The glass curtain wall facing Castlereagh Street has been relocated about one meter from the street, and the lobbies themselves have noticeably reduced in size, although they still benefit from 13m high ceilings.
The glass curtain wall facing Castlereagh Street.
Lined with over 3000 round shape plywood, ranging in width from 220mm to 300mm, there is a level of texture and depth often not achievable with large expanses of marble.
“We wanted to spread the western light from Castlereagh Street,” Matovic said. “Previously, the sun would fall through the glass and create a greenhouse for the coming.”
Matovic worked closely with Studio MG lighting specialists to ensure an exceptional level of craftsmanship. A series of linear LEDs are integrated to achieve a high quality of light.
At ground level, some of the marble walls have been replaced and are now lined with wood. Curved number to create a subtle backdrop for a new café in the foyer of Elizabeth Street, as well as framing a new reception desk in Castlereagh lobby, made of the same stringy bark wood but stained black.
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Aeta Studio was also careful to create a softer, more welcoming feel with access to both entrances, so each form of plywood includes acoustic insulation to absorb the traditional city hum of passing traffic.
“Our clients loved the idea that entry would be no different than entering a cathedral, and a sense of the other world,” Matovic said.
The architect was not only interested in celebrating locally grown timber and artisans, but also local talent, particularly furniture manufacturers such as Jardin and Koskela.
There are coordinating groups of furniture for the lounge areas, and these pieces are raised on slightly raised plinths to create a level of division between the hallway and the ancillary areas.
One notable feature is the large John Coburn tapestry in Elizabeth Street foyer which was previously relegated to a side wall and has not always gone unnoticed. Woven in France by one of Australia’s leading artists, it is now a decent work of art.
For Matovic, designing the award-winning fixtures came with challenges not unlike introducing a three-story, wood-lined home into the company’s environment.
“Each circle of the plywood loops had to fit neatly, with zero tolerance of getting it just right,” he said—not unlike the placement of each stitch in the highly intricate Coburn fabric.
Stephen Craft is a specialist in contemporary design, including architecture, furniture, fashion, and decorative arts.
Originally published at Melbourne News Vine
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