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172 Spring Street by March Studio
The article discusses the renovation of an apartment located at 99 Spring Street in Melbourne, a modernist building completed in 1971. The apartment's transformation, undertaken by March Studio, aimed to create a 'house in the sky' that is materially rich and deeply connected to its urban surroundings. The building itself, known as the 'tower of power' in the 1980s due to its notable residents, was designed by Moore and Hammond and is considered an early example of the podium-tower model in urban architecture. The renovation pays homage to the building's 1970s origins while introducing a sophisticated vision for urban domestic life.
March Studio's intervention in the apartment involved embracing and enhancing the existing bronze anodized aluminum glazing suites with a mix of shiny and weathered brass, stainless steel, and aluminum, creating a gilded aesthetic. A notable feature is the reflective aluminum ceiling system, inspired by Peter McIntyre's Parliament Station concourse ceiling, which links the living and kitchen areas. This ceiling not only reflects light but also expands the perception of space in these newly opened-up areas. The original three-bedroom apartment, already spacious, now feels even more expansive, offering panoramic views of Melbourne, including Treasury Gardens.
The kitchen's design, influenced by the owner's hospitality background, prioritizes functionality and expression. It features four distinct joinery elements, including a central bench with thick curved terrazzo that serves as a focal point for gathering. A stand-up desk for recipes and a washing-up area with views of Treasury Place enhance its utility. The main living area was expanded by removing a third bedroom, creating two sitting areas and a generous dining space, all reflected in the distinctive ceiling. The bathrooms are designed as immersive, curving pods clad in penny-round mosaics, evoking a futuristic 1970s aesthetic.
The project by March Studio is significant for its ability to both respect the modernist legacy of the building and reimagine contemporary domestic interiors. It avoids current design trends, instead speculating on the potential of space by incorporating the building's history and broader context into the interior design. The integration of these historical and contextual elements ensures that the new interventions are not clearly separate from the past, offering a sophisticated and timeless result.
The article also lists specific products and materials used in the renovation, such as Porter’s Paints French Wash, Flos Zeppelin pendant lighting, Wolf M Series kitchen appliances, and furniture by Rigmarole Design and Oscar Niemeyer. Key project details, including the project team, joiner, and the Aboriginal Nation on whose land the building stands (Wurundjeri Woi-wurrung people of the Kulin nation), are also provided. The project demonstrates a thoughtful approach to renovation, balancing historical appreciation with modern living requirements.
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