feldberg offers one of the most extensive panoramic views in Germany – especially in winter when there is a temperature inversion. In the west, on the far side of the Upper Rhine Graben, can be seen the entire Vosges range, from the Ballon d'Alsace to Mont Donon and Mont Sainte-Odile. Beyond that the southern Palatinate Forest can sometimes be seen. To the north is the Hornisgrinde; to the northeast the entire chain of the Swabian Jura, including the Lemberg, and, to its right, the Hegau volcanoes.
To the south, the Alps can be seen from the Alpspitze and Zugspitze in the east to the Allgäu Alps, Verwall Alps, Silvretta, Säntis, Glarus Alps, Urner Alps, Bernese Alps and Mont Blanc in the west. In front of the Western Alps and, particularly right of Mont Blanc, can be seen the Swiss Jura, with their highest point, the Chasseral. Thus the view sweeps from the Italian Mont Blanc to southwest Germany and from Austria to France.


The mountain's bedrock of gneiss is around one billion years old. The Feldberg region was uplifted three times and then eroded again. What exists today can be called the "third Feldberg". The "first Feldberg" was formed in the Precambrian as part of an orogen and was then completely eroded away. The "second Feldberg" arose during the Devonian and Carboniferous, as part of the Variscan orogeny. It, too, was eroded away, and, during the Mesozoic and Early Triassic, beds of Bunter sandstone, Muschelkalk, Keuper, Lias, Dogger and Malm were deposited in the resulting sedimentation space. Some of these sediments are maritime deposits from intercontinental oceans; the others are of continental origin. The "third" and current Feldberg was formed during the Alpine orogeny in the Tertiary. Since then these sediments have been steadily removed through water processes and aeolian erosion, and today little but the bedrock remains.


During the height of the Würm glaciation a glacier, 1,000 km² in area, covered the Black Forest. As a result, a lot of glacial influence can be seen in the region. There are several features that relate to the glacial morphology of the Feldberg. Firstly, there is the Feldsee. This tarn formed in the hollow that was scoured out by the ice pushing down the headwall of the cirque. Gradually the ice created a bowl that now holds the 33-metre-deep Feldsee. A moraine on the shores of the Feldsee testifies to this process.
The Feldseemoor, a few metres away, is also a remnant of the ice age. Here the terminal moraine of the "mini glacier" can be seen from the Feldsee. It has impounded water and formed a bog. The glacial history of the Würm stage, 10,000–11,000 years ago, at the Feldberg evolved as follows:
The emergence of the Feldsee happened as the "Feldberg glacier" spread out. The adjacent Feldseemoor was the next stage. The glaciers then formed a moraine at Waldhof. This was exceeded once more at the Falkau, which marks its maximum extent. After that, the glacier retreated again.


Feldberg features a subalpine climate (Köppen: Dfc), for that its summers are mild enough to have less than three months with an average mean temperature below 10º degrees Celsius. The annual mean temperature is around 3.9 °C (39.0 °F) (30-year mean from 1981–2010), up 0.6 °C compared with the period from 1961–1990; their temperature gradients are lower than those in adjacent valleys. During winter, there are long periods of sunshine, due to the low condensation point. This also means that the Feldberg has relatively mild winters; the surrounding valleys having noticeably colder temperatures. The lowest temperature ever recorded was −30.7 °C (−23.3 °F) on 10 February 1956. The average rain/snowfall amount is 1,637 millimetres (64.4 in) per year which is very high compared with Germany as a whole. On 97% of the survey marks of the German Weather Service lower figures are reported. Over the years snowfall has been reported in every calendar month. On average the Feldberg is covered in snow for 157 days per year. Because of its exposed location, wind speeds of hurricane force – up to 130 kilometres per hour (81 mph) – are possible throughout the year.


As its name suggests, the Feldberg's summit is not wooded. However, the sharp transition to forest illustrates it is no natural border. Even the top of the mountain does not reach the tree line which, in this region, would lie at around 1,650–1,700 metres.
Many of the open areas are habitats for specialised species of flora; these include bogs, moors, rock faces and snow fields. Below the summit the mountain is covered by mixed forest consisting of naturally growing European beech, European rowan, European spruce, European silver fir and cultivated North American species Douglas fir. Human activity has resulted in forest clearings, such as the large open areas around every hamlet.
That is attributable to the intensive cattle farming in this region, which limits forest growth. Today one comes across both pioneer species like European Rowans and different sorts of shrubs there. On many places there are primeval forests being left to its own resources. A characteristic of the vegetation represent the moors.


Today tourism is the main source of income in the Feldberg region.
The mountain has several managed huts and inns – the Baldenweger Hut, Rinken Hut, Zastler Hut, St. Wilhelmer Hut and Todtnauer Hut – for the benefit of walkers that are linked by footpaths. These include the Felsenweg ("Rock Way") and the Alpiner Pfad ("Alpine Path") which run through some of the last landscapes in the Black Forest that still have an Alpine character. The 12-kilometre-long Feldberg Steig ("Feldberg Path") runs around the summit and the Feldsee. In addition there are metalled roads to the inns and other facilities around the peak.


Feldberg is the biggest winter skiing resort in Germany outside of the Alps. The first ski lift was originally built in 1907 in the Feldberg area. Today, there are around 14 ski lifts (including five at the Seebuck, among them a six-seater chairlift) and over 50 kilometres (31 mi) of downhill runs up to a "black" level of difficulty. When there is sufficient snow, even a terrain park may be created. At the valley station are several garages for piste bashers and other equipment. There is a mountain rescue post below the old TV tower.
There are also many Nordic ski trails around the peak; two of which are the highest ones of Baden-Württemberg. Part of the cross-country skiing trail from Schonach to Belchen runs between Feldberg and Seebuck.


The Feldberg, like many low mountain ranges, is often underestimated in terms of its alpine dangers. Its easy accessibility by public transport, car and cable car suggests that it is not dangerous and, consequently, visitors may be inappropriately equipped or dressed.
The main dangers in the Feldberg region are sudden falls in temperature, storms or slipping on smooth, icy ground. Near tall structures such as the transmission masts there is the danger falling ice.
In fog or mist, orientation is clearly much more difficult. Often visibility is reduced to just a few metres. Marked paths outside the wooded areas are lined with poles to assist navigation.
Every winter there are several large avalanches in the Feldberg region. The mountainsides of the Zastler valley are particularly prone, but they also occur on leeward slopes like the Feldseekessel at Seebuck, the Herzogenhorn and the Baldenweger Buck. Snowfall driven by western winds forms cornices on the downwind sides of ridges (e. g. the Zastler Wechte), which can break off. Several fatal avalanche burials have happened, the last in January 2015 which left two dead.
There are no special avalanche reports issued for the Black Forest.


During the Cold War there were many antennas on a military tower at the summit, but these were removed some years ago. Today, there is a large TV / radio transmission mast, used by the regional broadcasting station, SWR (Southwest Broadcasting). In addition, the mountain is recognisable from its Bismarck Monument, in honour of the famous 19th-century chancellor of Germany, Otto von Bismarck.


At the top of the mountain (where weather has been surveyed since 1915) is a weather station that has been in operation since 1937, run by the German Meteorological Service (WMO code number: 10908). Next to the observatory is a weather radar.