The latest news on New York architecture.

  • Five firms selected for Stage 2 of design competition to expand the Art Gallery of New South Wales

    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.

    News via Art Gallery NSW  

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  • Streetscapes says its goodbye after 30 years

    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.

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