New Museum
 New York, NY
SANAA

The New Museum is located on the Bowery at a pivotal geographic and cultural intersection where generations of artists have lived, worked, and contributed to the ongoing cultural dialogue of the nation. The building, a dramatic stack of six rectangular boxes, is clad in a seamless, anodized expanded aluminum mesh to emphasize the volumes of the boxes while dressing the whole of the building with a delicate, softly shimmering skin.
With windows just visible behind this porous scrim-like surface, the building appears as a single, coherent form that is nevertheless mutable, dynamic, and animated by the changing light of day.

The distinctive form derives directly from the architect’s defining solution to the fundamental challenges of their site and an ambitious program, including the need for open, flexible gallery spaces of different heights and atmospheres, that had to be accommodated within a tight zoning envelope on a 71 feet wide and 112 feet deep footprint. 
In order to address these conditions without creating a monolithic, dark, and airless building, SANAA assigned key programmatic elements to a series of levels (the six boxes), stacked those boxes according to the anticipated needs and circulation patterns of building users, then drew the different levels away from the vertebrae of the building core laterally to the north, south, east, or west.


tony gorsevski is an australian based photographer working in the field of architecture and interiors, where his varied perspectives and creations are often assembled and combined to extraordinary effect.

Established in 2008, he has undertaken a number of photographic assignments that range from small to expansive briefs for a variety of architectural and design clients. Offering unique style solutions designed to convey and explore a project’s appeal, concept atmosphere, habitation and it’s subsequent environment.

His images have been used extensively for industry awards and featured online and in print among: Architectural Review Australia, INDESIGN, (INSIDE) Interior Design Review, Artichoke, Design Quarterly, FRAME, Detail, We Heart UK, Arch Daily, Vogue Living Australia, Broadsheet Melbourne, Australian Desktop, Capture and CREATIVE magazine, and recently included in the 2011 publication, Out of The Box.

Selected works have also exhibited at the centre for contemporary photography, melbourne (AUS), musee de lelysee, lussane (CHE), gasworks arts park, melbourne (AUS) and the age melbourne digital fringe festival (AUS)

Please direct all enquiries to:




Telephone: +61 (0) 410 847 133 


Email: tgorsevski@gmail.com

New York Residential Tower, New York NY
FRANK GEHRY & PARTNERS

At 870 feet tall, New York by Gehry is the tallest residential tower in the Western Hemisphere and a singular addition to the iconic Manhattan skyline. For his first residential commission in New York City, master architect Frank Gehry has reinterpreted the design language of the classic Manhattan high-rise with undulating waves of stainless steel that reflect the changing light, transforming the appearance of the building throughout the day. Gehry’s distinctive aesthetic is carried across the interior residential and amenity spaces with custom furnishings and installations.

The Standard Hotel, New York NY
ENNEAD ARCHITECTS LLP

Designed by Todd Schliemann, The Standard is a Le Corbusier–style glass-slab building, floating above the High Line running down Manhattan’s West Side. It harks back to such New York City International Style glass buildings as Lever House and the United Nations. The hotel’s tower is a 20-story structure consisting of two colliding concrete-framed planes of glass curtain wall. From a distance, the building looks like an open book standing on end. The slab tower rests on poured-in-place-concrete pilotis, which hold it, heroically, 56 feet off the ground and 30 feet above the track bed of the High Line.

IAC headquarters 11th Ave New York NY
FRANK GEHRY & PARTNERS

Gehry’s sculpted glass facade tower on 11th Ave. for IAC continues the trend that includes Richard Meier’s two recently completed glass residential towers at Perry at West Sts. and another to rise next to them on Charles St. On Greenwich St. between Spring and Canal Sts., glass facades distinguish an 11-story residential tower designed by Winka Dubbeldam and a 14-story residential tower designed by Gary Handel & Associates. In the works is an 11-story Philip Johnson-designed residential tower with a glass facade at 328 Spring St. at the corner of Washington St. planned by developer Nino Vendome.

100 11th Avenue, New York NY
JEAN NOUVEL

On a curving angle, like that of the eye of an insect, differently-positioned facets catch all of the reflections and throw out sparkles. The apartments are within the “eye”, splitting up and reconstructing this complex landscape: one framing the horizon, another framing the white curve in the sky and another framing the boats on the Hudson River and, on the other side, framing the mid-town skyline. The transparencies are in keeping with the reflections, and the textures of the New York brickwork contrast with the geometric composition of the large rectangles of clear glass.

Guggenheim Museum, New York NY
FRANK LLYOD WRIGHT

In 1943, Frank Lloyd Wright was commissioned to design a building to house the Museum of Non-Objective Painting, which had been established by the Solomon R. Guggenheim Foundation in 1939.

The Solomon R. Guggenheim Museum is arguably the most important building of Wright’s late career. A monument to modernism, the unique architecture of the space, with its spiral ramp riding to a domed skylight, continues to thrill visitors and provide a unique forum for the presentation of contemporary art. In the words of Paul Goldberger, “Wright’s building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.”

Apple Store, Fifth Avenue New York NY
Bohlin Cywinski Jackson

Apple’s second Manhattan retail store is located at 767 Fifth Avenue between 58th and 59th Streets, occupies the underground retail concourse of the General Motors Building, with entry from the plaza level above. Designers Bohlin Cywinski Jackson and structural engineers Eckersly O’Callahan (glass elements) in collaboration with Apple used Apple Stores’ signature structural glass vertical circulation to entice plaza level passersby down to the store’s underground main level.

The 32-foot structural glass cube marking the store’s entrance makes a bold architectural statement. Housing a transparent glass elevator wrapped by a circular glass stair, the transparent cube beckons potential customers down to the retail level below. Visitors descend the glass stair or travel in the all-glass elevator, entering a carefully tailored stainless steel and stone environment where Apple’s products take center stage. Custom-designed wooden store fixtures, stainless steel ceiling and wall panels and an Italian stone floor make an elegant, yet restrained backdrop.

The High Line, New York NY
DILLER SCOFIDIO + RENFRO

The master plan for The High Line, an elevated railroad spur stretching 1.45 miles along Manhattan’s Westside, is inspired by the melancholic, unruly beauty of the ruin today where nature has reclaimed a once vital piece of urban infrastructure, The team retools this industrial conveyance into a postindustrial instrument of leisure reflection about the very categories of “nature” and “culture” in our time. By changing the rules of engagement between plant life and pedestrians, the strategy of agri-tecture combines organic and building materials into a blend of changing proportions that accommodate the wild, the cultivated, the intimate, and the hyper-social. The park is marked by slowness, distraction and an other-worldliness that preserves the character of The High Line.

41 Cooper Square, New York NY
MORPHOSIS ARCHITECTS

Designed by architect Thom Mayne of Morphosis, is the newest addition to The Cooper Union for the Advancement of Science and Art campus. The building, originally known as the New Academic Building, stands on the site where the School of Art Hewitt Building was located. The nine-story 175,000 square feet (16,300 m2) academic center houses the Albert Nerken School of Engineering with additional spaces for the humanities, art and architecture departments. There is also an exhibition gallery and auditorium for public programs and retail space on the ground level.

The structure features unconventional architectural features, including a full-height Grand Atrium, prevalent interior windows, a four-story linear central staircase, and upper-level skyways, which reflect the design intention of inspiring, socially interactive space for students and faculty. In addition, the building’s design allows for up to 75% natural lighting, further reducing energy costs. Other “green” features in the design include servo-controlled external wall panels, which can be swiveled open or closed individually in order to regulate interior light and temperature, as well as motorized drapes on all exterior windows.

STK Las Vegas
The One Group & ICRAVE Design

The One Group’s newest property, appropriately located at the Cosmopolitan Hotel, was designed by ICRAVE with the purposeful intention to redefine the American steakhouse experience by incorporating the vibrant pulse of an upscale restaurant with the soul of a downtown lounge. Gracefully blending the two concepts into one modern steakhouse with a chic lounge. STK Las Vegas uses natural materials to contrast the resort’s urban feel. The facade is contemporary and almost futuristic with organic lines that continue the theme throughout the property.

Droog Las Vegas
Marcel Schmalgemeijer

Droog is an avant-garde Dutch design firm that churns out some of the most inventive (and heavily priced) furniture, that is also typically hard to find. It’s been open for only a month, and is definitely one of the most boggling pieces of the new Cosmopolitan Hotel in Las Vegas. The store has been designed like a light box (inspired by a set from 2001: A Space Odyssey) that sits in prime, street-level space right at the Strip entrance to the resort.

Walt Disney Concert Hall
FRANK GEHRY & PARTNERS

Designed by architect Frank Gehry, Walt Disney Concert Hall, is the home of the Los Angeles Philharmonic, and was designed to be one of the most acoustically sophisticated concert halls in the world, providing both visual and aural intimacy for an unparalleled musical experience. From the stainless steel curves of its striking exterior to the state-of-the-art acoustics of the hardwood-paneled main auditorium, the 3.6-acre complex embodies the unique energy and creative spirit of the city of Los Angeles and its orchestra.

Edithvale Wetlands Discovery Centre
MINIFIE VAN SCHAIK

The Edithvale Seaford Wetlands Centre, for Melbourne Water, is perched overlooking the Edithvale wetlands. These transient wetlands, a remnant of the once extensive and ecologically rich Carum Carrum swamp, is now recognised by a RAMSAR listing of being of international significance.

The discovery centre will provide an interpretive experience for visitors to understand the vital and complex history and workings of this urban wetland in general, and it’s role in the water-cycle in particular.

This centre stands pelican-like above a constructed wetland rendering it safe from flood waters. A long ramping approach allows the visitor to journey upwards for a view of the wetlands. Entry is through an airlock comprised of a sculpted internal water storage.

The glazing has been carefully designed to minimize vision into the building, and raked to ensure that external reflections are always of the ground, never the sky lest birds terminally confuse reflection for reality. An internal stair leads visitor directly from the exhibition space to a face to face greeting with the phragmites and diverse wildlife within the fenced wetlands boundary.

The building has many innovative ecological design features. Solar panels, heat-pumps, floor-grate supply and passive extraction, double glazing, motion controlled lighting, high levels of insulation and thermal mass together allow building operations to approach carbon neutral. Combined with a composting sewerage system and an internal water storage, the building will attract an equivalent 6 Green Stars.

The Crystals, Las Vegas NV
DANIEL LIBESKIND

The Crystals is a retail district with a total area of 500,000 square feet- This retail and entertainment district features high-end retailers, fashionable clubs, gourmet restaurants, galleries, incidental offices and support areas. Studio Daniel Libeskind was commissioned the architectural design of CRYSTALS retail and public space by Adamson Associates as part of the City Center construction project.

CRYSTALS seems like a crystaline solid arranged in an orderly repeating manner from all three spatial dimensions. The architectural style of this building follows the “rules” of deconstructivism which is a development of postmodern architecture. Although there typically are no “rules” in architecture to classify a building to a style, the term “deconstructivism” has stayed and is used to incorporate a general trend within contemporary architecture.