Pins zu tag:Opening

Theatercaféen opened in 1900 across the street from Oslo's National Theatre and became the room where Norwegian actors, writers and politicians ate after curtain - a Viennese-style café with a gallery, caricatures of its regulars on the walls and live music from a balcony.

Swan Oyster Depot opened on Polk Street in 1903 and has run more or less continuously since, pausing only to rebuild after the 1906 earthquake. It is barely a restaurant - a marble counter with about eighteen stools, no tables, no kitchen to speak of - and has been run by the same family for generations, serving the same short list of cold shellfish.

Adriano Telles opened A Brasileira in 1905 to sell Brazilian coffee by the sack, gave cups away to persuade Lisbon to drink it, and ended up with the café that the city's writers colonised. Fernando Pessoa sits in bronze at a table outside it.

Joe's opened on Miami Beach in 1913, before the causeway, and built itself around a shellfish nobody was eating: the stone crab, whose claws regrow, served chilled with mustard sauce. It closes for the summer when the season shuts and takes no reservations, which has not thinned the queue in a century.

Hulda Zumsteg took over the Kronenhalle in 1924 and ran it for half a century, taking paintings in part payment and hanging them where the diners sat - so the walls now carry Chagall, Miró, Picasso and Matisse above the tables where Joyce and Giacometti ate.

Reuben Schwartz opened his delicatessen on Saint-Laurent Boulevard on 31 December 1928, and it has smoked brisket the same way since - dry-cured with no nitrates, ten days in the cure, served hand-cut on rye. The queue outside the narrow room is a Montreal fixture.

Frank Gordy opened the Varsity in 1928 beside Georgia Tech, and it grew into what it still calls the world's largest drive-in - two blocks of car park, a counter shouting What'll ya have, and chili dogs, onion rings and Frosted Orange by the ton on a football Saturday.

Pat Olivieri's stand at Ninth and Passyunk began selling chopped beef on a roll in 1930, which is the origin story the cheesesteak is usually given. The corner now holds it and its rival Geno's on opposite sides of the street, both open around the clock.

The Savoy opened on 3 June 1937 on the top floor above the Esplanade, with an interior by Alvar and Aino Aalto - the room the Savoy Vase was designed for, and the one Mannerheim ate in often enough to leave his vorschmack on the menu permanently.

Aragvi opened on Tverskaya Street in 1938 and became the Georgian restaurant of Soviet Moscow - a table for the nomenklatura and their guests, said to have been founded under Beria's patronage, with frescoed cellars beneath the street. It has since closed.

Bar Brahma opened in 1948 at the corner of São João and Ipiranga, the crossing Caetano Veloso later sang about, and became the bar where São Paulo's journalists, politicians and musicians drank in the same room. It closed once, reopened under another name, failed, and came back as Bar Brahma again.

Peter Canlis opened his restaurant in 1950 on the slope above Lake Union, in a post-and-beam pavilion of glass and stone that became a landmark of north-west modernism, and it has stayed in the family. Its kimono-clad service and copper-fired charcoal grill were both unusual for an American dining room of the period.

Yang Bing-yi founded Din Tai Fung in Taipei in 1958, first as a cooking-oil retailer and then as a dumpling house when the oil business failed. Its xiaolongbao, pleated to a standard count of folds, turned a single shop on Xinyi Road into a chain across Asia and the United States.

Harry Barberian opened his steak house on Elm Street in 1959, in a row of Victorian houses behind Yonge Street, and it has outlasted most of what grew up around it - a dark room of oil paintings and charcoal-grilled beef with one of the deepest wine cellars in Canada dug out beneath it.

Alice Waters opened Chez Panisse in 1971 with the film producer Paul Aratow, in a house on Shattuck Avenue, and in doing so more or less founded what came to be called California cuisine: a short menu set by what the farms around the bay had that week rather than by a fixed carte. The block it stands on is now known as the Gourmet Ghetto.

Gilbert Lau opened Flower Drum on 26 May 1975 in Melbourne's Chinatown and spent the following decades making the case that Cantonese cooking belonged at the top of Australian fine dining rather than in a separate category of it. It has been a fixture of the city's restaurant lists ever since, on Market Lane.

The first Spago opened in 1982 on the Sunset Strip and made Wolfgang Puck a name outside kitchens, largely by putting the wood-fired pizza oven where the dining room could see it and topping the pizzas with smoked salmon rather than tomato. The restaurant later moved to Beverly Hills, where it still trades, and the brand grew into a group.

Cafe Batavia opened in 1993 in the second-oldest building on Jakarta's old town square, a Dutch colonial house restored as a restaurant, with teak floors, ceiling fans and walls papered in old portraits. It faces the former city hall across the cobbles of Fatahillah Square.

Enrique Olvera opened Pujol in 2000 and spent the next two decades turning it into the restaurant that taught the fine-dining world to take Mexican cooking seriously - most famously through a mole kept going and re-fed for thousands of days, served as a ring of sauce around a younger one. It has been a fixture of the World's 50 Best list for years and moved to its present Polanco address, a courtyard house with a tasting counter, in the 2010s.

Seiji Yamamoto opened RyuGin in Roppongi in 2003 and used it to argue that kaiseki could be taken apart and rebuilt with modern technique without ceasing to be kaiseki - a position that made it the Japanese restaurant most often named on international lists. It has since moved to Hibiya, where it holds three Michelin stars.

Jungsik Yim opened Jungsik in Seoul in 2009 with an argument to make: that Korean cooking belonged in fine dining on its own terms rather than as a set of borrowed French techniques. The restaurant went on to hold two Michelin stars in Seoul and opened a New York sibling that earned three, making it one of the few Korean names to carry that weight abroad.

Julien Royer opened Odette in 2015 in the National Gallery Singapore, the former Supreme Court and City Hall converted into a museum, and named it after his grandmother. It became the highest-ranked restaurant in Singapore on the Asia's 50 Best list and one of the city's three-star addresses, cooking a French menu built around named producers.

LACMA's permanent collection moved into a new home on 19 April 2026: a 275-metre curved building of glass and concrete that steps over Wilshire Boulevard on splayed piers, lifting 10,220 square metres of galleries some nine metres above the street. It completes a campus rebuild two decades in the making, replacing four of the museum's ageing buildings with a single level where the collection is shown without a fixed route through it.

George Lucas' Museum für narrative Kunst öffnet am 22. September 2026 im Exposition Park für das Publikum – nach einer Bauzeit, die den ursprünglichen Termin um Jahre überschritt. Es widmet sich dem Erzählen als Kunstform – Illustration, Comic, Film und Malerei nebeneinander – statt einem einzelnen Medium und liegt neben dem Natural History Museum und dem California Science Center im Museumsviertel der Stadt.

London's city museum reopens on 28 November 2026 under a new name and in a new home: the derelict General Market beside Smithfield's meat halls, a Victorian market building left empty for decades and now rebuilt around its own ironwork and glazed dome. The move ends the institution's run at London Wall, where it had been hemmed in by a roundabout and reached by a walkway, and puts it at street level in a market that has traded on the site since the twelfth century.

Twenty years after it was announced, the Guggenheim Abu Dhabi opens on 11 December 2026 as the largest museum in the Guggenheim family - about 80,000 square metres, against roughly a quarter of that in New York. Frank Gehry arranged it around a single tall atrium with galleries threaded between ten sculptural cones, nine sheathed in stainless steel mesh and one in onyx and glass, so the roofline reads as a cluster of towers from across the Culture District.