09
MIX SEVEN
What inspires distinctive design and high quality architecture? It starts with years of research, innovation and creative development; behind which sits a body of work and a world of influences. A studio culture, its processes and people — designers, clients and users — are united in a story of evolution. Journal is a selection of Bates Smart’s projects from the recent past and some still in progress. Here we share our passion and commitment to delivering high quality, commercially astute, projects of excellence.
www.batessmart.com/journal/
PICTURED
The Club Stand, Flemington, sketch Cover: 2 Bligh Street, Sydney, faรงade
JOURNAL/ISSUE 09 02 UNRIVALLED EXPERIENCE The Club Stand Flemington
40 ACTIVITY-BASED Latitude Melbourne
12 VERTICAL VILLAGES 105 Phillip Street Parramatta
42 DISTINCTLY SCULPTURAL Opéra Melbourne
16 BEAUTY & CRAFT 85 Spring Street Melbourne
46 TIMBER CAMPUS Innovation Campus University of Technology, Sydney
22 ALTERED IMPRESSION 2 Bligh Street Sydney
48 WARMTH & TRANQUILLITY ANA Crowne Plaza Hotel Kobe, Japan
24 BRILLIANCE RESTORED T&G Building, 161 Collins Street Melbourne 28 TOP END LUXURY Westin Hotel Darwin
50 REINSTATING GRANDEUR Illoura House Melbourne 54 CYLINDRICAL SKYLINE 77 Market Street Sydney
30 BUILDING A LEGACY An Essay
56 MODERN & EASY Novotel Darling Square Sydney
36 BRONZE TOWER 505 George Street Sydney
58 FUTURE LEARNING Modular Classroom NSW Schools 60 REVITALISED PRECINCT Jam Factory South Yarra
THE CLUB STAND, FLEMINGTON
UNRIVALLED EXPERIENCE A unique raceday experience and new icon for Flemington
THE CLUB STAND FLEMINGTON Flemington Racecourse is home to Australia’s most renowned horse racing carnival, including the Lexus Melbourne Cup, commonly referred to as ‘the race that stops a nation’. Recently completed for the Victoria Racing Club, the new $128 million Club Stand, provides a unique raceday experience, premium hospitality offerings and greatly enhanced visibility of the track for members. The racecourse’s garden setting, particularly its celebrated roses, provided some of the initial inspiration for the sweeping curvilinear design. Kristen Whittle, Design Director explains, “The thoughtful and elegant design takes inspiration from Flemington’s iconic rose garden beds. The seamless form of the building with operable glass façades allows the distinction between the interior and exterior spaces to dissolve creating an immersive, ‘in-the-round’ experience for members.” The new five-level stand occupies nearly the same footprint as the former, but with increased capacity. The 360-degree panorama capitalises on the energy of raceday, with outlooks towards the Racetrack, the Mounting Yard, Members Lawn, Parade Ring, Day Stalls, Betting Ring, and Winning Post.
According to Kristen, “Natural light, panoramic views and the unparalleled transparency of the building fabric creates a palpable physical lightness and offers a genuine theatre-like experience of the track.” Thirteen different hospitality venues, including the iconic Roof Garden, provides an unrivalled raceday and events experience. Celebrating the lineage of The Club Stand was of vital importance. Interior Design Director, Jeffery Copolov explains, “We imbued our design with sophisticated references to the history of the racecourse and the Victoria Racing Club, while at the same time championing its evolution and future. A timeless palette has been applied to create an elegant backdrop that speaks to The Club Stand’s rich and proud heritage. Onto this canvas we have amplified each individual venue with a distinct and diverse personality to appeal to the varying aspirations and needs of the members.” Bespoke and artisanal pieces, including a curated collection of artwork and memorabilia are incorporated throughout the interior design, while distinctive carpets inspired by raceday fashions and traditional fine tailoring textiles feature within each venue.
The curvilinear form of the building creates an immersive, ‘in-the-round’ experience for members.” KRISTEN WHITTLE Director, Bates Smart
PICTURED
The Club Stand, lobby Opposite page: The Club Stand, design process
ISSUE 09/07
“The Club Stand is a confident expression of the VRC’s belief in our future growth and prosperity. It is a game changer for us.” AMANDA ELLIOTT Chairman, Victoria Racing Club ISSUE 09/08
PICTURED
The Club Stand, The Members Bar Opposite page: The Club Stand, The Dining Room
ISSUE 09/09
MUMM CHAMPAGNE BAR The Mumm Champagne Bar provided a unique opportunity to create the first of its kind in the southern hemisphere.The design team travelled to Mumm’s Chateaux in Reims, France to learn about the heritage of the celebrated Maison and the art of methode champenoise. The knowledge acquired has been cleverly incorporated into the design, with a towering, celebratory display of gold magnums referencing the art of making champagne.
An audacious, suspended red ribbon floats over the sculptured bar, weaving its way through the space and acting as both a brand statement and custom light fitting. The unique carpet was designed using in-house 3D parametric modelling, so that no single pattern repeats. It flows through the space as a dynamic, seemingly everchanging artwork, mirroring the energy and ethos of the Mumm brand.
PICTURED
ISSUE 09/10
The Club Stand, Mumm Champagne Bar Opposite page: The Club Stand, Bluegrass Bar
“We have amplified each individual venue with a distinct and diverse personality to appeal to the varying needs and moods of the members.� JEFFERY COPOLOV Director, Bates Smart ISSUE 09/11
105 PHILLIP STREET PARRAMATTA
VERTICAL VILLAGES A new commercial building provides a vertical village workplace
105 PHILLIP STREET PARRAMATTA Located in the heart of Parramatta’s business district, the new 12-storey commercial building is part of a larger vision for the regeneration of the Phillip Street precinct. Designed to be the new headquarters for a government agency, the 30,000 square metre building, provides a flexible, contemporary and environmentally sustainable workplace. Situated close to excellent public amenity, as well as the Parramatta transport interchange and ferry terminal, the new building re-activates the streetscape along Phillip Street, and provides an important pedestrian thoroughfare. Simon Swaney, Managing Director, explains, “A new landscaped link between Phillip and George Streets extends the local laneway network and connects the precinct with the riverside.” Taking into consideration the brief to provide large 2,000 square metre floorplates, the design is separated into an upper glazed volume and a strong colonnade podium. The podium continues the streetscape rhythm of the adjoining buildings and delivers a legible entry to the building. The glazed façade is distinguished by vertical fins which provide shading to the north, and vertical spandrels which reduce the solar gain on the east and west façades. The building’s cantilever to the east shelters the pedestrian link from George Street. Rather than one continuous atrium, the design incorporates an atrium every three floors. This helps establish contained vertical villages and provides a sense of community via inter-floor connectivity and increased natural light. According to Simon, “Spaces throughout the building promote opportunities for social and informal connections between staff.” The most notable being the rooftop terrace, which includes a soccer pitch alongside generous amenities and landscaped outdoor seating, all of which can accommodate a variety of uses.
PICTURED
105 Philip Street, sketch 105 Philip Street, exterior 105 Philip Street, lobby & mezzanine 105 Philip Street, concierge 105 Philip Street, street entry Opposite page: 105 Philip Street, façade
“Spaces throughout the building promote opportunities for social and informal connections between staff.� PICTURED
105 Philip Street, mezzanine reception 105 Philip Street, reception desk 105 Philip Street, roof terrace soccer pitch 105 Philip Street, interconnecting stairs Opposite page: 105 Philip Street, vertical village
SIMON SWANEY Managing Director, Bates Smart
85 SPRING STREET MELBOURNE
BEAUTY & CRAFT An enduring, sculptural tower, celebrating materiality and craftsmanship
85 SPRING STREET MELBOURNE The concept for the mixed-use development at 85 Spring Street, for developer Golden Age Group, centres around materiality and craftsmanship. Occupying an L-shaped site, connecting Spring Street to Little Collins Street, the project incorporates both luxury residences and a premium hotel. “Our brief was to create an enduring, emblematic highend development, that would set a new benchmark within Melbourne,” comments Kristen Whittle, Director. The design process began with an investigation of the location and an awareness of the abundant use of stone, both in the nearby significant nineteenth-century buildings and statues. This influenced the decision to use concrete as the fundamental building material, as Kristen explains, “We wanted to work with a strong material, akin to stone, to provide the building with a similar sense of permanence.” The response is a sculptural tower, distinguished by beautifully stacked concrete frames. Particular thought was given to the edges of the concrete and the frame’s highly-refined junctions, with the detailing considered comparable to an artisan piece of furniture or joinery. The geometry and materiality of the façade extends inside, creating a unified language between the exterior and interior, but also providing a framing device which when combined with low-iron glass, helps to optimise the views outwards. As Kristen explains, “We are interested in using architecture to frame views.” The striking entrance to the residential building is distinguished by three stacked, trapezoid-like shapes and a 15-metre cantilever of the building over the public realm. According to Kristen, “The podium is designed to be highly symbolic, and unlike most towers, the architecture is amplified at the lower levels.” The theme of craftsmanship permeates throughout the interior design of the 138 apartments. A unique cantilevered stone island benchtop echoes the architectural expression of the building. It is complemented by customised tapware, in a specialised electroplated finish, and twisted cabinet handles, with a distinctive folded flat metal plate, which are similarly inspired by the façade. The hotel façade, facing the laneway, is treated differently to the residential tower. The design team undertook research with local brickmakers, to create a bespoke brick for the project. “A handcrafted brick creates texture and warmth to the hotel and laneway façades. Each brick is handcrafted and sculptural. These are arranged to create a textured façade,” explains Kristen.
PICTURED
85 Spring Street, skyline 85 Spring Street, façade detail 85 Spring Street, podium Opposite page: 85 Spring Street, exterior
“Our brief was to create an enduring, emblematic high-end development, that would set a new benchmark within Melbourne, celebrating materiality and craftsmanship.” KRISTEN WHITTLE Director, Bates Smart
“Akin to a beautifully curated art gallery, a calm and neutral palette has been selected to complement the residents’ own collection of art and furniture.” JUSTIN GALLAGHER Associate Director, Bates Smart
PICTURED
85 Spring Street, kitchen 85 Spring Street, design process Opposite page: 85 Spring Street, sink detail 85 Spring Street, handle 85 Spring Street, kitchen 85 Spring Street, bathroom
2 BLIGH STREET SYDNEY
ALTERED IMPRESSION A new faรงade transforms the tower into an A-grade office building
ISSUE 09/22
2 BLIGH STREET SYDNEY Situated in the heart of Sydney’s financial district, the mid-rise commercial tower at 2 Bligh Street has undergone a complete overhaul, transforming from a dilapidated 1950s building into an environmentally sustainable A-grade office building. The tower’s harbour views and location suggested the building had the potential to return to a premium office tower, but this was compromised by a dated façade and poor street presence. The refurbishment addresses these shortcomings through the design of a completely new façade, updated building services and the creation of an improved entry and lobby. The new façade achieves geometric clarity via floor-to-ceiling glazing and prominent vertical and horizontal banding, amplifying the building’s structural frame.
Importantly, the new glazing extends to the site boundary, increasing the typical office floorplate and allowing for more daylight to penetrate the workspaces. Overall, this makes the building more attractive to prospective tenants. The redesign of the main entry introduces a new glass canopy, which creates a more prominent address for the tower. The lobby upgrade incorporates quality finishes and ambient lighting, while the new full height windows at street level, reinvigorate the ground floor retail spaces. At the same time, the upgrade focused on environmentally sustainable design, transforming the building into a more energy efficient workplace achieving a 4 Star Green Star rating.
PICTURED
2 Bligh Street, exterior 2 Bligh Street, lobby Opposite page: 2 Bligh Street, streetscape
ISSUE 09/23
T&G BUILDING, 161 COLLINS STREET MELBOURNE
BRILLIANCE RESTORED Contemporary workspaces and a signature atrium provides a new city destination
T&G BUILDING, 161 COLLINS STREET MELBOURNE Completed in 1928, the T&G Building at 161 Collins Street is considered one of Melbourne’s most beautiful buildings. Occupying a significant corner address on Collins Street, Russell Street and Flinders Lane, the building has undergone a number of major alterations over the years. Appointed by the international real estate advisor Pembroke, this project involved an extensive building upgrade in order to ensure it would be able to meet the demands of the contemporary workplace. The design began with an examination of traffic flows throughout the building, including both pedestrian and vehicular. Flinders Lane, now an important laneway destination within Melbourne, was previously the site for the carpark entry, with highly compromised pedestrian access. The design team made the bold decision to relocate the car park entry from Flinders Lane to Russell Street, in order to create a new pedestrian entrance and meaningfully connect the building with Flinders Lane. This move allows a walkable route through the building from Collins Street to Federation Square, via Melbourne’s famous street art laneway, Hosier Lane. Tim Leslie, Studio Director, explains, “We applied a people-centric approach as we sought to unravel the myriad of physical and visual obstructions that had been added to the building since the 1920s. The site was carefully reconfigured to provide pedestrians with an inviting and engaging experience.” The main entrance along Collins Street was also reconfigured to be more distinct. The heart of the project is the redefined atrium, which has been transformed into a tenant focused working lounge, with a range of different seating settings. Grant Filipoff, Associate Director, notes, “The signature space is the central atrium which creates a semiprivate oasis; a true destination for people to gather, relax and engage while enjoying an abundance of natural light.” The expansive 4,000 square metre floorplates and excellent amenities have attracted a range of high-calibre tenants from a variety of sectors.
PICTURED
161 Collins Street, patterned canopy linings 161 Collins Street, exterior 161 Collins Street, Collins Street entry 161 Collins Street, internal street
1929
The T&G Building was built in several stages. The original building was constructed in 1928-29. It was a long narrow building of ten-storeys, with a distinctive T&G tower at each end.
1939
The Collins Street wing of the building was extended to the west.
1959
The building was further extended to the south, and included a return on Flinders Lane.
1990
A new building extended the existing building to the west. A new main entrance fronted Collins Street. An internal atrium was introduced. External heritage features retained, with the reinstatement of some internal features.
ISSUE 09/25
“The signature space is the central atrium which creates a semi-private oasis; a true destination for people to gather, relax and engage while enjoying an abundance of natural light.” GRANT FILIPOFF Associate Director, Bates Smart
PICTURED
161 Collins Street, atrium
ISSUE 09/27
WESTIN HOTEL DARWIN
TOP END LUXURY Embodying the rich natural and cultural heritage of the waterfront site
WESTIN HOTEL DARWIN The Westin Darwin Hotel, situated on the waterfront, will deliver a memorable tropical, 237 room hotel that embodies the rich natural and cultural heritage of the location. According to Cian Davis, Studio Director, “The design began with a study of the geographic story of the site, the historic context and the requirements of the climate.” A place of historic significance, the physical topography of the site has changed dramatically over the years, and included the levelling of the once prominent hill. The design for the hotel considered these layered histories, and in doing so, the curved form of the building references the original peninsula terrain. The lower levels of the hotel are inspired by the nearby rock formations and capture the spirit of the local landscape through the use of natural stone, complemented with lush landscaping and water features. Areas for rest and reflection are aided by verandas and breezeways which respond to the tropical environment, but also reference the heritage buildings of Darwin. The upper levels are inspired by tree canopies, with dark metal and timber screens creating dappled light and valuable shade in the humid temperature. The hotel’s varied outlooks and impressive views allow guests to behold Darwin’s dramatic skies and shifting weather patterns. Importantly, the incorporation of a seawall has been designed to protect the hotel from significant weather events, yet also creates a generous pedestrian path and direct access to the waterfront for the public. A tropical rooftop garden and restaurant will be accessible via a skywalk from Goyder Park. The infinity pool, with its striking waterfront outlook, will be situated at the opposite end of the rooftop. The interior design utilises high quality materials and detailing to create a luxurious sanctuary. The overall palette is neutral, yet embellished with textured finishes and furnishings that relate to the locale. Jeffery Copolov, Director, explains, “We selected the materiality, textures, and finishes in order that they speak closely to the specific place. It’s an exercise of precision, where each carefully selected piece pays respect to the other.”
PICTURED
Westin Hotel, pool Westin Hotel, exterior Westin Hotel, sketch Westin Hotel, aerial Opposite page: Westin Hotel, exterior
BUILDING A LEGACY Reflecting on our history as we look to the future
1864 – Melbourne Public Library, Melbourne
For 165 years Bates Smart has been at the forefront of Australian architecture. We have produced enduring and iconic buildings which resonate with people, and under the leadership of architectural innovators, we have continually adapted to the changing needs of our communities and urban environments.
Bates Smart’s rich history continues to inform the practice, with an understanding that vision today leads to the legacy of tomorrow. As we move further into the twenty-first century, our focus is firmly on the future. Our overarching belief in design excellence, coupled with our rigorous and innovative approach to problem solving, helps us to meet the challenges of our times and to produce work that will remain relevant.
Our 165 year milestone provides us with an occasion to pause and reflect on the impact of Bates Smart’s history and to look back at some of the buildings that have transformed our cities. In examining the vast spectrum of Bates Smart’s work, it is clear that a number of key themes emerge. These themes include: Craft and Materials; Citymaking; Transformational Design; Redefining Density and Environmentally Sustainable Design.
This era in Bates Smart’s history produced some of Melbourne’s most loved buildings and demonstrated a great diversity of architectural styles.
FOUNDATIONS The Victorian Gold Rush resulted in an influx of wealth into Melbourne and the construction of a vast array of grand buildings, many of which remain particularly significant today. In 1853, during this influential period in the city’s history, 31-year-old Joseph Reed, who had recently emigrated from England, established his architectural practice, laying the foundation for the firm that would come to be known as Bates Smart. This era in Bates Smart’s history produced some of Melbourne’s most loved buildings and demonstrated a great diversity of architectural styles. The calibre of work was both innovative and visionary, with an emphasis on craftsmanship and materiality. The Melbourne Public Library and the Melbourne Town Hall are key examples of significant public commissions.
1880 – Melbourne International Exhibition Building, Carlton
Both buildings continue in use today – a testament to the citymaking focus of their time. The Melbourne Public Library, currently referred to as the State Library of Victoria, was Joseph Reed’s first major competition win in 1854, and was one of the first free libraries in the world. The Melbourne Town Hall, even now, defines the corner of Swanston and Collins Streets. The foundation stone was laid by HRH Prince Alfred, Duke of Edinburgh on the 29th of November 1867. However, the pièce de résistance of the Reed era, is undoubtedly the Melbourne International Exhibition Building, which has since been renamed the Royal Exhibition Building. One of Melbourne’s most iconic buildings and the first Australian site to be placed on UNESCO’s World Heritage List. The building was constructed to host the 1880 Melbourne International Exhibition, but was also significantly the setting for the first Parliament of Australia, following federation in 1901. The building which remains largely intact today, has a cruciform plan and an impressive great central dome. Interestingly, Reed & Barnes entered the architectural competition under the pseudonym ‘Advance’. They were declared the winner in May 1878.
EARLY 20TH CENTURY The practice continued to evolve throughout the early twentieth century, surviving significant global events such as the Great Depression and both World Wars. One of the more significant commissions of this time was the addition of the great domed Reading Room at the Melbourne Public Library. The plan for expansion aligned with the debate over whether to introduce the Dewey Decimal Classification System to the library. It was believed that a circular space could accommodate the system more successfully, and this in turn helped the plan receive approval. Innovative for the time, the dome was designed in reinforced concrete and for a short time was the largest reinforced concrete dome in the world. The project was officially opened on the 14th of October 1913. The Reading Room marked the last major building for Bates, Peebles & Smart before the beginning of World War I in 1914. POST-WAR YEARS Following 1945 and under the leadership of Osborn McCutcheon, the practice now known as Bates, Smart & McCutcheon (1926-1995), experienced a resurgence.
The Royal Exhibition Building was constructed to host the 1880 Melbourne International Exhibition, but was also significantly the setting for the first Parliament of Australia, following federation in 1901.
Embracing rationalism and the spirit of the post-war era, this epoch was distinguished by a new focus on innovation and in particular, ground-breaking construction methods such as prefabrication. Stand out projects from this period include Wilson Hall at the University of Melbourne, a string of office buildings for the Mutual Life and Citizens Assurance Company (MLC), ICI House, and the Australian Embassy in Washington D.C., all transformative for their time. The original Wilson Hall was a much loved Gothic Revival style building designed by Reed & Barnes and completed in 1882. However, in 1952 the building was destroyed by fire. Initially the university planned to rebuild the hall in the same style, yet after it was revealed that the restoration would drastically exceed the budget, it was decided that a new more modern hall should be built. The decision was met with much controversy and many vocal opponents. Nevertheless, the plans for the new hall proceeded and in March 1956 the building was complete. Despite the initial debate, the new building was well received. Considered a prime example of the post-war International style, the rectangular box-like structure is distinguished by a glass façade on its eastern wall and a textured brick wall to the north. A bronze relief sculpture by Tom Bass, depicts the Trial of Socrates and is mounted at the main entry on the northern wall. Internally, the Scandinavian inspired design is much more decorative. Birch plywood panelling covers the ceiling and distinctively wraps down the western wall as one continuous surface. Douglas Annard’s commanding wall mural, The Search for Truth provides a dramatic focal point for the hall. Wilson Hall is significant for the way in which it successfully integrates art and architecture.
1956 – Wilson Hall, University of Melbourne
LATE 20TH CENTURY – EARLY 21ST CENTURY
Wilson Hall is significant for the way in which it successfully integrates art and architecture.
The project’s meticulous attention to detail and particular emphasis on craftsmanship, established themes which have carried forward and continue to be embraced by the practice in the twenty-first century. Between 1952-1959, the practice designed a succession of office buildings for MLC. Located across Australia, this commission signalled the beginning of Bates Smart’s transformation into a national practice. The combination of lightweight structures and prefabrication construction methods also resulted in a new paradigm in Australia. The most significant building was the North Sydney workplace, which when completed was the largest office building in Australia. However, the pioneering project from this era is unquestionably ICI House, currently known as Orica House. Considered Australia’s first skyscraper, the building was the first to break Melbourne’s height restrictions, thereby setting a precedent for taller buildings within the city. The freestanding, fully glazed, curtain wall skyscraper, with its offset core of lifts, services and amenities, provides a clear and flexible open-plan office floorplate. The tower also symbolises Australia’s contribution to the Modernism movement, exemplified by overseas architects such as Skidmore, Owings & Merrill (SOM), Mies van der Rohe and Le Corbusier. The 19-storey tower, not formally part of the CBD’s Hoddle Grid, was permitted to break the 40-metre height restrictions.
The design cleverly determined the maximum yield of a 40-metre tower over the site, and then with council’s permission, redistributed this same yield into a tower form of 80-metres, thereby freeing up the ground plane for gardens. This signalled the start of plot ratio determinations for city sites and changed Melbourne’s planning regulations and skyline forever. ICI House also signified a number of innovative advancements in construction techniques, including the use of concrete and pre-cast units in structural members and flooring. Connecting with the lineage of the practice, Bates Smart moved their Melbourne studio to the building in 2001. Another key project of this period was the Australian Embassy in Washington D.C., completed in 1964. A significant and prestigious international commission, the modern palazzo-style building, encompassed a perfectly symmetrical façade and is clad in off-white Tennessee Marble. The original interior was furnished with Australian timbers and also included an extensive collection of contemporary Australian art.
Towards the end of the twentieth century, the practice was involved in a number of significant large-scale, joint-venture developments including, Collins Place (1980), Crown Entertainment Complex (1997), and Federation Square (2002). These projects radically changed the shape of Melbourne’s CBD and contributed to the practice’s expertise in managing large and complex projects. During this same period, the studio’s interior design skills flourished and became a core part of the practice, thereby enabling a fully integrated approach where architects and interior designers work together from the outset. In 1995, to coincide with the opening of the Sydney studio, the company name was shortened to Bates Smart. As in Melbourne, Bates Smart’s work in Sydney has transformed the shape of the city. Key citymaking projects of this era include the adaptive reuse of Pier 8/9 at Walsh Bay (2000), which converted a historic timber wool store into premium commercial precinct. The Justice Precinct Offices at Parramatta (2007), which was notably the first NSW State Government building to achieve a 5-star Green Star rating, setting new standards for environmental office design, and the commercial building at 55 Miller Street, which reinterprets the masonry of nearby historic warehouses in a contemporary manner.
Embracing rationalism and the spirit of the post-war era, this epoch was distinguished by a new focus on innovation.
2015 – Canberra Airport Hotel, Canberra
As well as the award winning, mixed-use development 420 George Street (2010), which incorporates a 36-storey tower with a retail podium and sensitively responds to Sydney’s heritage fabric. One of the largest and most important projects in recent history was the Royal Children’s Hospital, Melbourne (2011). The ground-breaking design combines new health care models and evidencebased design principles, exemplifying the ‘nurture through nature’ philosophy and creating an environment that lowers stress for both children and their families. The project is a benchmark for hospital design, both within Australia and internationally, and was a catalyst for the firm’s continued interest in the power of nature in architecture. During this time the practice also developed a strong portfolio of hospitality and multi-unit residential work. The resolved and integrated approach to architecture and interior design, resulted in a number of award-winning hotel projects, most notably Crown Metropol (2010) and Canberra Airport Hotel (2015), and a number of high-quality residential projects, which have set new standards for apartment living in Australia – helping to redefine density and to shape our cities.
Bates Smart remains committed to producing innovative work, embracing the ability of architecture to positively change people’s lives and understanding the powerful impact of good design.
This benchmark project is one of the tallest engineered timber office buildings in the world and exemplifies Bates Smart’s continued commitment to innovation and sustainability, and is intended to be a landmark building for the future. In 2016, Bates Smart proudly won the design competition for the new Australian Embassy in Washington D.C.. The new building is set to replace the existing embassy that was designed by Bates, Smart & McCutcheon in 1969, but which no longer accommodates contemporary security requirements or current workplace needs.
In 2018, as we celebrate the evolution of Bates Smart over 165 years, two significant projects have been completed.
The project is significant in that it connects with the lineage of the practice, while also allowing for the next generation of Bates Smart design. Due for completion in 2021, the design takes inspiration from Australia’s extraordinary landscape and creates a secure, contemporary and environmentally sustainable building.
The new Club Stand for the Victoria Racing Club at Flemington Racecourse provides a unique raceday experience, via an iconic building that enables panoramic views and delivers unparalleled hospitality offerings. While in Brisbane, the recently completed ten-storey tower 25 King Street, combines cross laminated timber (CLT) with the ‘Queenslander’ vernacular, creating a truly contemporary and sustainable workplace.
Constitution Place in Canberra, another important commission, is due for completion in 2020. The mixeduse development will incorporate two differing sized commercial buildings, one intended to be a new workplace for the ACT Government. Importantly, the development will also integrate a new network of activated laneways and the provision of crucial public space, helping to shape Canberra as a city of the future.
PRESENT
FUTURE After 165 years, Bates Smart’s legacy on the landscape of Australian architecture is undeniable. A consistent clarity of design, coupled with a resolved and integrated approach has enabled a vast array of projects to stand the test of time. As we look to the future, the focus is not only on Australia, but also internationally. Bates Smart remains committed to producing innovative work, embracing the ability of architecture to positively change people’s lives and understanding the powerful impact of good design. Our work will also continue to redefine density, emphasise craftsmanship and materials, shape our cities, utilise innovation to create transformative work and focus on environmentally sustainable design. REFERENCES P. Goad, ‘Moderate Modernism, 1945-77’, Bates Smart 150 Years of Australian Architecture, P.Goad (ed), Thames and Hudson, Melbourne, 2004 M.Lewis, ‘A house divided 1890-1918’, Bates Smart 150 Years of Australian Architecture, P.Goad (ed), Thames and Hudson, Melbourne, 2004 G. Tibbits, ‘Joseph Reed and foundation 1853-90’, Bates Smart 150 Years of Australian Architecture, P.Goad (ed), Thames and Hudson, Melbourne, 2004
2011 – The Royal Children’s Hospital, Parkville
505 GEORGE STREET SYDNEY
BRONZE TOWER An elegant statement, resonating with context and specific to Sydney
ISSUE 09/36
PICTURED
505 George Street, skyline 505 George Street, model 505 George Street, elevations Opposite page: 505 George Street, exterior
505 GEORGE STREET SYDNEY A significant design competition for Mirvac and the Coombes Property Group, the proposal for 505 George Street involved a landmark tower, incorporating 474 apartments and a 196 room hotel, within a design that reflects the very essence of its location. Conscious that the tower would be one of Sydney’s tallest, the design team wanted the building to resonate with its context, rather than dominate. Philip Vivian, Director, explains, “With great height comes an even greater responsibility to the city. We wanted a building that literally grows out of the DNA of the city.” The initial concept focused on creating an elegant sculptural statement on the skyline. The design team examined the surrounding topography and studied the two different urban grids that shape the surrounding area. These grids informed the design and the tower was envisaged as two joined rectangular shapes. The taller form, distinguished by recessed horizontal bands of light bronze, aligns with Sydney’s primary city grid.
While a shorter secondary form, differentiated via the solidity of dark oxidised copper, aligns with the city’s western grid. The strategy for the podium is another key element of the design. Rather than a monolithic volume, the composition created a more permeable podium via the introduction of two laneways, which open to the sky and provide a link between Kent and George Streets. As Philip notes, “Our aim was to create a genuine extension of the public domain throughout the site.” Importantly, the tower penetrates the podium, becoming a visual reference point within the laneway. The design uses traditional Sydney materials, such as sandstone, copper and bronze, in a contemporary way in order to create a site specific solution that is unreservedly of its time. The competition proposal also suggested a number of innovations for high-rise living, most notably a perimeter window seat with storage capability and raised floors enabling future flexibility. The design likewise incorporated passive energy principles in order to create healthier indoor environments.
“With great height comes an even greater responsibility to the city. We wanted a building that literally grows out of the DNA of the city.” PHILIP VIVIAN Director, Bates Smart
PICTURED
505 George Street, streetscape 505 George Street, sketch Opposite page: 505 George Street, laneway
ISSUE 09/39
LATITUDE MELBOURNE
ACTIVITY-BASED A more flexible working environment for staff
LATITUDE MELBOURNE Adopting an activity-based style of working was the mandate for the design of Latitude’s new 10,000 square metre, Melbourne workplace in Docklands. The financial services company worked with Bates Smart’s workplace team, via a number of strategic and functional workshops, in order to hone the brief and provide a clear direction for the new headquarters. Following the strategy, it was concluded that Latitude would transition to a completely new way of working. Fixed desks and offices have been removed, replaced by flexible workstations, teambased neighbourhoods and collaborative zones. Senior management is now embedded within teams, while the more adaptable environment provides staff with the freedom to utilise different kinds of work spaces.
Situated over four floors, the workplace is connected via stairs, which are located next to the breakout zones on each level. These zones operate like the heart of each floor, and are equipped with kitchen facilities and seating arrangements, providing staff with areas to socialise and relax. The interior design combines a raw industrial aesthetic with warmer tactile materials. Exposed services on the ceiling, black steel framing and polished concrete floors are contrasted with light timbers and coloured textured upholstery. Another cornerstone of the design is the articulation of Latitude’s core values—customer first, we pioneer, make it happen, better together—within the workplace. Representation of these values is achieved via the more flexible working environment and the contemporary design aesthetic. PICTURED
ISSUE 09/40
Latitude, staff café Opposite page: Latitude, workspace Latitude, breakout areas Latitude, meeting rooms
OPÉRA MELBOURNE
DISTINCTLY SCULPTURAL An elegant residential tower inspired by the history of the location
“The design harmonises the site with its historical and social context, and celebrates it with new energy and life, creating a strong and unique identity.” KRISTEN WHITTLE Director, Bates Smart PICTURED
Opéra, façade detail Opéra, exterior Opéra, entrance Opposite page: Opéra, exterior
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“Opera is a visionary offering from partners Golden Age Group and the Deague Group. Blending sophisticated design with luxury living, this project will leave a lasting impression for many years to come.� JEFF XU Founder and Managing Director, Golden Age Group
OPÉRA MELBOURNE Distinctly sculptural, Opéra, located at 450 St Kilda Road, was designed for developers Golden Age Group and the Deague Group. The 19-storey tower is distinguished by a unique curved façade and incorporates 235 apartments alongside exclusive amenities, including a pool, spa, gymnasium, restaurant and barbecue area. The initial inspiration for the tower came from the history of the location and the grand mansions that once lined St Kilda Road. One of the few surviving examples, Airlie Mansion, is located directly adjacent to the site, and is notable for being the home of Prime Minister Stanley Bruce, who led the country in the 1920s. PICTURED
Opéra, dining room Opéra, library Opéra, pool Opposite page: Opéra, reception desk Opéra, lobby Opéra, lounge
In capturing the grandeur of this bygone era, in particular the fashion and glamour of evening wear, the curved façade evokes the folds in flowing gowns and was imagined as a piece of stretched material draped over the building.
The balconies, like slices in the fabric, provide the façade with essential movement and give the building a distinct and elegant appearance. Importantly, the tower’s sculptural form distinguishes it from the neighbouring block-like buildings, and at the same time avoids impinging upon and overshadowing Airlie Mansion. The ever changing double-curved façade was achieved through a unitised based system with cold-bent laminated glass panels, pre-assembled and sequentially installed. The complex geometry required the creation of 297 unique panels and this was realised via parametric design tools, which are a “powerful source to achieve ground breaking design, making the design intent a reality,” remarks Kristen Whittle, Director.
INNOVATION CAMPUS UNIVERSITY OF TECHNOLOGY, SYDNEY
TIMBER CAMPUS A habitable pitched roof form that seamlessly works with the campus
INNOVATION CAMPUS UNIVERSITY OF TECHNOLOGY, SYDNEY Appreciating the site context and the adjacent heritage buildings, the design for the new Innovation Campus at the University of Technology seamlessly fits within the Blackfriars precinct, yet is undeniably contemporary. Designed with a habitable pitched roof, the new building complements the surrounding campus, particularly the pitched roofs of the heritage listed, former school buildings. Importantly, the roof design also maintains solar access and avoids overshadowing both the courtyard to the east and residences to the west. As Philip Vivian, Director, explains, “Our conceptual approach is borne out of an appreciation of the site’s context, heritage and consideration of the amenity to neighbouring properties.” The decision to construct the building entirely of timber is another significant design characteristic, and one that would make the building an exemplar for sustainability. Externally, an expressed timber frame references the proportions of the heritage buildings, yet the decision to finish the timber with a Japanese charred technique known as Shou Sugi Ban, creates a distinct weatherproof façade that balances, but doesn’t mimic, the surrounding buildings. The building form is further distinguished by two tall linear voids, which enables natural light to filter throughout and crafts a visually transparent building. The introduction of the voids also creates natural paths of travel for people to move between floors and thereby maximises the potential for connectivity and interaction between researchers.
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Innovation Campus, sectional perspective Innovation Campus, sketch Innovation Campus, courtyard Opposite page: Innovation Campus, exterior
ANA CROWNE PLAZA HOTEL KOBE, JAPAN
WARMTH & TRANQUILLITY A refurbishment that creates a memorable local experience
ANA CROWNE PLAZA HOTEL KOBE, JAPAN The much needed refurbishment of the ANA Crowne Plaza Hotel in Kobe, Japan, incorporates an overhaul of both the hotel rooms and public spaces. The design seeks to transform the austere and impersonal lobby by taking inspiration from the local context and creating warm and authentic spaces. Drawing upon both Japanese minimalism and the traditional Zen garden, the design introduces natural materials such as stone and timber. A tea bar, inspired by the traditional tea ceremony rooms known as Chashitsu, introduces much needed personality into the lobby.
The design for the bar references the Japanese artform Kintsugi, where broken ceramics are repaired with a gold inlay. These authentic touch points have been carefully integrated to tell a story and immerse the guest in a local experience. The hotel rooms, currently lacking character and containing little reference to place, will be refurbished by embracing warm and textured materials. The new rooms will echo design details from the lobby and provide a calm aesthetic, in line with contemporary Japanese residential interiors.
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ANA Crowne Plaza Hotel, guest room Opposite page: ANA Crowne Plaza Hotel, lobby ANA Crowne Plaza Hotel, ground floor plan ANA Crowne Plaza Hotel, bar
PORTE COCHERE
ENTRY
“Authentic touch points have been carefully integrated to tell a story and immerse the guest in a local experience.”
RECEPTION
LOBBY
BAR
LIFTS
BRENTON SMITH Director, Bates Smart
ATRIUM
ILLOURA HOUSE MELBOURNE
REINSTATING GRANDEUR Referencing the grandeur of St Kilda Road, this mixed-use development delivers relaxed luxury and exceptional amenity
ILLOURA HOUSE MELBOURNE St Kilda Road, Melbourne’s most revered tree-lined boulevard, is the location for the new 18-storey Illoura House. Occupying a significant corner site, the development incorporates 162 premium residential apartments alongside 176 serviced apartments, a roof garden terrace, ground level retail and exclusive amenities. Inspired by the historic mansions that once dominated St Kilda Road, the new building has been designed to impart a similar sense of gravitas. Kristen Whittle, Director, explains, “The design salutes St Kilda Road’s distinguished past, while adding a robust and enduring modern building, with classical lines that enhance the boulevard’s architecture.” In arriving at the final design, the team explored the tripartite order where a clearly expressed ground, podium and tower come together to create a prominent building. The fluid sculptures of Clement Meadmore, also provided inspiration and the building draws upon these ideas via the series of stacked elements, which offer strong geometric clarity.
Gridded frames and delicate screens differentiate the façade and are punctuated by windows that enhance the impressive views outwards. At the heart of the building is a generous central courtyard which extends the garden experience inside and creates a welcoming and relaxed sanctuary for visitors and guests. Amenities, such as lobbies, pool and gym are all centred around this focal point. A large landscaped garden occupies the rooftop of the podium. Designed for residents, this generous communal space is oriented to maximise views of the surrounding parklands. The apartment interiors exemplify sophistication, and impart a handmade quality to each residence. Natural materials such as stone, timber and metal are celebrated in different ways in order to provide a rich and tactile experience. According to Kendra Pinkus, Associate Director, “The project exudes atmospheric qualities, celebrates beautiful textured materials and has an unmistakable integrity.”
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Illoura House, courtyard Illoura House, sketch Illoura House, lobby Opposite page: Illoura House, exterior
“The project exudes atmospheric qualities, celebrates beautiful textured materials and has an unmistakable integrity.� KENDRA PINKUS Associate Director, Bates Smart
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Illoura House, dining room Illoura House, kitchen Illoura House, detail Illoura House, handles Illoura House, bathroom Illoura House, vanity Illoura House, bedroom
77MARKET MARKETSTREET STREET 77 SYDNEY SYDNEY
CYLINDRICAL SKYLINE SKYLINE CYLINDRICAL AAmixed-use mixed-usedevelopment developmentthat thatresponds respondstotocircular circularmotifs motifs
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77 Market Street, faรงade detail Opposite page: 77 Market Street, faรงade sketch 77 Market Street, Hyde Park perspective 77 Market Street, corner perspective 77 Market Street, sketch
77 MARKET STREET SYDNEY The design competition for the mixed-use development at 77 Market Street in Sydney’s midtown, involved a unique response which drew inspiration from the location and surrounding skyline, while also respecting the heritage building situated on the site. The development incorporates three different uses. Retail and commercial occupy the existing building, with residential apartments accommodated in a new tower above. The curved heritage building, home to department store David Jones, is situated on a significant corner site and has a history of transformation. Built in 1932, the structure underwent two major alterations, one in 1941 and another in 1953, both of which added additional floors. The design response began with an exploration of the curved geometry along Market Street.
Tapered Cone
Sliced Eclipse
This included the circular form of the original building, as well as the formal circular geometry of Hyde Park, the iconic Centrepoint Tower, and the more recent, sliced ellipse building known as Westfield Tower. Instead of placing a rectangular tower on top of a curved building, the team designed a building consisting of distinctly circular forms. Philip Vivian, Director, comments, “We have created a cluster of circular tubes, referencing the history of curved geometries in this part of the city. The cluster provides a sympathetic verticality to the David Jones building, while responding to its deco form.” Bundled together, the cylinders recall both the vertical and horizontal banding of the building below. Importantly, the form provides apartments with beautiful bay windows that maximise views.
Sliced Cylinder
Cluster of Sliced Cylinders
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NOVOTEL SYDNEY DARLING SQUARE
MODERN & EASY A refurbishment that repositions the hotel as a new destination
NOVOTEL SYDNEY DARLING HARBOUR Refreshed rooms and a new lobby, bar and restaurant has revitalised the Novotel Darling Square Hotel, repositioning it as a new destination for travellers, and broadening their client base towards a younger demographic.
Wherever possible, the design team opted to preserve and reuse materials. The existing balustrade, columns and double height walls have been retained, but have been over-clad in order to achieve a fresh appearance.
The design encapsulates Novotel’s brand statement ‘modern easy living’, by providing a new streamlined check-in and lobby experience, improving the functionality of the ground floor bar and restaurant, and rejuvenating the hotel rooms.
A new balustrade, fashioned from cylindrical timber batons, links all three areas and is the defining architectural gesture of the space.
According to Brenton Smith, Director, “The project was about maximising and enhancing existing elements to create an activated ground floor that had warm materiality, was casual and approachable and responded to both leisure and business travellers.” A fresh and clean palette has been introduced and is enhanced via the use of textured natural materials, such as stone and timber, with accents of polished brass and leather.
Importantly, the lobby and bar are now connected, creating a more lively and dynamic entrance to the hotel. A textured dry-stone wall, situated behind the check-in desks, creates a strong first impression and was inspired by the materiality of the local context. The bar is distinguished by beautiful double-height brass shelves, and acts as a screen that helps to divide the space from the all-day dining restaurant. The hotel rooms evoke a more residential aesthetic, and provide a calm and relaxed environment for guests.
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Novotel Sydney, reception Novotel Sydney, bar Opposite page: Novotel Sydney, bar Novotel Sydney, guest room Novotel Sydney, bathroom
MODULAR CLASSROOM NSW SCHOOLS
FUTURE LEARNING A prefabricated solution for permanent, modular classrooms
MODULAR CLASSROOM NSW SCHOOLS Bates Smart, as part of a multi-disciplinary consortia, developed an adaptable solution for the NSW Department of Education, which explores the possibility of producing permanent, modular classrooms using a prefabricated approach. The concept developed around three factors that the team considered essential for the success of the project. This included the size of the module; the ability to create a feeling of permanence yet maintain future flexibility; and the creation of a sustainable high-quality indoor environment. After analysing transport and installation logistics, the team determined that the optimal size for a module should be 3.5 metres wide by 14 metres long. Once this was established, the design focused on how to provide a modular classroom that appears permanent.
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Schools are generally located within residential streets, with the NSW school vernacular mostly responding to local residential forms, and in particular, pitched roof buildings. Coupled with this, is the use of local materials which provides a strong sense of place. Taking these features into consideration, the team designed a chevron-shaped, pitched roof module, that can be co-located in groups of up to four, and applied in a multitude of planning typologies. Creating a sustainable and high-quality indoor environment was also of paramount importance and as a result the design integrated sustainable initiatives wherever possible. The planning layouts were carefully considered to incorporate the best practice of current NSW classroom design, and allow for a high degree of variation.
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JAM FACTORY SOUTH YARRA
REVITALISED PRECINCT Celebrating the history of the site and creating a vital new commercial precinct
“Our vision is to revitalise the Jam Factory, while respecting and celebrating its rich character and history.” CHRIS LANGFORD Joint Managing Director, Newmark Capital
JAM FACTORY SOUTH YARRA Once the ultimate fashion and shopping destination in Melbourne, Chapel Street has recently struggled to maintain its allure. The revitalisation of the iconic Jam Factory, owned by Newmark Capital, will re-energise the precinct. The 15-storey redevelopment will accommodate approximately 50,000 square metres of retail, cinemas, dining and another 50,000 square metres of commercial offices. Chris Langford, Joint Managing Director Newmark Capital, comments, “Our vision is to revitalise the Jam Factory, while respecting and celebrating its rich character and history.” Originally the location for the Victorian Brewery, by 1885 the site had transformed into a Jam and Preserving Factory, with a collection of different warehouse buildings and a network of streets. The starting point for the design began with an analysis of the historical site plans, which clearly illustrated the permeability of the original precinct. Cian Davis, Studio Director, explains, “We wanted to design a new network of streets, create an extension of the local context, and re-establish the proportion, grain and character of the original laneways.” The proposal centres around an ensemble of buildings, rather than a single built form. According to Cian, “We were conscious that the development would need to cater for a range of inhabitants, from large scale corporates to small creative start-ups. As a result we designed each building with a distinct character to appeal to different tenants, whilst also allowing for future flexibility.” Other key aspects of the design involve the creation of an urban square at the heart of the development, as well as the establishment of an elevated landscaped area, both of which provide office staff with valuable access to outdoor spaces.
Stepped Massing
Permeable Precinct
An Ensemble of Buildings
Articulated Character
CREDITS EDITORS + DESIGNERS
Jeffery Copolov Amy Lindsay Lauren Mifsud Kendra Pinkus Belinda Cross Cornwell PHOTOGRAPHERS AND VISUALISERS
Lauren Bamford Brett Boardman Tyrone Branigan Peter Clarke Nicole England Sean Fennessy Tom Roe Mark Roper Gabriel Saunders Anson Smart Mr P Studios This publication is printed with vegetable-based inks on paper stock that is manufactured using elemental chlorine-free pulp sourced from plantation grown timbers. Both printer and paper manufacturer are accredited to ISO 14001, the internationally recognised standard for environmental management. Published November 2018.
BATES SMART Architecture Interior Design Urban Design Strategy For 165 years, Bates Smart has been at the forefront of practice in Australia, delivering projects around the world from their studios in Melbourne and Sydney. Bates Smart has an unparalleled reputation for the design and delivery of architecture, interior design and urban design projects. Specialising in commercial, residential, hospitality, health and research projects, Bates Smart has specific skills in dealing with larger and more complex projects with particular experience in mixed use buildings. No project can attain brilliance without a great founding idea. At Bates Smart our projects are brought to life through a rigorous, astute, and highly creative design approach working in collaboration with our clients. Our reputation for design excellence is founded on a disciplined intellectual base. We develop a thorough understanding of the design opportunities offered by each individual project, and we create design solutions which speak directly to the challenge. Almost uniquely, we address all design issues simultaneously through collaborative teams of architects and interior designers working in concert. From urban and façade design to perfecting fine-grain interior details, Bates Smart crafts seamless holistic solutions. We pay special attention to the environmental performance and long-term durability of our buildings. We harness proven sustainable principles and technologies in order to create buildings that stand the test of time. Our talented team of over 300 is constantly developing its capacity to produce outstanding results around the world. We invest in the latest tools for global teamwork, and maintain an expanding network of collaborators whose special skills complement our own.
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