Jen Carlson reports for Gothamist: Loew's Kings Theatre In Brooklyn Will Reopen Next Year.
Last year, it was announced that the Loew's Kings Theatre in Flatbush, one of the five grand "Wonder Theatres" in New York and New Jersey, was going to be restored to its former circa-1929 glory.
A look inside at the time showed the current state of beautiful decay and abandonment, and all that potential. Now after being shuttered for nearly four decades, it will reopen in January 2015, restored to its original grandeur and "with sumptuous interiors inspired by the Palace of Versailles and the Paris Opera House." From yesterday's announcement:
"The Kings Theatre will serve as both a cultural and economic cornerstone for the Brooklyn community, presenting more than 200 performances annually—including music, dance, theatre, and comedy—providing a resource to foster and support creativity in the area, creating jobs and attracting thousands of visitors to the neighborhood."
The space will become "the largest theatre in Brooklyn with over 3,000 seats."
Meanwhile, at the other old Loew's, there's hope the New Jersey one will also be restored, but the one on Canal Street still is still just deteriorating. Click here for more photos.
Jeremiah Budin reports for Curbed: Construction Starts Back Up on Battery Maritime Building.
The Dermot Company's plan to put a glassy $150 million hotel addition on top of the historic Battery Maritime Building stalled in 2009 after they weren't able to secure financing. Now, although there's no official word from the developer, Downtown Post has noticed that construction is underway atop the existing century-old ferry terminal, which was restored by the New York City Economic Development Corp. in 2005. Dermot, along with the Poulakaos family restaurateurs, signed a 99-year lease on the building in 2012.
The design is presumably the same one that was provided in 2007-2008, after a long back and forth with the Landmarks Commission, by Rogers Marvel Architects, which his since split (amicably) into Marvel Architects and Rogers Partners, both of whom display the rendering of the hotel addition on their respective websites. A spokesperson for Marvel told Downtown Post, "Marvel Architects executed the design to obtain federal tax credit.
We have not been involved in the Battery Maritime Building project since those credits were obtained." Ismael Leyva and interior designers I©RAVE are also supposed to be involved.
Katie Watkins reports for Archdaily: Five Firms Selected for Final Stage of Sydney Art Gallery Expansion.
Art Gallery of New South Wales.
Five practices have been selected to move on to the second stage of the Sydney Modern Project, a $450 million expansion of the Art Gallery of New South Wales (NSW). Of the twelve firms invited to participate in the competition, the five that will advance are: Kazuyo Sejima + Ryue Nishizawa / SANAA; Kengo Kuma & Associates; Kerry Hill Architects; RMA Architects (Rahul Mehrotra Architects); and Sean Godsell Architects.
“The Sydney Modern Project will link the existing gallery with a new building featuring dynamic spaces for major exhibitions and collection displays, a multipurpose theatre, learning and interactive spaces and expanded restaurant, cafe and event spaces,” said Guido Belgiorno-Nettis AM, President of the Gallery’s Board of Trustees. “Importantly, it will also deliver badly needed operational improvements. The Sydney Modern Project will provide a facility that competes globally for audiences and adds to the uniqueness of our beautiful city in both form and function.”
Each of the twelve firms invited to participate in the competition submitted a high-level concept for the project, which was judged anonymously by the Sydney Modern Project Jury. The Jury aims to select a winning design in April.
Christopher Gray reports for The New York Times: Down the Block, Deep in the Stacks. Nearly 30 Years of Documenting New York.
Michael Sterne, then the Real Estate editor of The New York Times, conceived of the Streetscapes column in 1986, and paid me the compliment of hiring me to write it. Now, with my final column, it may be appropriate to present an apologia for what I hoped to do, and what I have done.
The landscape of local history, particularly the history of buildings, was pretty bare in 1975, when I was fresh out of Columbia’s School of General Studies. Rather than take up the work of a poet or a cabdriver, I decided to go for the big money: architectural history.
Traditionally, the field had been restricted to the tour bus monuments that academics studied for years at a time: the Duomo in Milan, the United States Custom House in New York — maybe even, for the adventurous academic, the Chrysler Building. To me, these did not capture the essence of the city. It was the little dead ends, the deserted loft districts, the old ethnic clubs — these were what were interesting.