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1 Bligh Barcode Office Pettit + Sevitt Dinh Q. Lê Helios Residences State Theatre Centre issue 48. 2012 AUstralia $16.50 New Zealand $17.50 SinGapore $12.95 Hong Kong $155 USA $21.99
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words MANDI KEIGHRAN photography HANS-GEORG ESCH, JOHN GLOVER, HAMILTON LUND architects Architectus and Ingenhoven Architects INTERIORS BATES SMART location SYDNEY | AUS PROJECT 1 BLIGH Anchor TENANT CLAYTON UTZ
creative dialogue This landmark building in Sydney engages in a conversation with its surrounds indesignlive.com
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ydney’s CBD has never been renowned for its public spaces or social amenity, but a recent addition to the city skyline has set a precedent for the way high-rise buildings should engage with their surrounds. Located in the centre of what used to be a dead and lifeless valley created by the Macquarie Street ridge and the tall buildings along George Street, 1 Bligh has reactivated Farrer Place on Bent Street and created a lively, open thoroughfare between Bligh and O’Connell Streets. Within days of 1 Bligh opening in July 2011, the difference was palpable. The café beneath the vibrant ellipsoidal sculpture by James Angus was bustling, and city workers were lunching in the winter sun on the wide steps that look over Bent Street to Farrer Place. In 2006, building owner DEXUS set a very specific competition brief for 1 Bligh, with a focus on amenity for tenants and sustainability – there had never been a Six-Star Green Star high-rise in Sydney before. And, the competition winners, Architectus in collaboration with Germany’s Ingenhoven Architects, designed a building that perfectly fulfils the competition brief. It also meets an additional brief that the architects set for themselves, one that focused as much on social and cultural amenity and city planning. The result is a fully integrated building that engages in a conversation with its wider context. “With a competition, you can get a break-out solution,” says Ray Brown, Director at Architectus. “You probably wouldn’t have got this result working every day with a client.”
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Each of the building’s many innovations – its doubleskin façade, Six-Star Green Star rating, gas generators, automated blinds, chilled beams – is inherent to the base building. “The building,” Ingenhoven Architects’ Christoph Ingenhoven says, “solves all the issues with one answer.” The active public space on the ground plane, for example, results from the architects’ solution to a twist in the city grid at the site of 1 Bligh. The normal grid in this area of Sydney faces the Harbour, aligning with the ferry wharves at Circular Quay. The two street blocks either side of the 1 Bligh site, however, create a grid at 45 degrees. If 1 Bligh were an orthodox rectangular building built to this grid, there would have been a corner facing the Harbour and Farrer Place would have been boxed in further. By making it elliptical in shape, the architects twisted it around as far as possible, addressing the view to the Harbour, and resolving the complex geometries of the two grids meeting, with the benefit of creating public space. One of the key concerns in the design of 1 Bligh is view, both external and internal. The floor plates sit between two structural cores – one that faces the closest neighbour, blocking that view, and the other that faces the tallest neighbour – and the majority of the office space is thus opened up to spectacular views of the Harbour Bridge and the city. Meanwhile, the central full-height, curved glass atrium creates internal lines of sight that facilitate a sense of community throughout 1 Bligh. “There is a
“ When you look at the way people use the building, it all flows and works” Ray Brown, Architectus
Previous Pages View
across Circular Quay showing how 1 Bligh fits into Sydney’s skyline Far Left James Angus’ artwork, Day In Day Out Left Reception and café Right The atrium indesignlive.com
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Below The elevator engines, like many
of the services at 1 Bligh, are highly visible Bottom Looking up through the atrium Right The podium level of 1 Bligh is a public space with café and seating
fantastic transparency,” says Brown. “It is almost like a vertical campus.” Visitors walking into the dramatic 130-metre high atrium with skylight overhead are struck instantly by the stripped-back appearance of the building, which has been described by some as ‘naked’. Nothing is superfluous, and everything is on show. “It is just what it is,” says Ingenhoven. The elevator engines are boxed in glass at the top of the atrium, and the plant room on level 16 is a glass-fronted showcase of engineering ingenuity with special lighting that highlights the symmetrical layout of carefully designed air handlers. “I think that is one of the most important things in sustainable architecture,” says Ingenhoven. “It is about accessibility, visibility. Things you don’t see, you don’t feel responsible for. If things are exposed, they are properly designed and maintained.” The atrium also plays a role in 1 Bligh’s sustainability program, bringing fresh air into the building and complementing the hybrid air conditioning that combines variable air volume with a chilled beam system. This results in a varied interior environment, which is especially evident in the break-out balconies on each floor, where there is a transition from airconditioned to naturally ventilated space. Other features contributing to the Six-Star Green Star rating include the double-skin façade with an outer skin that protects the sun-shading system, shields the internal glass skin from the sun and reflects natural light into the building;
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tri-generation system; solar panels; black water recycling; and recycled rainwater. It is clear that 1 Bligh is a landmark addition to Sydney’s CBD that sets new benchmarks in its sustainability outcomes and the way it addresses social and cultural issues. It would have been difficult to realise such an ambitious project, however, without the early commitment from anchor tenant, law firm Clayton Utz, which came at what was a very unpredictable period in the global economy. Clayton Utz had been negotiating with DEXUS for eight months before it signed an agreement for lease at the end of 2008, in the midst of the Global Financial Crisis, just after Lehman Brothers declared bankruptcy. “They made a big commitment at a very rocky time in the economic cycle,” says Tony Gulliver, Head of Development at DEXUS. “They seem to be very happy.” It is a sentiment that Julie Levis, Partner in Charge, Sydney, at Clayton Utz, agrees with. “It was a difficult decision,” she says. “But, everyone is delighted.” Clayton Utz is located in the first 15 floors of the building – the first of which actually begins 20 metres above the ground plane, providing security and access to views. Bates Smart was the obvious choice for the fit-out, as they had worked on the refurbishment of the law firm’s Melbourne offices and were familiar with the Clayton Utz culture. The Bates Smart team worked closely with the base building architects to ensure a seamless fit-out, and it is difficult to tell where the base building design ends and the fit-out begins.
“ It’s about accessibility and visibility. Things you don’t see, you don’t feel responsible for” christoph ingenhoven, ingenhoven architects
Opposite Solar panels are
integrated into the roof design of 1 Bligh Below Environmental section showing solar performance of the double-skin façade
One of the most innovative features at 1 Bligh is the double-skin glass façade, Christoph Ingenhoven says. “The façade, first of all, comes from that elliptical form and the thought that this should be the minimum surface for a maximum volume. Then, apart from that, the double skin makes it possible to protect the sunshading, which is in the cavity between the two layers of glass. Protecting that against the wind means you can use it in every wind condition. So it’s possible to solve the sun and the glare problem with the same device. The second thing with the double skin is that you need to ventilate that space, because otherwise it gets overheated and you have even more heat load toward the inner space than it would without the double skin. So, it would be a contradiction to spend money and effort and to end up with a bigger heat problem. So, we had to make sure the louvres and air flow through that façade were properly managed and that it gets cool, fresh air in, and used air out of the façade. That has been a quite intensive testing process.” indesignlive.com
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“ We studied Christoph’s work carefully in order to achieve a level of synchronicity” Simon Swaney, Bates Smart
Above Break-out balconies enjoy the fresh air provided by the atrium Above Right Level 14 is one of two client levels Right A break-out space and specialist library
While the irregular floor plates of 1 Bligh would have been perfectly suited to an open-plan workspace, and the option was explored in early focus groups, this was not an option for Clayton Utz. “Our people had zero appetite for open plan,” Levis says, primarily for reasons of acoustic privacy. While the office layout may seem traditional to outsiders unfamiliar with Clayton Utz, it represents a fairly large cultural shift for the firm. The offices, for example, are of equal size in an attempt to reduce the workplace hierarchy and churn costs. “It took us quite a long time to get an optimum outcome in terms of the numbers of offices that could be achieved on each floor while maintaining views through the building and the benefits of natural light,” says Project Director at Bates Smart, Simon Swaney. The double-skin façade system to the base building was designed by Architectus and Ingenhoven Architects to bring high levels of natural light in, so it was important that Bates Smart maintain this. In not being tinted, the façade’s glass is unusual. “That makes a completely different environment inside,” Ingenhoven says, and this informed the material selections made for the fit-out. “Because it is not filtered light,” says Swaney, “you can afford to use colours that are a bit stronger.” This is apparent in the raspberry and blue accents throughout. Natural materials – the timber feature ceilings, for example – also respond well to the natural light. Even the fire escapes at 1 Bligh are filled with natural light and have views out over the city. They are so far removed from the dark, malodorous fire escapes that we are accustomed to that Clayton Utz staff often use them as circulation between floors. Visitors arriving for Clayton Utz are greeted on the ground floor at the 1 Bligh reception desk. The practice then has the option of reception either calling someone from the office down to bring them up, or of giving them a security pass. Express lifts take visitors directly to the reception on the arrival floor, level 15. A curvaceous white stair that derives its form from the geometry of the base building connects to level 14, where visitors can wait. As arrival floors, levels 14 and 15 have slightly higher ceiling levels to accommodate the feature timber ceilings. Like the sculptural staircase, the feature ceilings, custom fish-scale tiles on the floor in the circulation spaces, and library pods in break-out spaces, all take their design cues from the base building. The library is one area in the Clayton Utz fit-out where a significant level of cultural change from the previous premises can be seen. In the former office space, the library was hidden away. Staff interacted with librarians primarily through email, and books would be delivered directly to individual offices. At 1 Bligh, however, the main body of the library has been incorporated into the café, which is affectionately called ‘Café Clutz’ after the in-house nickname for the firm. This change has seen more staff actively engaging with the library and librarians, and also provides a space for collaborative work and mentoring. Specialist library pods are located on the relevant office floors, indesignlive.com
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“ This signifies a definite shift... and is reflective of the changing nature of legal practice� Simon Swaney, Bates Smart
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“ It took some very careful designing to get both the density we desired and connectivity” Previous Pages Dramatic
timber ceilings on level 15, and a large custom rug by Designer Rugs Above The lines of the fit-out are derived from the base building Above right The offices are of equal size Right Views to the Harbour
Julie Levis, Clayton Utz
giving easy access to the staff who need to use them. The library and work pods on the open-air break-out balconies provide not only a variety of spaces for staff to work in, but also areas for clients who may need to work between meetings. The building is connected to its wider context in a multitude of ways, not the least through the outdoor deck spaces – one on level 15, which Clayton Utz uses for functions and to entertain, and one on level 28, with breathtaking views over the Harbour and the city. The space on level 28 is particularly innovative, as most outdoor equivalents at this altitude in the city are close to unusable, due to strong winds. Architectus and Ingenhoven Architects have designed a clever balustrade system here, though, that renders the space usable almost all year round, even on a midwinter’s night. At the time of writing, it had just been announced that the Commonwealth Parliament Offices (CPO) would relocate this year from its current location at 70 Phillip Street, where they have resided for the past 20 years, to three floors at 1 Bligh. It will be interesting to see how the CPO and other future tenants will take advantage of all this building has to offer, which is much, not only for the building’s various tenants and visitors, but also to Sydney’s CBD and the people that engage with its local area. 1 Bligh might not be the tallest or most conspicuous building in Sydney’s skyline, but it is sustainable in every sense of the word – environmentally, socially and culturally – and it sets new precedents for highrise buildings in Australia and internationally.
Mandi Keighran is Deputy Editor of Indesign.
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In discussion The 1 Bligh project is the result of many years of innovation and collaboration. mandi keighran talks to some of the key players involved.
think it was not foreseen in the brief that 1 Bligh was an elliptical building. They had written the brief with the idea in the back of their minds that it was a rectangular building. So, we tried to fulfil the brief, but maybe not with the expected method. The brief was to create a sustainable high-rise building, but the focus of the project when we started was at least as much on social, cultural, and city planning issues. Talking about the green building aspects, many people were expecting that to be mainly a technical issue, like adding something to the building – like photovoltaic or solar thermal equipment – to make it better performing. But, the building is synergistically or integrally designed.
It’s also a building that doesn’t hide anything. You can’t take anything away. That’s a challenge in itself, for everyone, as everything within the core had to be open and visible, and not something that is closed, hidden, or uncontrolled. I think that is one of the most important things in sustainable architecture. It’s not just about the technique of new building, it is also about accessibility and visibility. Things you don’t see, you don’t feel responsible for. It’s very simple. If it is in the background, nobody takes care to see it is clean, or properly maintained. But, if you see that, or if you expose that, the next step is that the machines themselves are properly designed, and properly maintained, and so on. I think it’s a good idea. It’s like an open kitchen in a restaurant. There are two effects of this, it vitalises the space and it gives you a kind of trust in the cooks. They can’t hide what they are doing. It’s good to give the ground floor back to the public – to have an informal space and access to the building, to have a way through the building from Bligh to Farrer Place, to extend Farrer Place by providing those open stairs. It also brings fresh air into the atrium at the same time. It’s also about building a sense of community for the people. But there’s another aspect in it, a commercial aspect. By raising the building, we lift it into the view, into the higher ends. And, that is all done by the same thing. The one idea – raising the building by 20 metres – causes all these good effects, not just one of them. I am most proud of the wholly integrated design.
The benefit of the competition is that it provides space for the architects to say ‘This is the answer’. You need that time to say you’ve given us your brief, here’s our response. Many buildings have dark glass and a blind you have to pull down when the sun is in your eyes, cutting off the view. The sun-shading system we have means that even when it’s employed, you can still see the view. It makes a beautiful and changing environment inside. I think this project really adds to that story of the office building. It’s taking the campus and making it vertical. You can go into the atrium, and it is naturally ventilated, it provides plenty of light, so you can get out of the air-conditioned environment on any floor and get some fresh air and find something different.
I think the big thing about office buildings, or any work environment, is providing variety, getting away from the standardised approach on every floor. I’ve been asked what I’m most proud of with the project, and I think it is that we have managed to resolve all of these conflicting issues – for the tenant, the owner, and the city – quite well. And, it manages to create civic value. If you look at the building in the street, most people say ‘It looks like it’s always been there’. I think that’s a really good thing. And, when you look at the way people use it, it all flows and works. The whole collaboration has been a great experience, and, we’ve learnt a lot collectively. It’s been a challenging but very enjoyable project for us all, which is a good thing to be able to say in the end.
Christoph Ingenhoven is Principal of German architecture practice Ingenhoven Architects. He talks about designing a fully integrated building.
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Ray Brown is Director and Design Principal at Architectus. He talks about collaborating with Ingenhoven Architects.
“ The main challenge... was the number of innovations in one building” Bruce Jones, Grocon
Clockwise from top left Typical floor plan;
Level 15 plan; roof plan showing skylight and solar panels; Level 28 plan Opposite The elliptical shape of 1 Bligh rotates away from its neighbours
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e did a stage-one approval and then they asked for a competition. That’s when I contacted Christoph to see if he would be interested in working with us. We hadn’t worked together before, but I was aware of his work, particularly the RWE AG Tower in Essen, as an environmental high-rise building, and his use of double-skin façades and dealing with environmental issues. Christoph was the only international architect in the competition. I think it’s really useful having that outside view. He saw different things as important, such as how does it look when you stand on the other side of the Harbour. Of course, that’s important, but I think it’s more important to someone coming from outside.
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Tony Gulliver is Head of Development & Trading Office at DEXUS Property Group. He talks about the procurement process and the competition for 1 Bligh.
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e’ve been development manager right through, from site consolidation, approvals, tendering, and through the construction. We’re also responsible for the leasing and financial viability. There were five office buildings on the site. We acquired a fund in 1999 that owned two of the buildings, and just before we bought the fund the third was secured. We owned the large building along Bent Street, and it was then that a site began to emerge and we had four pieces of the jigsaw. The last piece was key to creating a true site, and it took another four years to secure. At the end of 2004, we had the site secured, and by mid-2005, DEXUS had the majority of the site held in its listed trusts and onethird in its Wholesale Fund. In 2005, we started the planning process, and we ran a design competition in 2006. There were five submissions. This was the only collaboration, and
Bruce Jones is Project Manager at Grocon. He talks about the challenges in building a project as innovative as 1 Bligh.
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e bid for the job as a competitive design and construct tender. 1 Bligh really encompasses ‘iconic’ in every meaning of the word, so we were keen to win the project. I led the bid team from mid2007, and then was project manager on construction until completion in 2011. The Building Information Modelling (BIM) process was interesting. We hadn’t done a full BIM project before, so although it was a requirement of the contract, it was also an opportunity.
Simon Swaney is the Project Director at Bates Smart for the Clayton Utz fit-out. He talks about the process of designing in such an unusual building.
Christoph was the only international architect involved. Architectus and Ingenhoven won and we appointed them in 2006. In 2007, we had to go through the second stage of the development approval process. By this stage, we had a good relationship with Central Sydney Planning Committee. They loved the design, even though it challenged some of the established planning controls. We also tendered for a contractor that year, and awarded Grocon a contract early 2008. Clayton Utz signed up an agreement for lease at the end of 2008, in the middle of the GFC. They made a big commitment at a rocky time in the economic cycle, which I’m sure they don’t regret. I was nervous about the competition. This was a prime site, and we put a lot of work into procuring it. While we were not obliged to build what came out of it, we didn’t want to waste time. In a competition, you don’t have any interaction throughout the design process, so I developed an extremely detailed design brief. This was easily the superior outcome. It really satisfied everything we were looking for. We’re absolutely thrilled. The commitment from all the team has been exemplary, so the quality is very good. This, in my view, was the best development site for an office building in Australia. It needed to be the best building it could to do the location justice. It’s just a very good piece of architecture and we’re very lucky to have it.
There was nothing easy about the project. There’s no place to hide and everything is very integrated and designed. The plant room is a classic case in point. It was thousands of hours of design and re-design and pushing. The main challenge though was the number of innovations in one building. Our philosophy is to value design outcomes, and we will often push boundaries to get better design outcomes. With 1 Bligh, we found that as hard as we pushed, the architects would push us even harder. It was a funny project in that it was design and construction, but the concept design was already highly developed. Our design and construction was about adding design outcomes rather than pulling back. For example, the glass in the atrium had been documented as faceted glass. Grocon
Julie Levis is Partner in Charge, Sydney, at Clayton Utz. She talks about how the law firm worked with Bates Smart to achieve the fit-out at 1 Bligh.
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re-designed and simplified the system. The money we saved on that, we put into using curved glass, because we thought it to be the best outcome. The architects were a bit taken aback as it’s quite an unusual approach. It was very much a holistic and collaborative approach between the architects, ourselves and DEXUS to achieve the outcomes and the quality that’s been delivered. The thing I’m most proud of is that we did over 2.1 million man-hours and had no serious injuries. To build it safely and within the time frame, was an extraordinary achievement. I’m also proud we achieved the Six-Star Green Star rating. It was a large culture shift to the way we do things on site. Our whole project team – 35 staff – did a Green Star accredited professionals course before we started. From that, we developed a site-specific
induction, where every construction worker was given a sustainability induction. We put 3500 people through it. We’d never done that before. When the last photographs came out, Christoph sent an email saying, “I think this is the most beautiful building we’ve ever built.” Do I think it’s set new benchmarks? Absolutely.
s the Partner in Charge at the Sydney office, I was involved from the start. Once we got through negotiations on the legal side, we set up staff focus groups. We then set up a premises committee, which met weekly. As a result, we established a brief for Bates Smart of things that were important to Clayton Utz. We wanted the fit-out to reflect a very high quality, to be timeless and elegant, but also welcoming and warm. We were very taken with the location of 1 Bligh and its architecture. The fact that it is green is also very good for our staff. I think the most successful aspect is the connectivity – that you can see people working on the various floors and you feel very much part of the whole organisation. There are also more break-out spaces for collaborative work than previously. Clayton Utz was intricately involved in the design process. It was a while before everyone was happy, for example, with the office layout. It took some very careful designing to get both the density we desired and connectivity. While it’s a traditional office fit-out in terms of having offices, there are some unconventional aspects. We could play with colour a little more than you might expect for a major legal firm, as the building has a very neutral palette. People certainly comment on the light, but what’s more noticeable is the air quality. You can feel that it’s fresher in here and you certainly notice the spaces that are naturally ventilated. One of the great things is that we’ve got the ability to bring the outside in. Not just through the glass, but also through the outdoor space. There’s just something about that space and that outlook that makes it a great party area. We worked on this for three years and in the end moved in over a long weekend, which meant no downtime. It was a major exercise in logistics from our facilities staff, and they did a fantastic job.
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led the Bates Smart team as the Project Director alongside Interior Design Director, Jeff Copolov, plus a substantial team headed by Project Leader, Polly Gee. We were involved through the entire project from briefing to completion of works, working closely with MPS, the project managers and property advisors to Clayton Utz. The fit-out was integrated into the Six-Star Green Star base building so overlaps with the base building architects were substantial. We studied Christoph’s work carefully in order to achieve a level of synchronicity. There is a clear materiality, honesty and rawness to the way materials are used in Ingenhoven projects and environmental issues are a key driver. We were keen to adopt these principals in our approach to the design of the interiors so there was a sense that the interior belonged to the building. We also worked with Architectus and Ingenhoven to integrate the curving steel and stone staircase that links the client floors. The stair is part of the fit-out works but we modified the base building to accommodate it.
Legal firms have always required cellular accommodation due to the nature of their work. This floor plan is ideal for open plan but challenging for a more traditional office layout. We worked hard to achieve the optimum number of offices on each floor whilst maintaining views through the building and the benefits of natural light. Our work with Clayton Utz was highly interactive to ensure the outcome aligned with their strategic aims. The interior layout was a major challenge for us and I think we rose to that challenge. Clayton Utz has a diverse group of highly intelligent brains working at 1 Bligh contemplating how they should be working in the future. This is a long term tenancy which has been designed with the future in mind. Bates Smart were the designers for Clayton Utz’s previous tenancy at 1 O’Connell Street, now 18 years old. It has lasted very well and is largely being retained in its next life. Our goal was to produce enduring design. Care in the selection of materials was essential for minimising the embodied energy.
Philosophically, Clayton Utz aim to build connectedness balanced by the demand for individual offices. The new layout provides increased flexibility, collaborative work areas, and facilitates mentoring arrangements. This signifies a definite shift from the previous offices and is reflective of the changing nature of legal practice. It is an unusual building. We admire the quality of the architecture and what has been achieved, both by Architectus and Ingenhoven Architects, and for Grocon this is an outstanding result.
Polly Gee was Project Leader for the Bates Smart fit-out of the Clayton Utz floors at 1 Bligh. She talks about why the project was so rewarding.
collaborative; liaising with Clayton Utz, the consultant team and contractors. In the early stages of the project we had weekly meetings with Clayton Utz, and had briefing sessions with various focus groups. This enabled us to form both an aspirational and a functional brief for the fit-out. We worked closely with Clayton Utz to ensure that the design would reflect the culture of the organisation moving forward. The fit-out is highly cellular, in the tradition of legal firms, however, the ‘one size fits all’ approach to the offices was a departure for Clayton Utz. The previous office accommodation was clearly hierarchical, in terms of size and location of individual offices. The 1 Bligh fit-out, provides a more egalitarian solution. From the outset, it was important that the fit-out design expressed a synergy with the base buiIding, and with Clayton Utz. The underpinning principles that were applied to achieve this were integrity, transparency and endurance. When you walk in you are not conscious of where the base building stops and the Clayton Utz fit-out starts. The Clayton Utz fit-out provided the opportunity to work in a great
building. Everyone who visits 1 Bligh is complimentary about the way the building sits on the site, its aspect to the Harbour and how it opens up the corner with Governor Phillip Tower and Farrer Place. It has made for a spectacular precinct. It is rewarding seeing how happy Clayton Utz is with its new home. Our team incorporated some beautiful detailing into the design, including the floor tiles, the staircase and the feature ceilings. The detailing is deceptively simple but there is a lot of thought behind it. Much care was taken with the on-site execution, too. The tradespeople involved are to be commended. It’s also rewarding to see that spaces such as the café are really working. The cafe is a light and open space, with views externally to the Harbour and internally to the atrium. It is well utilised, not only for coffee breaks and lunch, but as an informal meeting space and a social hub for both staff and clients. It was incredibly rewarding to be involved in the Clayton Utz fitout. I have a sense of pride in the project having been involved from the beginning through to completion.
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n my role as the Project Leader for the interiors on the Clayton Utz fit-out, I worked closely with Rob Moore, the Architectural Project Leader, and a large team of talented and committed designers from Bates Smart. My role was highly
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BUDGET $270 million TOTAL FLOOR AREA 43,419m2 (1 Bligh), 23,284m2 (Clayton Utz) TIME TO COMPLETE Five years (total), 2.5 years (construction) ARCHITECTUS (61 2) 8252 8400 architectus.com.au INGENHOVEN ARCHITECTS (49 211) 301 0101 ingenhovenarchitects.com BATES SMART (61 2) 8354 5100 batessmart.com.au
Above Although part of the fit-out, the steel
stair was integrated into the base building Opposite The protected outdoor deck on Level 28 has stunning views over Sydney and the Harbour
1 BLIGH and clayton utz ARCHITECTS Architectus and Ingenhoven Architects DIRECTOR, ARCHITECTUS Ray Brown PRINCIPAL, INGENHOVEN ARCHITECTS Christoph Ingenhoven PROJECT ARCHITECTs Mark Curzon (Architectus), Martin Reuter (Ingenhoven Architects) PROJECT TEAM, ARCHITECTUS Siera Chuah, Karolin Baer, Linda Bennett, Harry Broekhus, Murray Donaldson, Nikhil Fegade, Tommy Ford, Annette Gall, Ryan Hanlen, Michael Harrison, Scott Hunter, David Kamel, Camille Lattouf, Rodd Perey, Darrin Rodrigues, Chase Ronge, Daniela Salhani, Fawzi Soliman, Ryan Townsend, Stewart Verity, Simon Zou PROJECT TEAM, INGENHOVEN ARCHITECTS André Barton, Mario Böttger, Elisabeth Broermann, Lutz Büsing, Darko Cvetuljski, Ralf Dorsch-Rüter, Hye Jin Jung, Christian Kawe, Christian Kob, Andrea König, Alice Koschitzki, Dr. Mario Reale, Evelyn Scharrenbroich, Ulrike Schmälter, Alexander Schmitz, Jürgen Schreyer, Hinrich Schumacher, Martin Slawik, Brett Stover, Erich Tomasella, Thomas Weber, Felix Winter
BUILDING OWNER DEXUS Property Group, DEXUS Wholesale Fund, Cbus Property CONTRACTOR Grocon PROJECT MANAGER APP STRUCTURAL ENGINEER Enstruct STRUCTURAL STEEL Enstruct, Arup ESD Cundall FAÇADE DS Plan AG (Germany), Arup, Enstruct MECHANICAL & ELECTRICAL Arup ACCESSIBILITY Morris Goding Accessibility TRAFFIC Masson Wilson Twinney HYDRAULIC & FIRE Steve Paul & Partners LIGHTING Tropp Lighting Design (Germany), Arup ACOUSTIC Arup LANDSCAPE Sue Barnsley Design WIND ENGINEER MEL Consultants VERTICAL TRANSPORT NDY GREEN WALL Ex-parrot HERITAGE Design 5 – Architects BCA + PCA Davis Langdon PERSPECTIVE ARTIST Atelier Illume PUBLIC ART CONSULTANT Barbara Flynn ARTIST James Angus ESD RATING 6-Star Green Star Office Design V2 and 5-Star NABERS Energy
ANCHOR TENANT Clayton Utz INTERIOR DESIGN Bates Smart PROJECT DIRECTORS Simon Swaney, Jeff Copolov PROJECT LEADERS Polly Gee, Robert Moore PROJECT TEAM Matthew Clark, Aaron Coats, Ingrid Farago, Chin Foong, Herbee Guiterrez, Roselyn Horvath, Olga Kambas, Allan Lamb, Janette Lisle, Rachael McCarthy, Trevor Mouncey, Mary Omar, Nikolay Pechovski, Mark Pellen, Kendra Pinkus, Kirsty Pryor, Bradley Schott, Laura Severino, Brooke Snopek, Emma Somers, Dana Tomic, Adrian Veale, Kate Wardlaw, Sally Westren, Amy Watkins, Carolyn White, Richard Wong, Lee Zheng PROJECT MANAGERS MPS Property CERTIFIER Steve Watson & Partners QUANTITY SURVEYOR WT Partnership STRUCTURAL ENGINEER Enstruct Group MECHANICAL and acoustic ENGINEEr Arup lighting, ELECTRICAL, DATA COMMUNICATIONS & SECURITY DESIGN Steensen Varming AV CONSULTANT AVDEC FIRE CONSULTANT Arup
HYDRAULICS CONSULTANT Warren Smith & Partners DDA Accessibility Solutions KITCHEN CONSULTANT The Mack Group ART RELOCATION Stella Downer Fine Art CARPET CONSULTANT Gooding Davies TILING CONSULTANT Techtile CONSTRUCTION MANAGERS Grocon CEILING & PARTITIONS Brighton (levels 1-12), Cubic (levels 13-15) JOINERY IJF Australia, Schiavello SPECIALIST JOINERY CEILINGS Civardi TILING & STONEWORK NSW Tiling CARPET Master Carpets MECHANICAL SERVICES Hastie ELECTRICAL & DATA SERVICES Heyday HYDRAULIC SERVICES Boone & Willard Plumbing FIRE SERVICES Triple M AV KLM Group KITCHEN Stoddarts Manufacturing STAIR Sharvain Projects WORKSTATIONS Unifor Australia SIGNAGE A&W Signs BMCS Schneider Electric BLINDS Turner Bros RELOCATION CONTRACTOR Goals A&N
FURNITURE In Wintergarden Lobby Café, Ron Arad ‘Tom Vac’ chairs by Vitra, from Unifor, and custom corian tables from Café Culture. In Lobby, Bertoia ‘Diamond’ chairs from dedece. In Work Areas, ‘ON’ task chairs and ‘Ceno’ chairs from Wilkhahn. In Quiet Rooms and Triangular Meeting Rooms, ‘Bekko’ chairs from Interstudio. In Southern and Northern Balconies and Break-out, Artek ‘Hallway Chair 403’ from Anibou, stools from Koskela, and Arper ‘Dizzie’ tables from Stylecraft. In Southern Bridge, Vitra ‘Softshell’ chairs from Unifor, ‘Paty’ chairs from Stylecraft, and tables from Koskela. In Café Clutz, Bedont ‘Shira’ barstools and Bonacina ‘Chylium’ chairs from Hub Furniture, Andreu World ‘Smile’ chair from Living Edge, ‘Kiku’ armchairs from Jardan, ‘Brut’ stools from Basis Jo Wilson, and ‘Kiku’ sofa from Jardan, ‘Oxo’ tables from Mark Tuckey. In Library Lounge, ‘Kurve’ sofa from Zenith Interiors, ‘Drum’ ottoman from Temperature Design, and Arper ‘Dizzie’ tables from Stylecraft. On Levels 14 and 15, in Client Offices, Thonet ‘S845DR’ chairs from Anibou. In Meeting Rooms, existing Herman Miller Eames ‘Soft Pad’ chairs and new Eames tables from Living Edge. In Waiting Areas, Minotti ‘Flynt’ and ‘Capri’ chairs from dedece, Cassina ‘Eloro’ sofas from Corporate Culture, Maxalto ‘Kalos’ armchairs from Space Furniture, Potocco ‘Volcano’ tables and ‘Aura’ console from Hub Furniture, ‘Bracelet Drum’ tables and ‘Kinkou’ occasional tables from Cavit & Co, and Hay ‘Tray’ coffee tables from Corporate Culture. In Meeting Rooms, Akaba ‘Carma Contract’ tables from Stylecraft. LIGHTING On Levels 14 and 15, in Waiting Areas, Henrik Pedersen ‘Daddy Longleg’ and Foscarini ‘Twiggy Terra’ floor lamps from Space Furniture. In Client Offices, ‘Tolomeo’ desk lamps from Artemide.
FINISHES To Base Building, double-skin façade glass and louvers from G. James. Atrium glass, balustrades and ground floor glass walls from Sharvain. Specialist concrete formwork from Ezytube. Carpet from InterfaceFLOR. At Concierge Desk and Wintergarden Café, joinery by H. Dallas. At Bligh Street Café, joinery by Sharvain. Paving to Wintergarden and Public Steps is Austral black granite from Melocco. Concrete finish is Lasur from Betocare Products. Timber Decking to Levels 15 and 28 from The Woodage. Façade blind system is Horiso blind from Turner Bros. Level 14 and 15 Meeting Room ceilings are ‘Tubeline’ ceiling system from SAS International. In Childcare Centre, mesh curtain is from proMesh. In Lobby and Bathrooms, linings from H. Dallas. In Bathrooms, cubicles and vanities from IJF, and lockers from Excel. Green wall is Fytopanel modules with selected plant species from Fytogreen. In Level 13 Café/Library, custom rug from Designer Rugs. Acoustic panels from Elton Group. Wall panelling joinery by Schiavello with Eveneer finish from Elton Group. Horiso motorised blinds from Turner Bros. Carpet tiles from InterfaceFLOR. Broadloom carpet from Brintons. Custom plywood ceilings by Civardi Furniture. Paint from Dulux. Pinboard from Forbo. Solid surfaces from Corian. Stone and tiles from ColorTile, Academy Tiles, Metz, Johnson Tiles, Rocks On, and Artedomus. Tactile indicators from DTAC. Eco-core plywood from Global Ventures Australia. Timber veneers are Eveneer from Elton Group and New Age Veneers. Fabrics and upholstery from Woven Image, Laine Furnishings, and Spinneybeck. Laminates from Halifax Vogel Group and Laminex. Colourback glass from Grosvenor Glass. FIXED & FITTED Generally throughout, Lifts are custom-designed from Otis. Chilled beams from Hastie. Building Maintenance Unit from E.W.Cox (now incorporated by CoxGomyl). Blackwater filtration system from Aquacell. In Bathrooms, sanitary accessories from RBA, Bradley Australia, Metlam, and JD Macdonald. Sinks from Caroma, and Abey. Fridges and freezers to Tea Points from Fisher & Paykel. Microwaves from Smeg. Miele dishwashers from Harvey Norman Commercial. Boiled/chilled water unit from Zip Industries. Whiteboard from CFS. Joinery fixtures from Industrial Expression. Operable walls from Dorma. ARTWORK In Forecourt, Day In Day Out (2011), by James Angus.
Abey (61 2) 8572 8572 abey.com.au Academy Tiles (61 2) 9436 3566 academytiles.com.au Anibou (61 2) 9319 0655 anibou.com.au Aquacell (61 2) 4721 0545 aquacell.com.au Artedomus (61 2) 9557 5060 artedomus.com Artemide (61 2) 9699 8472 artemide.com.au Basis Jo Wilson (61) 419 317 042 jowilson.net Betocare Products (49 22) 41 168 98 05 betocare.eu Bradley Australia (61 2) 9774 3755 bradleyaustralia.com Brintons 1800 332 694 brintons.net Café Culture (61 2) 9699 8577 cafeculture.com.au Caroma (61 2) 9202 7000 caroma.au Cavit & Co (61 2) 9326 9161 cavitco.com.au CFS (61 2) 9698 8244 csfol.net Civardi Furniture (61 2) 9739 6855 civardi.com.au ColorTile 1300 265 678 colortile.com.au Corian 1300 795 044 casf.com.au Corporate Culture (61 2) 9690 0077 corporateculture.com.au CoxGomyl (61 3) 8318 7800 coxgomyl.com dedece (61 2) 9360 2722 dedece.com Designer Rugs (61 2) 9550 9933 designerrugs.com.au Dorma (61 2) 9645 8300 dorma.com.au Dulux 13 23 77 dulux.com.au Elton Group (61 3) 9499 7776 eltongroup.com Excel (61 2) 9708 1884 excellockers.com.au Ezytube 1300 138 011 ezytube.com.au Fisher & Paykel 1300 650 590 fisherpaykel.com.au Forbo 1800 224 471 forbo-flooring.com.au Fytogreen (61 3) 5978 0511 fytogreen.com.au G. James (61 2) 9732 2450 gjames.com.au Global Ventures Australia (61 2) 9457 7171 ecocore.com.au Grosvenor Glass (61 2) 9758 2400 grosvenorglass.com.au H Dallas Industries (61 2) 9771 4200 hdallas.com.au Halifax Vogel Group (61 2) 9556 6000 halifaxvogel.com.au Harvey Norman Commercial (61 2) 9710 4155 harveynormancommercial.com.au Hastie (61 2) 9714 4600 hastiegroup.com.au Horiso (61 2) 8755 4500 horiso.com Hub Furniture (61 2) 9217 0700 hubfurniture.com.au IJF (61 8) 8349 7400 ijf.com.au Industrial Expression 1300 173 846 industrialexpression.com InterfaceFLOR (61 2) 8332 2400 interfaceflor.com.au Interstudio 1300 785 199 interstudio.com.au Jardan (61 2) 9663 4500 jardan.com.au JD MacDonald (61 2) 9756 1622 jdmacdonald.com.au Johnson Tiles (61 2) 4655 2977 johnsontiles.com.au Koskela (61 2) 9280 0999 koskela.com.au Laine Furnishings (61 3) 9720 6566 laine.com.au Laminex 13 21 36 laminex.com.au Living Edge (61 2) 9640 5600 livingedge.com.au Mark Tuckey (61 2) 9997 4222 marktuckey.com.au Melocco (61 2) 9552 1414 melocco.com.au Metlam (61 3) 5428 4618 metlam.com.au Metz (61 2) 9671 1311 metztiles.com.au Miele 1300 464 353 miele.com.au New Age Veneers (61 2) 9457 9622 newageveneers.com.au Otis (61 2) 8338 2700 otis.com proMesh (49) 7041 9544 60 alphamesh.de RBA (61 2) 8567 0300 rba.com.au Rocks On (61 2) 8303 0100 rockson.com.au SAS International (971 4) 8855 545 sasint.ae Schiavello (61 2) 9211 3311 schiavello.com Sharvain (61 2) 9698 3411 sharvainprojects.com Smeg (61 2) 8667 4888 smeg.com.au Space Furniture (61 2) 8339 7588 spacefurniture.com.au Spinneybeck (61) 407 900 825 spinneybeck.com Stylecraft (61 2) 9355 0000 stylecraft.com.au Temperature Design (61 2) 9331 0116 temperaturedesign.com.au The Woodage (61 2) 4872 1618 thewoodage.com.au Turner Bros (61 2) 8594 0700 turnerbros.com.au Unifor (61 2) 9552 9552 unifor.it Wilkhahn (61 2) 9310 3355 wilkhahn.com.au Woven Image (61 2) 9913 8668 wovenimage.com Zenith Interiors (61 2) 9125 6700 zenithinteriors.com.au Zip Industries 1800 638 633 zipindustries.com indesignlive.com
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