The Toitū Otago Settlers Museum is a regional history museum in Dunedin, New Zealand. Its brief covers the territory of the old Otago Province, that is, New Zealand from the Waitaki River south, though its main focus is the city of Dunedin. It is New Zealand's oldest history museum.


Founded in 1898, the 50th anniversary of the Scottish settlement of Otago, by the Otago Early Settlers' Association, by 1908 the museum was located in a building in Queen's Gardens Dunedin, designed by John Burnside. Originally concerned only with the Maori that originally lived and owned the land of new Zealand, initially just those who arrived between 1848 and the first of the Otago gold rushes in 1861, the institution gradually enlarged its scope to include later arrivals. At that point the word 'early' was dropped from the name of the Museum and the Association. Its collections evolved reflecting these changes but remain focused on the historical period, i.e. since James Cook's first visit to southern New Zealand in 1770.
In 1927 the museum took over the adjoining building, also designed by Burnside, vacated by the Dunedin Public Art Gallery. The institution sometimes struggled financially finding little support from the city council. Comparable museums in two other New Zealand cities, Auckland and Wellington, were closed after the second world war and their collections dispersed. The country's interest in its own history was at a low ebb. The period 1949 to 1977 has been called 'Decline and Fall?' and the museum might have died. The buildings were extensive, the collections considerable and varied, comprehending furniture, apparel, technology - including household appliances and vehicles - as well as archives and works of art. Maintenance and even heating presented formidable challenges.
In 1978 a new Director, Seddon Bennington, embarked on a programme of renewal. A later Director, Elizabeth Hinds, continued the museum's resurgence. The Dunedin City Council provided grants increasingly covering costs and in 1991 took over the museum's ownership and operation. The neighbouring former bus station of New Zealand Railways Road Services, designed in 1939 by James Hodge White (1896-1970), was acquired. This structure, one of Dunedin's more notable examples of art deco architecture, is now used to house vintage transport and related machinery. It lies directly to the south of the old museum, to which it was linked in 1994 by a concourse designed by Francis Whittaker. In 1995 the directorship of the museum was combined with that of the Dunedin Public Art Gallery, an innovation which was controversial. In 2008 this was reversed and the city council re-established the museum's separate directorship.
In 2006 the city council decided to proceed with extensive additions to the north and east of the Burnside complex to consolidate the collections on a single site and to provide better conditions for their storage and exhibition. Further extensions are planned, including a controversial observation tower at the museum's northern end.
On 4 April 2008 a burst water main caused flooding and damage to the museum costing $45,000 to repair. No artefacts were found to be irreparable.
The museum's E class Fairlie steam locomotive Josephine is popular.  It is the oldest preserved steam locomotive in New Zealand, dating from 1872, and when it was saved for preservation in the late 1920s, it became New Zealand's first preserved locomotive, decades before the heritage movement truly began in this country.  The museum also possesses the youngest preserved steam locomotive in New Zealand, Jᴬ 1274.  It entered service in December 1956 and was both the last steam locomotive built by the New Zealand Railways Department (at Dunedin's Hillside Workshops) and the last new steam locomotive built for operation on the national network.  It was officially withdrawn in November 1971 and was saved for preservation, moving to the museum a few years later.
Among the museum's collection of paintings are works by the surveyor of Dunedin Charles Kettle, the surveyor John Buchanan, artist Alfred Henry O'Keeffe and a notable group by George O'Brien. The museum also houses a research centre and is home to an extensive collection of photographs of European pioneers. A bust of a former Provincial Superintendent James Macandrew is located outside the Burnside  building.


The Argeș County Museum (Romanian: Muzeul Județean Argeș) is a government institution and visitor attraction based in Pitești, Romania. Formally inaugurated in 1955, it is headquartered in an 1890s palace in the city center. Topics of its permanent exhibits include history, ecology, folk art and minerals. Additionally, a fine arts gallery is located in the former city hall, while three other sites elsewhere in the county are also administered by the museum.


The museum is headquartered at 44 Armand Călinescu Street, in the former Argeș County Administrative Palace. The structure was built in 1898–1899 according to the plans of architect Dimitrie Maimarolu, while Mihail Manolescu was prefect. The land previously belonged to the Buliga skete, and the funds for construction came in the form of a loan of 140,000 lei from a Bucharest bank, guaranteed by the Dimitrie Sturdza-led Liberal government.
Done in an eclectic style, it fits within the framework of French academicism. The plan is symmetric and U-shaped, with a basement, ground floor and second floor; the building forms an imposing presence in the city center. The grooved columns are both Ionic and composite. The pediment features symbolic bas-reliefs and acroteria. The cornices are denticulate, there is egg-and-dart moulding, as well as meanders, decorative balustrades, semicircular niches, bossage in strong relief and medallions. Local artist Iosef Materna painted the ceiling of the staircase hall. The building housed the Argeș County Prefecture from 1899 to 1950, the Argeș Region Council from 1950 to 1968 and the Argeș County Council from 1968 to 1970. It has been used by the museum since 1970, and is considered a historic monument by the country's Culture Ministry, as are the adjacent park and public garden.
The museum's roots lie in the Gheorghe Ionescu-Gion Popular Athenaeum, which was hosted by a Pitești primary school from 1928 to 1946, and by the Argeș Cultural Center from 1948 to 1950. From 1950 to 1955, its collections were kept in storage. The museum as such was founded in 1955, and was located in the Argeș Tribunal or Cultural Palace from 1955 to 1957 and in the Fostiropol House or Popular Art School from 1957 to 1970, before moving to its present location. The building was expanded in 2000 and in 2004. Permanent exhibitions include fine arts (1971–), folk art (1971–), history (1974–), ecology and environmental protection (1977–), sports (2008–), a planetarium (2008–), mineral crystals (2009–), numismatics (2009–) and an astronomical observatory. There are storage spaces as well as restoration laboratories.


The Musée Gadagne is a museum located in the center of the Vieux Lyon, in the Saint-Jean quarter, in the 5th arrondissement of Lyon. It is composed of the Musée d'Histoire de Lyon (Museum of Lyon History) and the Musée des Marionnettes du monde (World Puppet Museum). The building was classified as a historic monument in 1920. It was  acquired by the city of Lyon between 1902 and 1941. After it was determined to be in need of repair, the museum closed in 1998 for more than ten years for renovation and expansion. It was re-opened on 12 June 2009.


The museum is located in the Hôtel Gadagne, a building constructed in the early sixteenth century by the brothers Pierrevive (from 1511–1527). It was redesigned by the Gadagne (or Gadagni) brothers in 1545. This rich Florentine family lived in Lyon in the early fifteenth century. The brothers had many disagreements, and as a result, they stayed in two different parts of the hotel. At the time, their large fortune inspired a saying in Lyon: "riche comme Gadagne" ("rich as Gadagne"). At one time, one of the brothers, Thomas I de Gadagne (known as Thomas the Rich), paid part of the ransom to Louise of Savoy for the release of King Francis I, a prisoner of the Spaniards after the battle of Pavia in 1525.
In the seventeenth century, the hotel was divided evenly into small quarters. In 1902, it was partially bought by the city of Lyon.
On 19 January 1998, the city council decided to close the museum to undertake major expansion and a controversial renovation. After ten years of closure and a major campaign of archaeological excavations, the museum opened its doors again in 2009. During that time, it expanded from an area of 3500 m² to 6300 m².


Handel House (German: Händel-Haus) is a cultural site in Halle in Saxony-Anhalt, Germany. The composer George Frideric Handel was born here in 1685; it is now a museum, and houses a collection relating to the composer and to the musical history of Halle.


The Wellington Museum in Waterloo, Belgium is located in the house where the Duke of Wellington, spent the night before and after the Battle of Waterloo (18 June 1815).
The museum contains information about the Duke of Wellington, the Waterloo Campaign, the main phases of the Battle of Waterloo a Gallery and contemporary military artefacts from the armies that fought in the battle.


Gamla Uppsala museum is a historical museum in Gamla Uppsala, in the northern part of Uppsala, Sweden.
The museum is oriented towards the Vendel  and Viking era history of Gamla Uppsala. Gamla Uppsala was a major religious and cultural centre in Sweden during these eras as well as medieval Sweden between approximately the 5th and the 13th centuries, housing the famous pagan Temple at Uppsala and several large burial mounds. The museum building was designed by architect Carl Nyrén (1917– 2011). The museum opened in 2000 and is run by the Swedish National Heritage Board (Swedish:Riksantikvarieämbetet).


The Musée Hergé, or Hergé Museum, is a museum in Belgium dedicated to the life and work of the Belgian cartoonist Georges Remi (1907–1983), who wrote under the pen name Hergé, creator of the series of comic albums, The Adventures of Tintin.
The museum is located in the town of Louvain-la-Neuve in Wallonia to the south of Brussels at the address, "Rue Labrador 26", Tintin's first home in the books. It was designed by the French architect Christian de Portzamparc, with interiors designed by cartoonist Joost Swarte. The first stone was laid May 2007 during the centenary of Hergé's birth and it opened in June 2009. It consists of three floors with a total of nine exhibition rooms, and a café, museum shop and mini cinema.


6 Burlington Gardens is a Grade II*-listed building in Mayfair, London. Built for the University of London, it has been used by various institutions in the course of its history, including the Civil Service Commission,  the British Museum and, currently, the Royal Academy of Arts.


The Italianate building was designed by Sir James Pennethorne between 1867 and 1870 as headquarters for the University of London. It occupied the northernmost section of the former garden of Burlington House. It was a grand building, but not especially large. The University of London is a federal university and this early central building contained little besides examination halls and a few offices; the premises of several of the constituent colleges were larger. The university vacated Burlington Gardens in 1900 for the Imperial Institute building in South Kensington. Briefly the headquarters of the National Antarctic Expedition, in 1902 it was given to the Civil Service Commission.


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The National Cheng Kung University Museum (traditional Chinese: 國立成功大學博物館; simplified Chinese: 国立成功大学博物馆; pinyin: Guólì Chénggōng Dàxué Bówùguǎn) or (Chinese: 成大博物館; pinyin: Chéngdà Bówùguǎn) is a museum in East District, Tainan, Taiwan. The museum is located at National Cheng Kung University.


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The museum building was built in 1933 originally as the Tainan Technical College's administration center.


The Lutherhaus is a writer's house museum in Lutherstadt Wittenberg, Germany. Originally built in 1504 as part of the University of Wittenberg, the building was the home of Martin Luther for most of his adult life and a significant location in the history of the Protestant Reformation. Luther was living here when he wrote his 95 Theses.
The Augusteum is an expansion to the original building that was constructed after Luther's death to house a Protestant seminary and library which still exist today. Since 1996, both buildings have been recognized as UNESCO World Heritage Sites along with other sites associated with Martin Luther in Wittenberg and Eisleben, because of their religious significance and testimony to one of the most influential figures of medieval Europe.


The Signal Tower is a museum in the coastal town of Arbroath, Angus, Scotland.


Originally built in 1813 as a base of operations for the famous Bell Rock Lighthouse, the Signal Tower housed the families of the keepers stationed on the 'rock', along with the vital shore staff who ran the lighthouse tender supplying the light. The name Signal Tower comes from the signalling apparatus installed atop of the tower building that was used to communicate between the shore staff (the Master Of The Tender) and the keepers of the lighthouse. An identical set of signalling apparatus is installed atop the lighthouse itself. Installed within the Signal Tower was a small observatory outfitted with a powerful telescope; it was through this telescope that the signalling apparatus on the lighthouse was monitored during the day. In an age before wireless communications, the ball system employed by the Bell Rock was seen as state of the art technology. At night, any fluctuation to the light would see the supply vessel set sail for the 'rock' to investigate.
The signalling apparatus worked with a ball hoisted up and down a pole. The Master of the Tender or one of his staff was responsible for keeping watch between 9am and 10am, during which period the lighthouse keepers would hoist the ball up to the top of the pole if all was well. During foggy weather, the watch was postponed to 1pm. If the ball did remain down, it usually signified a major emergency such as a chronic shortage of provisions or illness of one of the lighthouse keepers, in any case, the tender was launched and would sail for the lighthouse as soon as possible. In 1955, with the advent of helicopters and faster boats, staffing for the lighthouse was carried out from Leith, home of the Northern Lighthouse Board.
Fishing vessels from Arbroath would routinely carry newspapers, fresh rolls and other non-essential provisions to the keepers and would relay messages back to the shore station, either on behalf of the Master of the Tender or as a favour to the lighthouse keepers.


After the NLB handed the building to the then Arbroath Town Council, it was used for around 15 years as council housing before being converted in the 1970s into a museum.


The National Museum of Emerging Science and Innovation (日本科学未来館, Nippon Kagaku Mirai-kan), simply known as the Miraikan (未来館, literally "Future Museum"), is a museum created by Japan's Science and Technology Agency.
It was opened in 2001. It is situated in a purpose-built building in the Odaiba District of Tokyo. It can be reached by the Yurikamome driverless fully automated transit system from downtown Tokyo in about 15 minutes.


Luostarinmäki Handicrafts Museum (Finnish: Luostarinmäen käsityöläismuseo, Swedish: Hantverksmuseet på Klosterbacken; Cloister Hill Handicrafts Museum)  is an open-air museum in Turku (Swedish: Åbo), Finland.


The Workshops Rail Museum is a railway museum in Ipswich, Queensland located within the former North Ipswich Railway Workshops.


The Workshops Rail Museum is open daily 9:30am to 4pm (except ANZAC Day, Christmas Day and Boxing Day). In addition, the Museum holds special events including the annual Day out with Thomas event, school holiday programs, touring exhibitions and events.
The Museum is available for venue hire and has an onsite shop and café
The Workshops Rail Museum is part of the Queensland Museum Network.


The Musée Mécanique (English: Mechanical Museum) is a for-profit interactive museum of 20th-century penny arcade games and artifacts, located at Fisherman's Wharf in San Francisco, California. With over 300 mechanical machines, it is one of the world's largest privately owned collections.


The Rotunda Museum  is one of the oldest purpose-built museums still in use in the United Kingdom. The curved grade II* listed building was constructed in 1829 as one of the country's first purpose-built museums. Situated in the English coastal resort of Scarborough, North Yorkshire, it houses one of the foremost collections of Jurassic geology on the Yorkshire Coast.


The Rotunda Museum, described as the finest surviving purpose-built museum of its age in the country, was built in 1829 by Richard Hey Sharp of York, to a design suggested by William Smith, the "Father of English Geology". Smith's pioneering work established that geological strata could be identified and correlated using the fossils they contain. Smith came to Scarborough after his release from debtors' prison. The dramatic Jurassic coastline of Yorkshire offered him an area of geological richness.
Sir John Johnstone became Smith's patron and employed him as his land steward at Hackness. Johnstone was President of the Scarborough Philosophical Society, which raised the money to build the Rotunda and consulted Smith as to the Museum's design. Still in his twenties, Sir John was an intellectual leader in Scarborough in the 1820s and a staunch supporter of Smith and his ideas. He donated the Hackness stone of which the Rotunda Museum is built. Smith had seen a rotunda in London and instructed the architect, Richard Sharp of York, to follow that design. The Rotunda Museum was built to Smith’s design suggestion and the original display of fossils illustrated his ideas. The fossils and rocks were arranged in the order in which they occurred, with the youngest in the cases at the top and the oldest at the bottom. The order around the walls reflected the order of rocks on the Yorkshire coast. A section of the rocks on the coast was drawn around the inside of the dome of the building by Smiths nephew, another geologist, John Phillips. The two wings were added to the building in 1860.


Odisha State Museum is a museum in Bhubaneswar, Odisha. In its original form it was established in 1932 and later moved to the current building in 1960. The museum is divided into eleven sections, viz, Archaeology, Epigraphy, Numismatics, Armoury, Mining & Geology, Natural History, Art & Craft, Contemporary Art, Patta Painting, Anthropology and Palmleaf Manuscripts. The museum is headed by a superintendent and the administrative control lies in the hands of Cultural Affairs Department, Government of Odisha.


Opening timing is 10:00 AM to 5:00 PM all days of the week except Monday.


The Musée du Vin (in English: Wine Museum of Paris) is a cultural venue in the 16th arrondissement located at 5, square Charles Dickens, Paris, France next to the Trocadéro and the Eiffel Tower. The nearest métro station is Passy. It opened in 1984.


The Old Stone House is a house located in the Park Slope neighborhood of Brooklyn, New York City. The Old Stone House is situated within the J. J. Byrne Playground, at Washington Park, on Third Street between Fourth and Fifth Avenues. Gowanus Creek once ran nearby, but today the southeastern branch of the Gowanus Canal ends 1,300 feet (400 m) west of the house.
The current structure is a 1933 reconstruction, using some original materials, of the Vechte–Cortelyou House, which was destroyed in 1897. The original house was an important part of the 1776 Battle of Long Island during the American Revolutionary War.
At one time, the Old Stone House was the clubhouse of the Brooklyn Superbas, who later became the Brooklyn Dodgers.  The house was listed on the National Register of Historic Places in 2012.


The current Old Stone House is a replica, using some unearthed original materials, of a Dutch stone farmhouse originally built adjacent to the current site by the Dutch immigrant Claes Arentson Vechte, or his son Hendrick, in 1699. It is also known as the Vechte–Cortelyou House.  The Vechte family farmed the lands around the house, harvested oysters in Gowanus Creek and ferried their produce down the creek to Gowanus Bay and then to lower Manhattan. The house was rented in 1766 by Isaac Cortelyou, but later returned to Vechte. It was then inherited in 1779 by Nicholas Cowenhoven, who sold it in 1790 to Jacques Cortelyou. Cortelyou's son, Peter, later received it as a wedding gift from his father.


The Marstallmuseum (Museum in the former royal stables ) in Munich is one of the most important museums for court carriages in the world. It is located in the South Wing of Nymphenburg Palace.
On display is a vehicle park from the time of the Bavarian and Palatine electors and kings of the House of Wittelsbach. The collection gives an extensive overview of the development of the carriages from the end of the 17th century to the end of the 19th century with exhibits from Germany, France and England. On display are especially royal coaches, barouches, sledges, litters and even a carousel.


The building was used for federal government offices until the 1960s when it had fallen into a state of disrepair and was considered for demolition. After pressure from conservationists, the government commissioned a report by architect Chloethiel Woodard Smith of possible other uses for the building. Her 1967 report suggested a museum dedicated to the building arts. The building was then listed on the National Register of Historic Places in 1969. At that time, the building was still in use as the local draft bureau office. In 1980, Congress created the National Building Museum as a private, non-profit institution. The building itself was formally renamed the National Building Museum in 1997.
Every year, the annual Christmas in Washington program was filmed at the museum, with the President and First Lady until the show's cancellation in 2015.


The National Building Museum is located at 401 F Street NW in Washington, D.C.  It is a museum of "architecture, design, engineering, construction, and urban planning". It was created by an act of Congress in 1980, and is a private non-profit institution; it is adjacent to the National Law Enforcement Officers Memorial and the Judiciary Square Metro station.  The museum hosts various temporary exhibits in galleries around the spacious Great Hall.
The building, completed in 1887, served as the Pension Building, housing the United States Pension Bureau, and hosted several presidential inaugural balls.  It is an important early large-scale example of Renaissance Revival architecture, and was designated a National Historic Landmark in 1985.


The National Building Museum is housed in the former Pension Bureau building, a brick structure completed in 1887 and designed by Montgomery C. Meigs, the U.S. Army quartermaster general. It is notable for several architectural features, including the spectacular interior columns and a frieze, sculpted by Caspar Buberl, stretching around the exterior of the building and depicting Civil War soldiers in scenes somewhat reminiscent of those on Trajan's Column as well as the Horsemen Frieze of the Parthenon. The vast interior, measuring 316 × 116 feet (96 × 35 m), has been used to hold inauguration balls; a Presidential Seal is set into the floor near the south entrance.
After the Civil War, the United States Congress passed legislation that greatly extended the scope of pension coverage for veterans and their survivors and dependents, notably their widows and orphans. The number of staff needed to implement and administer the new benefits system ballooned to over 1,500, and quickly required a new building from which to run it all. Meigs was chosen to design and construct the new building. He departed from the established Greco-Roman models that had been the basis of government buildings in Washington, D.C., until then and which continued after the Pension Building's completion. Meigs based his design on Italian Renaissance precedents, notably Rome's Palazzo Farnese and the Palazzo della Cancelleria.
Included in his design was a frieze sculpted by Caspar Buberl. Because a sculpture of that size was well out of Meigs's budget, he had Buberl create 28 different scenes, totaling 69 feet (21 m) in length, which were then mixed and slightly modified to create the continuous 1,200-foot (365-m) parade of over 1,300 figures. Because of the 28 sections' modification and mixture, it is only in careful examination that the frieze is seen to be the same figures repeated several times. The sculpture includes infantry, navy, artillery, cavalry, and medical components, as well as a good deal of the supply and quartermaster functions, for it was in that capacity that Meigs had served during the Civil War.
Meigs's correspondence with Buberl reveals that Meigs insisted that a black teamster, who "must be a negro, a plantation slave, freed by war", be included in the quartermaster panel. This figure was ultimately to assume a central position, over the building's west entrance.
Built before modern artificial ventilation, the building was designed to maximize air circulation: all offices not only had exterior windows, but also opened onto the court, which was designed to admit cool air at ground level and exhaust hot air at the roof. Made of brick and tile, the stairs were designed for the limitations of disabled and aging veterans, having a gradual ascent with low steps. In addition, each step slanted slightly from back to front to allow easy drainage: a flight could be washed easily by pouring water from the top.
When Philip Sheridan was asked to comment on the building, his biting reply echoed the negative sentiment of much of the Washington establishment of the day: "Too bad the damn thing is fireproof." A similar quote is also attributed to William Tecumseh Sherman, perhaps casting doubt on the truth of the Sheridan tale.
The completed building, sometimes called "Meigs Old Red Barn", required more than 15 million bricks, which, according to the wit of the day, were each counted by the parsimonious Meigs.


The Western Museum has six museum branches and four collection facilities. The museum also offers outreach services to all areas of Western Australia.


Established in 1891 in the Old Perth Gaol, it was known as the Geological Museum and consisted of geological collections. In 1892, ethnological and biological exhibits were added, and in 1897, the museum officially became the Western Australian Museum and Art Gallery.
The museum employed collectors to obtain series of specimens; J. T. Tunney ventured across the state from 1895 to 1909 obtaining animals and, later, the tools and artefacts of the indigenous inhabitants.
During 1959, the botanical collection was transferred to the new Western Australian Herbarium and the museum and the art gallery became separate institutions. The museum focussed its collecting and research interests in the areas of natural sciences, anthropology, archaeology, and Western Australia's history. Over the 1960s and 1970s, it also began to work in the then-emerging areas of historic shipwrecks and Aboriginal site management.
In February 2008, the Government of Western Australia announced that it would build a new A$500-million museum at the East Perth Power Station site. However, following the election of a new State Liberal party government under Colin Barnett, the redevelopment plans were scrapped in early February 2009.
On Museums day in 2012, the Barnett State Government pledged to build a new museum at the Perth Cultural Centre at a cost of $428 million, for completion by 2019–20. The Western Australian Museum – Perth site closed temporarily from 18 June 2016 until 2020 to construct the New Museum for WA, designed by OMA and Hassell.
In late 2014, critical improvements to the Museum's Collection and Research Centre (CRC) in Welshpool commenced. This site continues to house the Museum's research laboratories and working collections throughout the construction phase. The upgrades to the CRC include new collection storage, laboratories, and workshops to support ongoing research and to ensure that collections can be adequately prepared and conserved.


On 9 September 1891, the Geological Museum was opened at the site of the Old Gaol and housed the state's first collection of geological samples. The Old Gaol still forms a significant part of the Western Australian Museum – Perth and is one of the oldest standing buildings in Western Australia.
Shortly after the Geological Museum was opened, collections were expanded to include geological, ethnological and biological specimens and in 1897, the Western Australian Museum and Art Gallery was declared. From 1971 to 2003, a greater part of the research and display collections were housed in a large building on Francis Street. This site was closed due to concerns with asbestos, and demolition concluded in late 2011.
Throughout the Western Australian Museum's history the prominent James Street location remained central to the museum's identity and the location of many large permanent and touring exhibits. Exhibitions on fashion, natural history, cultural heritage and history have attracted large numbers of visitors, including A Day in Pompeii (25 May – 12 September 2010) which attracted more than 100,000 people.
Perth Museum closed for major redevelopment in June 2016; re-opening is scheduled for November 2020.
Permanent exhibitions which were on display at the Western Australian Museum in Perth included:
WA Land and People: This exhibition tells the story of Western Australia from prehistoric times of dinosaurs, to indigenous beginnings, and through to environmental issues of the present day.
Diamonds to Dinosaurs: An exhibition exploring 12 billion years of WA's history, featuring specimens such as rocks from the Moon and Mars, pre-solar diamonds and dinosaur skeleton casts.
Katta Djinoong: This exhibition depicts the history and culture of the Aboriginal peoples of Western Australia from past to present.
Dampier Marine Gallery: This exhibit explores the biodiversity of the waters around the Dampier Archipelago.
Mammal, Bird and Butterfly Galleries: These galleries contain extensive collections of various animals.
The Perth site also included the Discovery Centre, designed to help children and adults interact and learn about the museum's collections and research. The Discovery Centre relocated to a Discovery Zone in the State Library of Western Australia, but this closed permanently from 8 December 2019.
The new museum, named "WA Museum Boola Bardip", opened in the Perth Cultural Centre on Saturday, 21 November 2020. It features new exhibitions and topics such as the formation of the Universe, WA's latest inventions, dinosaurs, newly discovered species and local communities.
Inside the new complex are five heritage buildings, including the Old Perth Gaol, which dates back to 1855. It is also built around what is believed to be Australia's oldest grapevine, estimated to date from the 1850s or 1860s, and encompasses Hackett Hall, once home to the State Library of Western Australia, now displays the skeleton of a blue whale (nicknamed Otto), which was in storage since 2003. The Jubilee Building has been refurbished, with the terrace and grand entrance reopened.


The Lyceum is a historic structure in Alexandria, Virginia.  It was built in 1839 and has been listed on the National Register of Historic Places since May 27, 1969.  It was built, from bricks from the original St. Mary chapel, as a permanent home for the Alexandria Lyceum and the Alexandria Library.  It served as a hospital during the American Civil War.  After the war it became a private home and later served as an office building.  Today it is the location of the official city history museum of Alexandria.


The Evergreen Maritime Museum (traditional Chinese: 長榮海事博物館; simplified Chinese: 长荣海事博物馆; pinyin: Zhǎngróng Hǎishì Bówùguǎn) is a maritime museum in Zhongzheng District, Taipei City, Taiwan.


Open on Tuesday—Sunday: 9:00–17:00
Closures:
Every Monday (open on national holidays)
Chinese New Year's Eve
Day-off due to natural disaster
Other planned closures announced on the official website.


After nearly a decade of planning, the museum was opened on 7 October 2008.


Adityawarman Museum is a State Museum (Museum Negeri) located in Padang, Western Sumatra. As a State Museum, Adityawarman Museum is officially known as the State Museum of West Sumatra (Museum Negeri Sumatera Barat). The museum displays ethnographic collections of items related to the culture of the Province of West Sumatra, particularly the culture of Minangkabau and Mentawai.


The idea for a museum dedicated to the culture of West Sumatra was first proposed by Amir Ali, the Head of the Department of Education of Culture of the Province of West Sumatra. The original proposal was to build a "Minangkabau Culture Hall". The idea was proposed to the Governor of West Sumatra at that time, Harun Al Rasyid Zain. This idea was responded to positively by national authorities, so the construction of the State Museum for the Province of West Sumatra commenced.
Construction started in 1974 over a plot of land of about 2.6 hectares (6.4 acres). Construction took about 3 years. The museum was inaugurated on March 16, 1977 by the Ministry of Education and Culture of Indonesia at that time, Syarief Thayeb. On May 28, 1979, a State Museum was established under the name 'State Museum of West Sumatra' (Indonesian Museum Negeri Sumatera Barat) and was given the name Adityawarman. The name Adityawarman was derived from the 14th-century founder and ruler of Malayapura in the Minangkabau Highlands.
The proposal for the name Adityawarman was filled with controversy, especially among the West Sumatrans. Despite the important historic role of Adityawarman in bringing glory to the Minangkabau kingdom and the fact that he was a Minangkabau through the matrilineal order, Adityawarman's affiliation with the Javanese rulers rendered him controversial. One example of a controversy surrounding the name of Adityawarman was when the Minister of Education Mohammad Yamin wanted to give the name to a university in West Sumatra, but the people rejected the name and changed it to Andalas University in 1956. In 1975, Governor Harun Zain refused to allow the museum to be called Adityawarman Museum. However, his refusal was reversed by Azwar Anas, his successor.
Following the regional autonomy scheme in Indonesia, in 2001 the management of the museum was transferred to the West Sumatran Regional Government, directly under the Department of Culture and Tourism of West Sumatera Province.
The museum was damaged in the Padang earthquake. More than 80% of the museum's collection was destroyed.


The Karpenko-Karyi State Museum-Reserve "Khutir Nadia" is a national historic site of Ukraine that was established on a territory of estate that belonged to Ivan Karpenko-Karyi, the playwright and theatrical figure of the late 19th - early 20th century.
The small complex is located 29 km (18 mi) west of Kropyvnytskyi (former Kirovohrad, Yelizavetgrad, Lyzavethrad) in a village of Mykolayivka and not far from the major european route E50.


The estate itself was founded in 1871 by the playwright's father Karpo Tobilevych and named in honor of his wife Nadiya Tarkovska. Later Karpenko-Karyi chose this estate as his permanent residence.
In the beginning Tobilevych family kept the estate as modest private farm. It was from that time that the "Father's Hut" and the old Chumak well have been preserved. After returning from three years of political exile in the spring of 1887, Ivan Karpenko-Karyi settled on the farm and decided to turn it into a picturesque corner of nature - in his own words "an oasis in the desert."


The Khutir Nadia was declared to be a state reserve museum in 1956. Since then the institution has been held by Kirovohrad Regional Museum. Many prominent figures of Ukrainian culture have celebrated its uniqueness, including Yuri Yanovsky, Petro Panch, Oles Honchar and Alexander Korneichuk.
In 1982, before the 100th anniversary of the Ukrainian theater luminaries, they restored the theatre that had been destroyed in 1944. On the eve of celebrating the 150th anniversary of the playwright they opened a new theater and literary and memorial exhibition.


WikiWeb_Japanese American National Museum_0

The Japanese American National Museum (全米日系人博物館, Zenbei Nikkeijin Hakubutsukan) is located in Los Angeles, California, and dedicated to preserving the history and culture of Japanese Americans. Founded in 1992, it is located in the Little Tokyo area near downtown. The museum is an affiliate within the Smithsonian Affiliations program.
The museum covers more than 130 years of Japanese-American history, dating to the first Issei generation of immigrants. Its moving image archive contains over 100,000 feet (30,000 m) of 16 mm and 8 mm home movies made by and about Japanese Americans from the 1920s to the 1950s. It also contains artifacts, textiles, art, photographs, and oral histories of Japanese Americans. The Japanese American National Museum of Los Angeles and the Academy Film Archive collaborate to care for and provide access to home movies that document the Japanese-American experience. Established in 1992, the JANM Collection at the Academy Film Archive currently contains over 250 home movies and continues to grow.


WikiWeb_Japanese American National Museum_1

Activist Bruce Teruo Kaji (1926–2017) was the founding president of the museum. He worked alongside other prominent Japanese-Americans to create the museum. The community had become organized around gaining recognition of the injustice they had suffered from the federal government during World War II.
The museum was conceived as a way to preserve the positive aspects of their full history and culture in the United States. When it first opened in 1992, the museum was housed in the 1925 historic Hompa Hongwanji Buddhist Temple building. Irene Hirano served as its first executive director and later as president and CEO of the museum. In January 1999, the National Museum opened its current 85,000-square-foot (7,900 m²) Pavilion, designed under the supervision of architect Gyo Obata, to the public. The temple building was used by government officials in 1942 to process Japanese Americans for wartime confinement. It is now used for offices and storage.
In 1993 the museum was given hundreds of artifacts and letters from children in internment camps, which they had sent to San Diego librarian Clara Breed. The material was featured in an exhibit, "Dear Miss Breed": Letters from Camp. It is now part of the museum's permanent collection.
In 1997, the Frank H. Watase Media Arts Center was established by Robert A. Nakamura and Karen L. Ishizuka, to develop new ways to document, preserve and make known the experience of Americans of Japanese ancestry.  In 1999, the Manabi and Sumi Hirasaki National Resource Center (HNRC) was established to provide access to the museum's information and resources, both at the facility and online. It documents the life and culture of the Japanese Americans.
Akemi Kikumura Yano, author, was the museum's first curator. She succeeded Irene Hirano as president and CEO from 2008 until 2011. During her tenure, in December 2010, the museum was awarded the National Medal for Museum and Library Service.
Rev. Greg Kimura, an Episcopal priest, was appointed the president and CEO of the museum, serving between 2012 and 2016. During his time the museum experienced an economic downturn as he looked to promote untraditional exhibits and let go core staff members. He resigned in May 2016 to pursue other work opportunities.
In 2016, Ann Burroughs was announced to replace him as the new interim CEO and was officially selected shortly thereafter. Burroughs spoke of her role: "I am committed to reinvigorating and finding new ways to advance the museum’s key values, emphasizing the importance of being vigilant about democracy and stressing the value of diversity in our world today."
Actor George Takei serves as a member of the museum's board of trustees. He represented it as his charity during his time on The Celebrity Apprentice and during his appearance on The Newlywed Game.


The Africa Museum (Dutch: Afrika Museum) is a museum in Berg en Dal in the Netherlands. The museum on the outskirts of the city of Nijmegen is a complex with indoor as well as open-air display areas, covering art, culture, music, photographs, videos and architecture of Africa. As of 2014, the museum, along with the Tropenmuseum in Amsterdam, and National Museum of Ethnology (Museum Volkenkunde) in Leiden, together make up the National Museum of World Cultures.


The Silver River Museum and Environmental Education Center is a nature museum in Silver Springs State Park in Silver Springs, Florida, near Ocala. The museum is named after the Silver River, which flows through the park.
Marion County Public Schools operates the museum and center in cooperation with the Florida Park Service, with both hosting educational events. The concept of the center dates back to 1987, and initial funding was provided through a Christa McAullife Fellowship. In 1991, the museum and center opened to provide daily classes for the students of Marion County.


For one week, early in November, the Center and Park put on the Ocali Country Days as a fund raiser. This is a 19th-century, living history event with displays, talks, and performances incorporating living historians. For that Tuesday through Friday it is open to public, private and home school-age children and their teachers who have made reservations with the Center. In 2008, attendance was limited to 1,200 students and teachers per day and this quota was filled every day. So make your reservations early.
The event is open to the general public on Saturday and Sunday and has become a popular annual attraction in the area.


WikiWeb_Westphalian Museum of Natural History_0

The Westphalian Museum of Natural History (German: Westfälische Museum für Naturkunde) is a natural history museum in Münster, Germany.


The Museum of Making Music, is a division of the NAMM Foundation of the National Association of Music Merchants, a 501(c)(3) non-profit organization located in Carlsbad, California.  The museum opened to the public on March 5, 2000. Its mission is to "explore the accomplishments and impact of the music products industry through educational and interactive exhibitions and programs and directly connect visitors with hands-on music making."
The museum's exhibits cover three main components of the music industry: making the instruments, providing the instruments, and using the instruments. The museum's galleries feature more than 450 vintage instruments and artifacts, hundreds of audio samples of popular music and a visitors interactive area with live, hands-on instruments, along with Sit 'N Play areas near the end of the main galleries. In addition to its permanent collection, the museum self-curates temporary exhibitions that revolve around a core theme or idea. These exhibitions are on public display at the museum for 6 to 8 months.
During its first 20 years of existence, the museum curated public exhibits about the history of American popular music, the manufacture and retailing of musical instruments and the history of the music products industry from the 1890s to the present day. In 2020, the museum announced they would undergo a major renovation.  The renovation was completed in June 2021.
The museum organizes public events, performances and lectures to entertain, educate and inform audiences about the heritage and benefits of making music.


Tretower Court (Welsh: Llys Tre-tŵr) is a medieval fortified manor house in Wales, situated in the village of Tretower, near Crickhowell in modern-day Powys, previously within the historical county of Breconshire or Brecknockshire.


Kunsthalle Düsseldorf is an exhibition hall for contemporary art in Düsseldorf.


The present art centre was built in 1967 in Brutalist architecture by the architects Konrad Beckmann and Brockes. They used commercially available precast concrete for the construction work.


The Museo delle Mura ("museum of the walls") is an archaeological museum in Rome, Italy. It is housed in the first and second floors of the Porta San Sebastiano at the beginning of the Appian Way. It provides an exhibition on the walls of Rome and their building techniques, as well as the opportunity to walk along the inside of one of the best-preserved stretches of the Aurelian Wall. The museum is free of charge.


WikiWeb_Amsterdam Centre for Architecture_0

Amsterdam Centre for Architecture (Arcam) is an organisation that was founded in 1986 that "concentrates its activities in Amsterdam and the surrounding area." Arcam focuses on architecture, urban design, and landscape architecture. Arcam is the oldest and largest of more than forty local Dutch architecture centers.
The building
The building was designed by René van Zuuk. The building is a trapezoidal form with three floors.
Foundation
The director of Arcam is Indira van 't Klooster. Arcam's work is made possible by donors, sponsors, several services of the municipality of Amsterdam and the Stimuleringsfonds voor Architectuur (English: Support Foundation for Architecture).
Activities
Arcam provides information about architecture throughout the city of Amsterdam. The institution disperses this information in various ways, including Architectuurgids (Architecture Guides), crash courses, and guided tours. Additionally, the museum offers temporary and permanent exhibitions.


WikiWeb_Port of Humanity Tsuruga Museum_0

Port of Humanity Tsuruga Museum (人道の港 敦賀ムゼウム) is a museum that displays the history of Tsuruga Port, located in Kanegasaki Park, Tsuruga, Fukui, Japan. It emphasizes Chiune Sugihara, who saved the lives of many Jewish refugees during World War II by issuing transit visas.  Tsuruga Port was the place they disembarked after their long journey from their native Europe.


WikiWeb_National Museum of Korean Contemporary History_1

2008-08-15: President declares plan to construct a museum on Korean modern history on Liberation Day speech
2009-02-11: Regulation enacted for the creation of a committee for the "National Museum of the Republic of Korea"
2009-04-16: Establishment of the Committee for the National Museum of the Republic of Korea
2009-05-04: Establishment of the Committee for the Founding of the National Museum of the Republic of Korea
2009-10-19: Name changed to "The National Museum of Korean Contemporary History"
2010-11-25: Museum's groundbreaking ceremony held
2012-05-23: Construction of the Museum completed
2012-09-01: Museum administration established
2012-12-17: Kim Wang-Sik takes office as the inaugural director
2012-12-26: Museum opens
2014-02-17: Museum's Education & Communication Division split into the Cultural Relations & Publicity Division and the Education Division
2015-07-20: Museum administratively reorganizes, establishing the Chief Curator’s Office, renaming the Planning & General Affairs Division to the General Administration Division, and renaming the Research Division to the Research & Planning Division
2015-12-03: Extensions open for Special Exhibition Halls 1 and 2
2016-01-25: Kim Yong-Jick inaugurated as the 2nd Director
2017-11-01: Chu Chin-Oh inaugurated as the 3rd Director


At first glance, Schloss Eggenberg presents itself as a uniform, new construction of the 17th century. Nevertheless, large portions of the building date back to the Late Middle Ages and construction continued throughout the early modern era.
Before 1460 Balthasar Eggenberger, financier to Frederick III, Holy Roman Emperor, bought property in the west of Graz which became a fixed noble residence in the family name.  In the subsequent years the family residence was constructed and expanded.  By 1470, a square Gothic chapel had been constructed in the tower.  A Papal indulgence from 30 May 1470 refers to the "Capella Beate Marie Virginis Sita in Castro Eckenperg", the Chapel of the Virgin Mary in Eggenberg Castle, which became the nucleus of the new palace built by Balthasar's great-grandson, Hans Ulrich von Eggenberg.
The younger cousin of General Ruprecht von Eggenberg, Hans Ulrich, as a superb diplomat and statesman, steered the foreign policy of his Emperor, Ferdinand II, while Eggenberg's counterpart and political adversary, Cardinal Richelieu of France, guided that of King Louis XIII during Thirty Years War.  As prime minister (in contemporary political jargon) and close, personal confidant of Ferdinand II, Hans Ulrich wanted a grandiose residence representing his new status and authority when he was named "Gubernator" (Governor) of Inner Austria after the emperor chose Vienna as his imperial capital. In 1625 Prince Hans Ulrich von Eggenberg commissioned court architect Giovanni Pietro de Pomis with the planning of his new palace, inspired by El Escorial in Spain. As an architect, painter, and medailleur (designer and minter of medals), de Pomis, originally from Lodi near Milan, became the most important artist at the Grazer court. Incorporating the original medieval family residence into the new palace, de Pomis himself oversaw the construction work up to his death in 1631. Fortress master builder Laurenz van de Syppe continued the work for two years until the building was finished, in the end, by both of de Pomis' site foremen, Pietro Valnegro and Antonio Pozzo. The shell appears to have been completed by 1635 or 1636. Between 1641 and 1646 work on the ornamentation was brought to a close.
In 1666, Johann Seyfried von Eggenberg, grandson of Hans Ulrich, began to develop the palace according to the splendor and grandeur of the Baroque style and in 1673 the residence again entered the limelight as Archduchess Claudia Felicitas of Tyrol was a guest in the palace on the occasion of her wedding in Graz to Leopold I, Holy Roman Emperor. Under Prince Johann Seyfried, the comprehensive cycle of ceiling coverings of approximately 600 paintings in the rooms of the piano nobile was accomplished in just 7 years. Hans Adam Weissenkircher began his service as the court painter of the princely Eggenberger court in 1678. He finished the painting cycle of the main festival hall, the famous Planetary Room, in 1684/85. With this, the first phase of accouterment work on Schloss Eggenberg was completed.
After the extinction of the male line of the Eggenberg family, the Eggenberger state rooms were left in a half-emptied and neglected state. The husband of the last Eggenberger princess, Johann Leopold Count Herberstein, ordered a comprehensive renewal of the complex. Between 1754 and 1762 the building and the garden underwent their second major phase of ornamentation, this time in complete accordance with the tastes of the Rococo. Above all, the accouterment of the piano nobile was modernized. Nevertheless, the Planetary Room and the entire cycle of ceiling paintings remained almost unchanged. Thus, the works limited themselves to wall decorations, stoves and pieces of furniture. In keeping with the taste of the times, three East Asian cabinets were introduced and the state rooms received new wall coverings. The most extensive change was probably the demolition of the Eggenberger palace theater, in the place of which a baroque palace church was established. The supervisor of these works was the Grazer court architect Joseph Hueber, a student of Johann Lukas von Hildebrandt.
The third phase of the changes came during the 19th century and was limited to the living quarters on the 1st storey (2nd floor in American English) of the palace. The piano nobile remained untouched and unused for a full century. The primary focus of attention of this period was the total transformation of the Baroque formal garden into a romantic landscape garden after the English fashion.
The entire complex remained in the possession of the Herberstein family up to 1939. Shortly before the war, Schloss Eggenberg was acquired with the park by the state of Styria. The oldest museum in Austria, the Joanneum, which was established on 26 November 1811 by Archduke Johann of Austria, took over management of the palace and park. The Joanneum conducted extensive restoration work to repair the damage that occurred during World War II and the subsequent occupation by the Allies and in 1953 Schloss Eggenberg and the Eggenberg Schloss Park were finally opened again to the public.


Fort Gibraltar was founded in 1809 by Alexander Macdonell of Greenfield of the North West Company in present-day Manitoba, Canada. It was located at the confluence of the Red and Assiniboine rivers in or near the area now known as The Forks in the city of Winnipeg. Fort Gibraltar was renamed Fort Garry after the merger of North West Company and the Hudson's Bay Company in 1821, and became Upper Fort Garry in 1835.


In the early 19th century fur-trading was the main industry of Western Canada. Two companies had an intense competition over the trade.  The first, the Hudson's Bay Company, was a London, England-based organization. The second, the North West Company, was based in Montreal. Hudson's Bay Company was distinctly English in its culture and flavour while the North West Company was a mix of French, Scottish and First Nations cultures.
The voyageurs of the North West Company were a highly mobile group of fur traders.  They established temporary encampments in the forks region that later became Winnipeg.
In 1809 the North West Company built Fort Gibraltar. About half a mile north the Selkirk settlers and HBC employees built Fort Douglas which was started in 1813 and completed in 1815. There were many conflicts between the mostly Scottish employees of the HBC and the NWC employees, who were mostly French-Canadians and Métis.(see Pemmican War)
On March 17, 1816, Fort Gibraltar was captured and destroyed by Robert Semple, new Governor of the Red River Colony. The action was ruled illegal by British authorities and the North West Company was given permission to rebuild the fort in 1817.
On March 26, 1821,  the North West Company was merged with its rival under the name of the Hudson's Bay Company.
The site of the fort was designated a National Historic Site in 1924 as part of the "Forts Rouge, Garry, and Gibraltar National Historic Site of Canada".


The city of Lviv, Ukraine has had a series of town hall buildings since approximately 1357. These have for centuries been recognized landmarks of the community. The modern building located at Market Square, 1 is the residence of the Lviv City Council. It is included into a UNESCO World Heritage list as part of the Historic City Centre Ensemble.


The Bata Shoe Museum (BSM) is a museum of footwear and calceology in Toronto, Ontario, Canada. The museum's building is situated near the northwest of the University of Toronto's St. George campus, in downtown Toronto. The 3,665-square-metre (39,450 sq ft) museum building was designed by Moriyama & Teshima Architects, with Raymond Moriyama as the lead architect.
The museum's collection of footwear originated from the personal collections of Sonja Bata, started in the mid-1940s. In 1979, Bata provided an endowment to create the Bata Shoe Museum Foundation, with the aim of having the collection professionally managed, and to establish a shoe museum to house, store, and exhibit the collection. The foundation exhibited the collection to the public for the first time in 1992, although it did not open a permanent facility for its museum until May 1995.
As of 2018, the museum's permanent collection includes over 13,000 shoes, and other footwear related items dating back 4,500 years; providing the museum with the largest collection of footwear in the world. Items in the museum's collection are either held in storage, or placed on display in its permanent exhibition. The museum also hosts and organizes a number of temporary and travelling exhibitions, and outreach programs.


The museum's collection originated from the personal collections of Sonja Bata, which arose from her interest in the products produced by her husband's company, the Bata shoe company. Sonja began collecting shoes shortly after her marriage to Thomas J. Bata in 1946, and their subsequent move to Toronto. The Bata family moved to Toronto in the 1940s in order to facilitate the company's expansion into Toronto and the Americas. In 1965, the company's headquarters was formally relocated from Zlín to Toronto (the company's headquarters was later relocated to Lausanne in 2002).
By the late 1970s, the personal collection had grown to 1,500 pairs of shoes, overcrowding the company's storerooms. At the suggestion of a friend and anthropologist, Sonja Bata provided an endowment to establish the Bata Shoe Museum Foundation in 1979; an organization that would fund research into footwear and professionally manage the collection. Although the organization shared the same name as the Bata company, the foundation was established as a non-profit entity, legally separate from the Bata company. The foundation operated as a privately funded organization, as Sonja Bata opposed the creation of an institution reliant on public funds. The foundation (and later museum) is primarily funded from a trust created by the Batas' personal wealth.
Since its establishment, the foundation set out to find a building to house the collection, exhibit footwear, and house calceology research centres. Early proposals to build the museum near the Ontario Science Centre, or the Harbourfront neighbourhood of Toronto were suggested, but were both rejected. Bata initially made a bid to build the museum at Harbourfront, although it faced public protest. In a conciliatory gesture, the Metropolitan Toronto council proposed the foundation drop the name Bata from the name of the museum, although Sonja Bata refused and abandoned plans to build the museum at Harbourfront. The collection was first publicly displayed in Toronto in 1992 at the Colonnade retail complex. The foundation contracted Moriyama & Teshima Architects to design a museum to house the collection, which was opened to the public on 6 May 1995. The cost to construct the building was not disclosed by the Bata family or the foundation, although estimates reported to be C$8 million to C$12 million.
In January 2006, a pair of jewel-encrusted Indian majori slippers used by Sikandar Jah, along with a gold anklet, and toe ring were stolen from the museum. In 2006, the slippers were valued at approximately C$160,000, whereas the gold anklet was valued at C$45,000, and the toe ring at C$11,000. The stolen items were recovered several weeks later by the museum.


The museum is located in a 3,665-square-metre-building (39,450 sq ft) at the southwest corner of St. George Street and Bloor Street West, near the northwest corner of the University of Toronto's St. George campus. Prior to the museum occupying the site, a gas station was situated on the property. St. George station is the closest Toronto subway station from the building.
The three-storey Deconstructivist-styled rectangular building was designed by Moriyama & Teshima Architects, with Raymond Moriyama as the project's lead. Moriyama was inspired to shape the building like the boxes used to store and protect the Batas' footwear collection when he viewed them in 1978. The three-storey building's roof is tilted, designed to appear as a lid sitting slightly askew atop a shoe box. The building utilizes most of the property's area, due to local zoning by-laws restricting the height of the building to 13.4 metres (44 ft). The building exterior is made out of smooth, angle canted limestone quarried from Lyons, France; and glass walls that protrude from the building's limestone facade, that serve as the entrance. The building's exterior also features windows 13 metres (42 ft) above the ground.
The interior of the structure is organized into three sections moving east to west, and spread across five floors. In addition to exhibit halls, the building also includes a gift shop, lecture theatre, and reception hall. The floors in the museum's lower levels are made of dark-coloured woods, shaped in diamond parquets, a trompe-l'œil that draws visitors' eyes to their own feet. The building's main hall features a central stairwell ornate with bronze medallions cast by Dora de Pedery-Hunt; and circles cut into the stair risers to let in light from the windows above. The stairway spans five floors in total, including two below ground. A 12.8-metre-high (42 ft) stained glass panel in shoe-like shapes sits atop the building's central staircase. The building's leather-clad reception desk is also designed to appear as a shoe from the stairway.


WikiWeb_Museum of Art and Digital Entertainment_0

The Museum of Art and Digital Entertainment (stylized as The MADE) is an Oakland, California, museum dedicated to digital art and gaming, with fully playable gaming exhibits.
Its mission is to collect and curate video games, digital media concept art, and gaming systems, to teach the public about digital art and the process of gaming creation.
The Board of Directors and Board of Advisors are composed largely of veterans of the gaming industry, journalists, experts, and historians of the field. The museum's director is the internationally published technology journalist Alex Handy, with Dr. Henry Lowood, Curator of Stanford University History of Science & Technology Collections and Film & Media Collections serving on the board of directors.
In September 2015, the museum launched a Kickstarter campaign to acquire a venue in San Francisco, California, across the bay.
In June 2022, after being closed for two years due to the COVID-19 pandemic, the museum reopened in a new location in downtown Oakland.


WikiWeb_Titanic Museum (Branson, Missouri)_0

The Titanic Museum Attraction is a museum located in Branson, Missouri on 76 Country Boulevard. It is one of two Titanic-themed museums owned by John Joslyn (who headed a 1987 expedition to Titanic's final resting place); the other is located in Pigeon Forge, Tennessee. The museum holds 400 pre-discovery artifacts in 20 galleries.
Guests step through the artificial iceberg into the museum, and receive a passenger boarding ticket, featuring the name of an actual Titanic passenger and the class on which the passenger traveled. During the tour, guests learn the individual stories of several passengers. At the end of the tour, guests are told whether their ticket holder survived.
Like the museum of Pigeon Forge, the museum's main exterior visual feature is the partial mockup of the original ocean liner. The construction consists of the front half of the ship, including its first two funnels.
In a 2017 episode of the Travel Channel series, Ghost Adventures, Zak Bagans and the crew investigated the museum due to claimed paranormal activities that were apparently traced to actual relics from the shipwreck.


Petersen Rock Garden, formerly Petersen's Rock Garden and also known as the Petersen Rock Gardens, is a rock garden and museum on 4 acres (1.6 ha), located between the cities of Bend and Redmond in Deschutes County, Oregon, United States. Rasmus Petersen, a Danish immigrant who settled in Central Oregon in the early 1900s, began constructing the garden in 1935 using rocks he found within an 85-mile (137 km) radius of his family home. Petersen constructed detailed miniature castles, churches and other small buildings and monuments from a variety of rock types. He incorporated other design elements such as bridges, water features, and natural landscaping. Petersen worked on the garden until his death in 1952; the garden has remained in his family's care since then. The garden, considered a roadside attraction with novelty architecture, includes roaming peafowl and a museum with a gift shop that sells rocks.
In 2011, Petersen Rock Garden was named one of Oregon's Most Endangered Places by the Historic Preservation League of Oregon (now known as Restore Oregon). In 2012, accidental damage to one of the stone bridges by a contractor catalyzed an effort to document the garden using laser scanning and other technologies. The garden was closed temporarily in 2013 to undergo repair and review for listing on the National Register of Historic Places. Petersen has been praised for his creative work, and the garden has received a positive reception for its uniqueness and local significance. Listing on the National Register was achieved on October 30, 2013. The garden closed indefinitely in 2016 because of high repair costs. In June 2022, Petersen was listed for sale.


Petersen Rock Garden, considered a roadside attraction with "eclectic" novelty architecture, is located 3 miles (4.8 km) off U.S. Route 97, 10 miles (16 km) north of Bend and 7 miles (11 km) south of Redmond.
It contains dozens of "fanciful" and "intricately detailed" miniature buildings, including castles, churches and cottages, constructed from agate, jasper, lava, malachite, obsidian, petrified wood and thundereggs.
The 4-acre (1.6 ha) grounds also contain roaming peafowl and a small museum with a gift shop that sells rocks, including crystals, fossils and semiprecious gemstones. The museum features a fluorescent room with miniature castles constructed from manganese, tungsten, uranium and zinc that glow in the dark. Petersen Rock Garden is open every day from 9 a.m. until closing time, which varies depending on the season. Admission was $4.50 for adults, at self-pay stations, as of 2009. It is not a member of the Oregon Museums Association. The price had increased to $6 by 2016.


Rasmus Petersen, a Danish immigrant who settled in Central Oregon in the early 1900s at age 17, began constructing the rock garden on the grounds of his family home in 1935. The "eccentric" farmer used rocks that he found within an 85-mile (137 km) radius. He attempted to evoke his native country with his designs, but also created monuments to the United States, including a concrete American flag and a 7-foot (2.1 m) replica of the Statue of Liberty. Petersen incorporated other design elements such as bridges, water features (lagoons, lily ponds and streams) and natural landscaping. He worked on the garden until his death in 1952; the garden has remained in his family's care since then. A bronze plaque in front of the Statue of Liberty replica reads: "Enjoy yourself: it's later than you think." Petersen's Rock Garden became known as Petersen Rock Garden in the mid-1950s. At its height, supported by traffic from the Old Bend-Redmond Highway, the garden drew approximately 150,000 visitors a year.
The garden is managed and owned by Petersen's grand-stepdaughter, Susan Caward, and her family, who has struggled to maintain the lawns and dozens of sculptures. In 2011, the garden was named one of Oregon's Most Endangered Places by the Historic Preservation League of Oregon (now known as Restore Oregon). The "Endangered Places" program raises awareness of the state's "historic treasures in need of the advocacy and support to save them from demise". According to the League, the deteriorating garden needed "maintenance, a business plan and a publicity campaign to ensure stewardship and funds are available to overcome vandalism, theft, and condition issues". In 2012, a contractor accidentally damaged one of the stone bridges, catalyzing an effort to document the garden using laser scanning and other technologies. The Portland-based company i-Ten measured and archived the site's geospatial data, allowing potential future rebuilding to match the original construction.
The garden was closed from February 1 through May 24, 2013 to undergo repair and review for listing on the National Register of Historic Places. The family and ten volunteers worked for nearly six months to restore the grounds. The cleanup process included the removal of dead vegetation and junk from outbuildings, and an estate sale that included items from before Petersen's death. On May 25, 2013, Petersen Rock Garden hosted its "grand reopening". The opening was attended by members of the Confederated Tribes of Warm Springs, who sang and blessed the garden. Caward has considered opening a cafe on the grounds, and turning the family home into a bed and breakfast. Owen Evans, a friend of the family who has assisted with the restoration, has also envisioned a museum reorganization, a small amphitheater to host outdoor concerts and other events, and additional rock sculptures mimicking Petersen's style.
Petersen Rock Garden was added to the National Register of Historic Places on October 30, 2013. The garden closed indefinitely in September 2016. Caward said closing was necessary because of repair costs and the cancellation of the garden's insurance due to safety concerns. The dilapidated garden was still accessible but remained in a state of disrepair, as of October 2017.


WikiWeb_Tombstone Courthouse State Historic Park_0

Tombstone Courthouse State Historic Park is a state park of Arizona in the United States. Located in Tombstone, the park preserves the original Cochise County courthouse.  The two-story building, constructed in 1882 in the Victorian style, is laid out in the shape of a cross and once contained various county offices, including those of the sheriff, recorder, treasurer, and the Board of Supervisors as well as courtrooms and a jail. Inside, the courthouse contains a museum with numerous artifacts from the town's history while outside, a replica gallows has been constructed in the courtyard to mark the spot where seven men were hanged for various crimes.  The park was one of the first to be designated as a state park and in 1959 was the first to open following the 1957 establishment of the Arizona State Parks Board.


WikiWeb_Tombstone Courthouse State Historic Park_1

Following the 1877 discovery of silver ore by prospector Ed Schieffelin in southeastern Arizona, the town of Tombstone was founded and grew rapidly as miners flooded the area in the hope of finding their fortunes. The town of Tombstone was incorporated in 1879. By 1881 the town had grown to more than 7,000 population; stage robberies were no longer novel events. But more important than the lawlessness, Tombstone miners and merchants had to travel 150 dusty roundtrip miles to Tucson to record mining claims, deeds, contracts, etc. at the Pima County Courthouse. At the time, the area was part of Pima County with the county seat Tucson being a rugged two-day, 70-mile journey away. In 1881, as a result of these incentives, and aided by a shrewd agreement with the Prescott delegation to the Territorial Legislature, the residents of the thriving boomtown voted to separate from Pima County and the territorial legislature subsequently formed a new county, Cochise County.  Cochise county was formed in 1881 from the eastern part of Pima County, and Tombstone became its seat (The Territorial Capital stayed at Prescott rather than moving to Tucson).
A new courthouse was built the following year and housed all of the county's offices. The Sheriff of Cochise County had his office on the ground floor, first door to the right, when the new courthouse was built in 1882. Sheriff John Behan and his successors gradually instilled the idea that the proper arena for conflict was the courtroom upstairs rather than the street. Except for the Earp–Clanton feud, which gave Tombstone an extremely bad press from which it has no interest in recovering, citizens gladly accepted the proffered alternative. The Tombstone courthouse represents a practical solution to the problem of securing lives and property in unorganized or poorly governed territory. It was put into effect quickly, without fumbling by men practiced in the process through their experience in Colorado, Utah, Nevada, where mining rushes had carried them in the past.
Tombstone remained the county seat until 1929, when outvoted by a growing Bisbee, and the county seat was moved there. The last county office left the courthouse in 1931. Except for an ill-fated attempt to convert the courthouse into a hotel during the 1940s, the building stood vacant until 1955. When the Tombstone Restoration Commission acquired it, they began the courthouse rehabilitation and the development as a historical museum that has continued to operate as a state park since 1959. It features exhibits and thousands of artifacts which tell of Tombstone's colorful past.


The museum occupies a building from 1796 which served as the town hall until 1856 when it was replaced with a new building in Købmagergade. Around 1890, an extra storey was added.
The building was completed in 1796 as the Nexøe Vagt (Nexø Guardhouse), manned by four members of the local force. The sandstone used for construction came from Frederiks Stenbrud (Frederik's Quarry) opened in the north of the town in 1754. It replaced an earlier building which had possibly been the venue of the negotiations in 1645 between the Swedish general Carl Gustaf Wrangel and the Danish officers. After serving as town hall until 1856, it was used as a warehouse. The walls were heightened in order to accommodate an additional storey.


The museum opened in 1970. Exhibitions include coverage of the town's maritime past, its German occupation, the Soviet bombing and the Russian occupation after the war. There are documents and artefacts from Nexø's earlier businesses, including its sandstone quarry and the old brewery. The museum also exhibits reconstructions of old fisherman's dwellings.


The National Monument on top of Vítkov Hill in Prague's Žižkov district is one of the most important buildings related to the development of Czechoslovak/Czech statehood.
It includes the third largest bronze rider statue in the world, of Jan Žižka, who defeated Catholic forces led by King Sigismund in 1420 in the Battle of Vítkov Hill. The Monument also includes the Ceremonial Hall, an exhibition entitled Crossroads of Czech and Czechoslovak Statehood, the Tomb of the Unknown Soldier and other exhibition halls.
The Monument was built from 1928–1938 in honor of the World War I Czechoslovak legionaries. After 1948, it was used to promote the Communist regime. Between 1954-1962 it housed the mausoleum of Klement Gottwald. In 2000, the monument was acquired by the National Museum, which conducted a major restoration work. After over two years of reconstruction, the Memorial was opened to the public on 29 October 2009.


In 1918 an independent Czechoslovak state was declared. The state consistently supported activities aimed at maintaining and developing the tradition of foreign legions. The Resistance Monument was established within the Ministry of National Defence in May 1919 as an institution whose role it was to collect written and material memorabilia relating to the resistance. In 1920 the Monument became a separate military institute, with colonel Rudolf Medek as commander. The objective of the Resistance Monument as an institution was to build a structure which would inspire celebration and reverence as well as historical research activities, such as including an archive, library and museum. At that time the Resistance Monument was already cooperating with the Association for the Construction of Žižka's Monument in Žižkov. The two institutions merged in 1926, establishing the Union for the Construction of the Liberation Monument and the Monument to Jan Žižka of Trocnov.
Two art contests were held for the design, the more significant being the second one in 1925, which assumed separate buildings for the Monument. The first building, located on Vítkov hill, was to be a necropolis for prominent representatives of the First Resistance, and the second building at the foot of the hill, now used by the Institute of Military History, was to house the administration and museum. The architect Jan Zazvorka won first prize in the contest.
The construction of the museum at the foot of the hill was launched in 1927 and completed two years later. The construction of the National Liberation Monument commenced in 1928 when the corner stone was laid on the top of Vítkov Hill in the presence of President T. G. Masaryk to mark the occasion of the 10th anniversary of the creation of Czechoslovakia. The shell was completed in 1933 and interior works continued, involving many leading artists.


Sloss Furnaces is a National Historic Landmark in Birmingham, Alabama in the United States. It operated as a pig iron-producing blast furnace from 1882 to 1971. After closing, it became one of the first industrial sites (and the only blast furnace) in the U.S. to be preserved and restored for public use. In 1981, the furnaces were designated a National Historic Landmark by the United States Department of the Interior.
The site currently serves as an interpretive museum of industry and hosts a nationally recognized metal arts program. It also serves as a concert and festival venue. A new visitor center was built 2015 and opened in 2016. The furnace site, along a wide strip of land reserved in Birmingham's original city plan for railroads and industry, hosts thousands of students through their education programs per year. The museum is free to visit during their operating hours of Tuesday-Saturday 10:00 A.M to 4:00 P.M.


WikiWeb_Martin Gusinde Anthropological Museum_0

The Martin Gusinde Anthropological Museum is an anthropology museum in Puerto Williams, Isla Navarino, in southernmost Chile. It is the southernmost museum of the world. The museum hosts artifacts, maps and photographs related to the 10,000-year history of the Yahgan people, as well as European settlers since the 19th century. Samples of local flora and fauna are also displayed, as well as photographs and text from the founding of Puerto Williams.


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Before the museum was founded, archaeological materials from the island's coastal areas as well as objects of historical interest were collected and exhibited in then-Mixed School N°3 of Puerto Williams.
The museum was proposed and built by the Chilean Navy in 1974, which had a base in the area. It was named after Martin Gusinde, an Austrian anthropologist who worked in Tierra del Fuego between 1918 and 1924. The structure is partly built of Alerce wood,


The Nikola Tesla Museum (Serbian Cyrillic: Музеј Николе Тесле, romanized: Muzej Nikole Tesle) is a science museum located in the central area of Belgrade, Serbia. It is dedicated to honoring and displaying the life and work of Nikola Tesla as well as the final resting place for Tesla. It holds more than 160,000 original documents, over 2,000 books and journals, over 1,200 historical technical exhibits, over 1,500 photographs and photo plates of original, technical objects, instruments and apparatus, and over 1,000 plans and drawings.
The Nikola Tesla Archive was inscribed on UNESCO's Memory of the World Programme Register in 2003 due to its critical role regarding history of electrification of the world and future technological advancements in this area.


The Nikola Tesla Museum is housed in a residential villa built in 1927 according to the designs of Dragiša Brašovan, a distinguished Serbian architect. The building was used for various purposes until December 5, 1952, when the Nikola Tesla Museum was founded in accordance with the decision of the Government of the Federal People's Republic of Yugoslavia. Certain items for the museum were shipped from New York City to Belgrade, Yugoslavia, on September 7, 1951, as a result of efforts by Sava Kosanović, Tesla's nephew and closest relative and his attorney Philip Wittenberg.


The Grassi Museum is a building complex in Leipzig, home to three museums: the Ethnography Museum, Musical Instruments Museum, and Applied Arts Museum.
It is sometimes known as the "Museums in the Grassi", or as the "New" Grassi Museum (to distinguish it from the older building with this name, now home to the municipal library).


The museum is named after Franz Dominic Grassi, a Leipzig businessman of Italian descent, who bequeathed over two million marks to the city upon his death in 1880. This helped pay for a number of new constructions, including the Gewandhaus and the Mende Fountain, as well as the "Old Grassi Museum".  Built from 1892-95 on the Königsplatz (now Wilhelm-Leuschner-Platz), this originally housed the Museum of Ethnography and the Museum of Arts and Crafts, and is now the municipal library.


Abramtsevo (Russian: Абра́мцево) is a former country estate and now museum-reserve located north of Moscow, in the proximity of Khotkovo, that became a centre for the Slavophile movement and an artists' colony in the 19th century. The estate is located in the village of Abramtsevo, in Sergiyevo-Posadsky District of Moscow Oblast. The Abramtsevo Museum-reserve site is an object of cultural heritage in Russia.


Originally owned by the author Sergei Aksakov, other writers and artists — such as Nikolai Gogol — at first came there as his guests. Under Aksakov, visitors to the estate discussed ways of ridding Russian art of Western influences to revive a purely national style. In 1870, eleven years after Aksakov's death, it was purchased by Savva Mamontov, a wealthy industrialist and patron of the arts.
Under Mamontov, Russian themes and folk art flourished there. During the 1870s and 1880s, Abramtsevo hosted a colony of artists who sought to recapture the quality and spirit of medieval Russian art in a manner parallel to the Arts and Crafts movement in Great Britain. Several workshops were set up there to produce handmade furniture, ceramic tiles, and silks imbued with traditional Russian imagery and themes.
Working together in a cooperative spirit, the artists Vasily Polenov and Viktor Vasnetsov designed a plain but picturesque church, with murals painted by Polenov, Vasnetsov and his brother, a gilded iconostasis by Ilya Repin and Mikhail Nesterov, and folklore-inspired sculptures by Viktor Hartmann and Mark Antokolsky. Towards the turn of the 20th century, drama and opera on Russian folklore themes (e.g., Rimsky-Korsakov's The Snow Maiden) were produced in Abramtsevo by the likes of Konstantin Stanislavsky, with sets contributed by Vasnetsov, Mikhail Vrubel, and other distinguished artists.


WikiWeb_German Hunting and Fishing Museum_1

Located in the pedestrian zone of the city center of Munich, Bavaria, it is a rare institution worldwide. The building was a church (the Augustinian Church) which was part of a large Augustinian monastery between the 13th century and 1803. The museum has a display area of approximately 3,000 square metres (32,000 sq ft).


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Around 1900, with hunting being at its (last) height of popularity, people asked for a hunting museum. In 1934, the Imperial Hunting Museum (Reichsjagdmuseum) was finally established.
During World War II, most of the objects were saved in Schloßgut Ast near Landshut, Bavaria. All other objects were lost because of looting. After the war, there was a big discussion about the further structure of the Reichsjagdmuseum. In 1958, the year of the 800th anniversary of the founding of the city, the decision in favour of the Augustinian Church was taken. The German Hunting Museum (Deutsches Jagdmuseum) was re-opened on St. Hubert's Day, 3 November 1966.
In 1982, fishing was added as a field of interest, and the museum was renamed the German Hunting and Fishing Museum (Deutsches Jagd- und Fischereimuseum).


The Exploratorium is a museum of science, technology, and arts in San Francisco, California. Characterized as "a mad scientist's penny arcade, a scientific funhouse, and an experimental laboratory all rolled into one", the participatory nature of its exhibits and its self-identification as a center for informal learning has led to it being cited as the prototype for participatory museums around the world.
The Exploratorium was founded by physicist and educator Frank Oppenheimer and opened in 1969 at the Palace of Fine Arts, its home until January 2, 2013. On April 17, 2013, the Exploratorium reopened at Piers 15 and 17 on San Francisco's Embarcadero. The historic interior and exterior of Pier 15 were renovated extensively prior to the move, and are divided into several galleries mainly separated by content, including the physics of seeing and listening (Light and Sound), Human Behavior, Living Systems, Tinkering (including electricity and magnetism), the Outdoor Gallery, and the Bay Observatory Gallery, which focuses on the local environment, weather, and landscape.
Since the museum's founding, over 1,000 participatory exhibits have been created, approximately 600 of which are on display at any given time. The exhibit-building workshop space is contained within the museum and is open to view. In addition to the public exhibition space, the Exploratorium has been engaged in the professional development of teachers, science education reform, and the promotion of museums as informal education centers since its founding. Since Oppenheimer's death in 1985, the Exploratorium has expanded into other domains, including its 50,000-page website and two iPad apps on sound and color. It has also inspired an international network of participatory museums working to engage the public with general science education. The new Exploratorium building is also working to showcase environmental sustainability efforts as part of its goal to become the largest net-zero museum in the country.
The Exploratorium offers visitors a variety of ways—including exhibits, webcasts, websites, and events— to explore and understand the world around them. In 2011, the Exploratorium received the National Science Board's 2011 Public Service Science Award for its contributions to public understanding of science and engineering.


The Exploratorium campus comprises  330,000 sq ft (31,000 m²) of indoor and outdoor exhibit space, and includes 1.5 acres (0.61 ha) of freely accessible public space. The exhibits are housed in and around Pier 15, which extends over 800 ft (240 m) over the Bay.
The Exploratorium at Pier 15 was designed by architectural firm EHDD. The General Contractor was Nibbi Brothers, and the Glazing Contractor was AGA (Architectural Glass and Aluminum). The piers had been neglected for decades leading up to the Exploratorium’s move, and extensive renovation and repair were required. Nearly two thirds of the pilings under Pier 15 were repaired, including almost every piling needed to provide structural integrity, and new pilings were sunk. The removal of the parking lot between the piers was done slowly over the two years of construction, and the debris from the removal was captured and recycled. Several pilings were left in the water between the piers, both for aesthetic reasons and to support future exhibits.
An effort was made in the construction of the new location to preserve the historic elements of Pier 15.  The Bay Observatory was the only new structure added to the site. The east end of the pier was cleaned of lead paint, revealing historic lettering underneath; designers chose to preserve the lettering rather than paint it over. As a result, the traces of the shipping lines that originally frequented the pier can still be seen. Some of the preservation efforts presented challenges in design, however; historic windows created energy losses that had to be offset elsewhere, and the historic interior trusswork was mainly restored rather than removed, meaning that the upper-level staff offices had to be built around them.
Other challenges to the design of the facilities were presented by the museum’s sustainability initiatives. The use of natural light whenever possible challenged exhibit designers relying on carefully controlled light levels; this was solved by using curtains and glare-reducing paint colors. Other conflicts between construction and energy use included the glass in the observatory, which would have presented a problem in cooling the building on warm days. This was overcome by adding fritted glass to the windows in thin horizontal lines through the panes to decrease the transparency without affecting the views. The fritting also makes the reflective surfaces of the Bay Observatory safe for birds.
Pier 15 incorporated two seismic joints as part of its seismic retrofit, one separating the Bay Observatory from the Pier 15 shed and the other separating the entire pier from the land. This second joint ensures that the entire pier will move independently from the land mass in the event of an earthquake, significantly reducing the potential torsional stress. The café at the west end of the Exploratorium is named the Seismic Joint in honor of the joint, that cuts through the area of the building where the café is situated.
The aesthetic of the project was defined as "industrial naval chic" in keeping with the pier’s history.


The Exploratorium relocated from the Palace of Fine Arts to Piers 15 and 17, located between the San Francisco Ferry Building and Pier 39 along the San Francisco Embarcadero, in April 2013. The Piers location was identified by Goéry Delacôte and then-board chairman Van Kasper as a potential space for relocation in 2004.  In 2005, the San Francisco Board of Supervisors passed a resolution exempting the museum’s 66-year lease of the piers from San Francisco’s competitive bidding process due to its unique nature as a cultural and educational institution. Groundbreaking for the project, which required substantial construction and renovation, occurred on October 19, 2010. The Exploratorium holds a 66-year lease on the piers with the Port of San Francisco. Exhibits are currently only viewable at the  Pier 15 campus; Pier 17 houses some staff, with the option for future expansion.
Piers 15 and 17 are historic piers that were constructed in 1931 and 1912, respectively.    In 1954, the area between the piers was infilled and paved over. This infill was removed as part of the construction phase, restoring the space between the piers to public plazas, a pedestrian bridge, and open water.


The Nikolaj Contemporary Art Center (Danish: Nikolaj Kunsthal, formerly (from 2006 - 2010) Kunsthallen Nikolaj and (until 2006) Nikolaj Udstillingsbygning) is an arts centre in Copenhagen which occupies the former St. Nicholas Church (Danish: Sankt Nikolaj Kirke), one of the city's most conspicuous landmarks. It is situated on Højbro Plads a few steps away from Amagertorv and Strøget. The church building is noted for its fanciful Neo-Baroque 90 m (300 ft)  long spire. The tower offers some of the best views of the city centre.


The original church building was constructed in the early thirteenth century and was one of Copenhagen's oldest church.  In 1530, the  Lutheran theologian  Hans Tavsen  (1494–1561) preached the first Lutheran sermon within Copenhagen in St Nicholas Church. The fire of 1795 burned down most of the building, and from 1805, it was no longer an official church. Though church ruins were demolished, the sturdy tower remains standing in the present day. Butcher stalls occupied the area around the tower until the second half of the 1800s when they were closed.
The current building, which opened in 1912, is by a design of the architect, Hans Christian Amberg (1749–1815), representing a modern reconstruction of the destroyed church. The current spire is also a modern reconstruction of the original, financed in 1909 at the initiative and expense of the brewer Carl Jacobsen (1842-1914). He also financed the 1915–1917 repairs.
The tower has served as a naval museum and its attic was at one time a library. It was also the focus of Hans Christian Andersen's drama, Love of Nicolai Tower  performed in 1829 at the Royal Theatre. When the internationally notable Danish sculptor Bertel Thorvaldsen returned to Copenhagen in 1838 after living and working for 40 years in Rome, a flag was hoisted on the tower when his ship approached to alert residents of his arrival.


Lowestoft Maritime Museum is a private museum in the town of Lowestoft in Suffolk, England that is dedicated to local and national maritime history. Its exhibits include maritime artefacts including medals awarded to Royal Navy and RNLI personnel, marine art, the fishing industry in Lowestoft and the town's involvement with the Royal Navy in World War II, shipwrights and coopers tools, an extensive collection of ship models in various scales, the workshop of Christopher Cockerell, the inventor of the hovercraft, and a small display dedicated to Thomas Crisp, a local man who posthumously won the Victoria Cross during World War I. Britain's most easterly museum, it is run by enthusiasts and volunteers and is open to the public from late April to late October each year. The museum was the Suffolk Museum of the Year in 2012 and a finalist in 2014. There is an admission charge.


Forbes Mill is a now-defunct flour mill originally built in 1854 located in Los Gatos, California, which served as the History Museum of Los Gatos after having been saved from destruction in 1982. The museum closed in 2014, and its collections are now part of New Museum Los Gatos. The building is currently owned by the City.
The mill is the first commercial building to be established in the city of Los Gatos. The existing two-story building is actually a storage annex, which was added to the original four-story stone mill building in the fall of 1880.
Forbes Mill was built as the Santa Rosa Flour Mill by James Alexander Forbes, who was born in Scotland in 1805. He came to California in about 1831 and served as Vice-Consul in San Francisco for the British government.
The California Gold Rush gave James the idea to put up a flour mill because there were none in California at the time, and the price of flour was running at $50/barrel. He found a location on Los Gatos Creek that he thought would provide sufficient water power. In 1850, he purchased 2,000 acres (8.1 km²) in the area of the Los Gatos Creek and proceeded to build a mill. In 1853, he raised the money for the construction, borrowing $130,000 from two lenders (including one who charged an interest rate of 3% per month), and in 1854, the mill was built. However, the milling machinery had to be shipped from New York around Cape Horn. Once it arrived, Forbes had trouble installing it, but eventually, the mill started grinding flour on December 1, 1855.
The opening of Forbes Mill was an auspicious moment in the history of the Santa Clara Valley. Built on the site of a Mexican ranch, the mill represented the shift of land ownership from the Californio Dons to the new settlers arriving after the Mexican–American War. The first three stories of the mill were built of stone quarried from the Los Gatos Canyon. The top story was wood, cut from trees in the mountains above Los Gatos. In 1880, an annex was attached to the north wall of the mill building. The town that grew around this building was first called Forbes Mill, then Forbestown, and finally Los Gatos.
Unfortunately, Forbes knew nothing about flour milling. He had built a dam 0.5 miles (0.8 km) upstream on the creek, carrying water via a flume to two 20-foot (6.1 m) high water wheels. However, a 20-foot (6.1 m) high water drop proved to be inefficient, so he had to keep raising the water level. Not only that, but there was also only enough water in the creek to power the mill during the winter months, meaning that the machinery sat idle for much of the year. Furthermore, by the time the mill was in operation, competing mills had been constructed, and the Gold Rush was coming to an end, thus driving flour prices down to a mere $5/barrel.
Besides his outstanding loans, Forbes had also lost a lot of money speculating on wheat and flour and was forced into bankruptcy. He eventually defaulted on his loans, and the mill and land were sold in 1857 to Gustave Touchard, one of his creditors. Forbes continued to operate the mill for Touchard but ultimately was evicted from the property in 1858. Touchard hired others to run the mill, but they did not have much success with it either, although he was able to sell parcels of the land for a small profit.
In 1866, he sold the mill to William H. Rogers, who had previously worked at a flour mill in Detroit and had opened his own Mountain Flourmills (one of Santa Rosa's competitors) in Placerville. He had sold his interest in his company in 1860 and served as postmaster of Placerville and sheriff of El Dorado County until his purchase of now-named "Clifton Mill". His first act was to raise the waterhead to 65 feet (19.8 m), replace the water wheels with turbine wheels, and upgrade the machinery. With his experience, Rogers was able to turn the mill into a profitable operation.
In 1869, he brought in partners WS McMurtry and JW McMillen and renamed the company as the Los Gatos Manufacturing Co. The waterhead was increased to 200 feet (61.0 m), and the company constructed reservoirs to hold enough water to allow for year-round production. With these improvements, the mill was able to produce 100 barrels of flour a day. In 1881, the Los Gatos News wrote, "While other cities and towns may boast of a larger population, for the manufacture of the finest grade of flour known to the markets of the civilized world, Los Gatos Flouring Mills stands preeminent."
It continued as a flour mill until 1887 when it successively became a power plant for the Los Gatos Ice and Power Company, a brewing and bottling company, the Los Gatos Gas Company, and finally the PG&E substation for Los Gatos. The original "Santa Rosa" Flour Mill building was torn down in 1916. The mill remained a storehouse for PG&E until after World War II. It was then abandoned and finally, in 1971, it was revived as a youth center for Los Gatos with live rock music on Friday and Saturday nights.
On June 10, 1950, the California Centennial Commission commemorated the mill's contribution to the State's rich past by designating it as California Historical Landmark number 458. It is also listed on the National Register of Historic Places.


WikiWeb_Kanazawa Yasue Gold Leaf Museum_0

The Kanazawa Yasue Gold Leaf Museum (Japanese: 金沢市立安江金箔工芸館) is a museum about gold leaf in Kanazawa, Ishikawa Prefecture, Japan.


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The museum was originally founded in 1974 by a local craftsman Yasue Takaaki in Kitayasue as a private museum named Yasue Gold Leaf Museum. The museum and all of its artifacts were donated to Kanazawa City Government in 1985 and subsequently renamed to Kanazawa Yasue Gold Leaf Museum. In 2010, the museum was relocated to Higashiyama by the city government due to the area close connection to gold leaf.