Get SAW feet For bookings phone +61 2 8239 2211 |
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D O W N L O A D S |
| SAW dates & map [1MB] |
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S A W F E E T |
| our content is historically informed, our context contemporary. if a work of architecture or art addresses the world in a sustainable way, we draw attention to it. if it provokes, we take note. like detectives gathering evidence in a confused and elusive landscape, we tell the stories and explain the concepts behind the concrete shells, glass skirts and sandstone facades that define sydney's urban landscape. |
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R I C E S |
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$25 / $20 (concession & hht members). this includes entry to the museum of sydney.
see tour dates
for timetable and booking info |
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R O U P S |
| click
here for information on group or special walks |
| R
E V I E W S |
| here's a chance to remember how vivid and exciting sydney can seem. recommended, three hats [Sydney Morning Herald] |
| the
inside info; the personal lives, the trivia, and genius insights are
all tantalising. check out SAW for inspiration as an architect, tourist,
or as a young artist trying to get your own act off the ground. they
set a great example [ABC] |
| this piece of urban theatre... a 2 1/2 hour walking narrative taking in the city's design icons... is perhaps the most innovative of australia's architecture tours [The Australian] |
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| a flaneur is a stroller, a loiterer, someone who ambles through a city without
apparent purpose but is secretly attuned to the history of the place
and in covert search of adventure, aesthetic or erotic [edmund white | the flaneur| 2001 - bloomsbury publishing plc] |
| cities
have the capability of providing something for everybody, only because,
and only when, they are created by everybody [jane jacobs] |
| what
the map cuts up the story cuts across [michel decerteau] |
the
city fosters art and is art. the city creates the theatre and is the
theatre. |
| so
a city comes to be regarded as a person with all its idiosyncracies +
little weaknesses, its strengths + power. [alan birch | 1962] |
| imagine
our city as some living tapestry where the landform is the warp and the
constructed elements the weft. through time it develops a sense of oldness
and charm. things only become truly beautiful with appreciative use [richard lelastrier] gold medallist's speech | 1993] |
| as
debard has written, if you set off on a derive
in the right frame of mind you will certainly end up in the right place. [francesco careri | walkscapes] |
| for
this is how we experience this sydney place; from oblique angles and in–between spaces; from the edges of sydney’s ever–shifting shapes, shadows and moods. its palimpsest layers, fragments of the unbuilt and the unbuildable; its sensuous materiality of rich textures highlighted by the shifting patterns of Sydney light and shade; its strange wounded beauty of rawness, toughness and even carelessness about its fragile nature and the scars and stains of weathering past lives and tempests. [dr. peter emmett ] |
| A story should have a beginning, a middle, and an end... but not necessarily in that order. [Jean-Luc Godard] |
| ideas come from everywhere [alfred hitchcock] |
living
in cities is an art, and we need the vocabulary of art, |
