Robb Interview: Architect Chris Wilkinson

We scale new heights with the man behind Crown’s One Barangaroo as he opens up about the legacy of Sydney’s ‘inhabited sculpture’.

By Terry Christodoulou 18/09/2020

Crown’s One Barangaroo will forever change the drab Sydney skyline—while further elevating notions of luxury living. Acclaimed international architect Chris Wilkinson – of WilkinsonEyre and the man responsible for the project – opens up about the impressive legacy project he labels an ‘inhabited sculpture’.

Robb Report: A very broad question, granted, but in your opinion, what are the fundamentals of good architecture?

Chris Wilkinson: I would say that there are several important factors. A building in context is very important. I really don’t like the idea of having a design for a building and then finding a site for it. You start with the site and then you work from there. Linked to that is the whole ‘placemaking’ situation where you’re trying to create interesting places to visit, and the architecture is part of that. I’m also interested in both art and science; technology and innovation are very important. I like the idea of using the latest technology in architecture, and looking at ways to make something interesting out of it.

RR: It’s impossible to match the pace of new technology, though…

CW: Technology is, of course, moving at a pace, yes. But I do think, on the whole, it’s for the better, rather than anything else, because we can do things that we couldn’t have dreamt of before. Of course, we’re building at Barangaroo now, but it would have been very difficult 10 years ago because of the way they manufacture systems, construction methods… they have all evolved.

RR: Before we enter into a detailed discussion about that specific build, what do you make of Sydney’s cityscape in general?

CW: Like all cities, there’s good and bad. There’s some brilliant buildings in Sydney, but I suppose, when you look at the centre, the skyline, you’re seeing a lot of buildings from the 1960s. I’m not saying they’re bad, but they’re of their time. I do think there are some fantastic modern buildings, like Finger Wharf in Woolloomooloo, where things evolve—they’ve been updated and sensitively done. What’s interesting is that Sydney has got great aspirations. That’s what’s exciting for us, because I think there are aspirations to create some beautiful buildings, and some beautiful places to visit. So Sydney, it’s already great, but it’s going to evolve more. It’s a world destination, but it could get better.

RR: There’s one Sydney building that’s caused some recent consternation—the Sirius building in The Rocks. Due to a focused and loud public outcry, original plans to level this brutalist structure have recently been rescinded, and future proposals now involve preservation and refurbishment. What are your thoughts on the original design? Would you want to demolish such a building?

CW: I think it’s a building you must keep—it’s of its time and we need to keep that, we need to keep the story of how it was. It’s really like the Barbican in London—
it’s brutalist and all, but it’s also very strong and has a big impact.

RR: One Barangaroo sits not too far from the Sirius building, and is another project set to make its mark on the city. This is an ambitious build. Was it always part of the plan to go big or go home, so to speak?

CW: Well, the brief was extremely detailed. We knew exactly how much accommodation and how many rooms—which is good, because if you’ve got all the facts you can start working on it. And then there was a mid-term interview, which was a really helpful way of doing things. At that stage, you’re throwing ideas around—and in this instance we had a very positive conversation. And then when we went into the final stage, the last six weeks, we were able to develop our ideas, meaning we began the build with some confidence.

RR: Can you talk us through the design inspiration for the tower.

CW: I always had a feeling that the site needed a sculptural building. And I went into the final presentation saying that we wanted to design an inhabited sculpture, which is quite a strong thing to suggest. There were these sketches that came from a competition that I entered with my wife and son, and among them was an idea for three petals twisting as they rise up… I was looking for something completely new and it just looked exciting to me.

RR: There’s a notion of architecture being the bridge between art and science. How much does art influence your approach to architectural design?

CW: I’m a bit mixed. I sit on the art side, but then, as I said earlier, I’m also very interested in technology and the engineering aspects of buildings.

I started painting when my wife went to art school as a mature student. I began drawing and then moved more into abstract painting. But it’s very difficult. It took me a long time to get anywhere, so I carried on drawing in my normal ways in architecture. When I draw I’m the architect, and when I’m painting I’m more of an artist. But my approach to architecture has been opened up by the work I was doing as an artist. It gave me a certain liberty and confidence, and now I feel like I’m more prepared to take risks and push things as far as we can. Whereas in studying architecture, there’s an obligation for the buildings to ‘perform’. Of course, they always have to perform, but it’s a matter of how you approach it.

RR: Back to the design of One Barangaroo. Ever since you won the competition in 2013 and plans for the site were made public, there have been loud criticisms regarding the proposed height. Do you think those attitudes have changed now that people can see the building at its tallest and because, well, we’re seven years on?

CW: The politics of height is the same in almost every city actually, where there’s a reluctance to allow tall buildings. But the reality is, when it’s a cosmopolitan city, which is expanding in many places, you’re only going to end with a bit of a sprawl, or you densify the centre and go up. Of course, there are implications for densifying the centre, but I think Sydney is spread out enough. The idea of going off and densifying the suburbs doesn’t seem right to me because you tend to lose the power of the city. And in the Sydney CBD, there were a lot of buildings of a certain period… there was an opportunity to replace them, which is exactly what’s happening now with taller buildings.

RR: Ultimately, One Barangaroo is set to define the Sydney skyline. It’s likely to become a symbol, one that enters the culture of the destination. Do you think that the idea of buildings as ‘cultural capital’ has altered the way architects think about designing structures such as this?

CW: I’d say yes, but for the better. Because when you go to a city, your reactions are related to the architecture and the spaces around it. So why wouldn’t you want it to be good architecture and interesting—it’s a logical thing.

RR: The One Barangaroo tower is also an intrinsic part of Sydney’s urban regeneration, isn’t it?

CW: Absolutely. Often these post-industrial areas suddenly become popular and fashionable places—but to transform them you have to get it right. We’ve been working in Kings Cross and on Battersea Power Station in London, both urban regeneration projects, and there is a kind of pre-requisite to make them interesting and attractive without them being superficial. Kings Cross was a no-go area 15 to 20 years ago. Now it’s one of the most popular places in London. That’s all about the mix of uses and the quality of the public spaces as well as the architecture.

RR: Is an eco-conscious approach now key to design and what’s delivered?

CW: It is a chance to innovate, it really is. And it’s a most important subject on our agenda. We’ve done some projects which are really fundamental to it. [Singapore’s] Gardens by the Bay, for instance, is all about climate and the effects of climate change. What we’ve done there is build two artificial environments. We created a Mediterranean climate, which is an endangered climate, and a ‘cool moist’ climate, which is a mountain climate. Very few places in the world get both, and we’ve recreated those under a glass dome. Most of the energy is created on site, so it’s not like we’re stripping the grid to make this. We proved that you can do it. In the worst situations, we may need to have an artificial environment one day. Architecturally, we’re conscious of the want and pursuit of sustainability, and believe that we’ve been at the forefront of that. I believe that the only way we are going to fix the problems of the future is through technology. You could build a house with straw bales, and it would be sufficient, but you can’t build a central office building with the material—the only way you can build an office is through technology. And this is where we’re going to progress, through all the new ideas that go into how we can create sustainable buildings. It really is the most important thing. And everyone needs to look at it.

RR: We’ve recently seen One Barangaroo ‘top out’. What’s it like to near completion on a project such as this?

CW: It’s fantastic, especially as the quality is exactly what we were hoping for. There are things that are quite difficult to determine in one’s mind, like how the architectural twist would manifest itself. But we recently had lunch on the waterfront in the Harbour and you really see that edge and the curve, and it’s looking really exciting to me. I’m staying at a hotel overlooking the building, and it’s amazing to see it going up. It would be hell if it wasn’t what one was expecting. But it’s exactly what we were hoping for.

RR: And what do you hope its legacy will be 25 years from now?

CW: I haven’t really thought about that—but I hope that it will be of its time. Good for its time. Maybe even slightly ahead of its time. Obviously, in 25 years’ time, it’ll be of this period, and I hope that it will still be appreciated as a good example of this generation.

Crown Sydney One Barangaroo will open in December 2020, with a planned 349-room hotel, 14 restaurants and bars, and selected retail outlets. Crown Residences, located on the upper levels, are set to become habitable during the first half of 2021. onebarangaroo.com.au

 

This piece is from our new Design Issue – on sale now. Get your copy or subscribe here, or stay up to speed with the Robb Report weekly newsletter.

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Escape from the Ordinary

Ponant, the luxury cruise line known for its meticulously planned itineraries and high-end service, ups the ante on their upcoming European Journeys that promise an unrivalled exploration of the Mediterranean.

By Robb Report Team 19/02/2024

Not all cruises are created equally. Ponant, the luxury cruise line known for its meticulously planned itineraries and high-end service, ups the ante on their upcoming European Journeys that promise an unrivalled exploration of the Mediterranean. From the stunning Amalfi Coast to the pristine Greek Islands, the narrow Corinth Canal to the picturesque Dalmatian coast, historic Istanbul and beguiling Malaga, each destination is a unique adventure waiting to be unravelled. With Ponant, these aren’t just locations on a map; they’re experiences that come alive with the intimate knowledge and insight that their expert guides provide.

Ponant’s luxury cruises are renowned for their individuality, with no two journeys the same. This is not by chance. Itineraries are scrupulously designed to ensure that each passenger is left with a feeling of having embarked on a journey unlike any other.

Athens-Venise. Photograph by N.Matheus. ©PONANT

In 2025, their fleet will set sail for a combined 56 departures from March to October, exploring the dreamy locales of Greece and the Greek Islands, Malta, Italy (including Venice and Sicily), Croatia, France, Turkey, Spain and Portugal. These European Journeys offer an intimate encounter with the Mediterranean, its people and culture. As you cruise in luxury, you’ll dive deep into the heart of each destination, exploring historic sites, engaging with locals, sampling scrumptious cuisine and soaking in the vibrant atmospheres.

The company’s small, sustainable ships, which can accommodate from as few as 32 to 264 guests, have the exclusive ability to sail into ports inaccessible to larger cruise liners, affording privileged entry into some of the world’s most treasured alcoves. Picture sailing under London’s iconic Tower Bridge, crossing the Corinth Canal, or disembarking directly onto the sidewalk during ports of call in culturally rich cities like Lisbon, Barcelona, Nice and Venice, among others.

Photo by Tamar Sarkissian. ©PONANT

This singular closeness is further enriched by destination experts who unravel the tapestry of each locale’s history and traditions.

Onboard their luxurious ships, every guest is a VIP and treated to refined service and amenities akin to sailing on a private yacht. Whether at sea or ashore, their destination experts guarantee a fascinating experience, immersing you in the rich cultural and historical diversity of each region.

Indulge in the finest gastronomy at sea, inspired by none other than gastronomic virtuoso and Ponant partner, Alain Ducasse. Each voyage offers an expertly crafted dining experience, from a-la-carte meals with perfectly matched wines by the onboard Sommelier at dinner and lunch, to a French-inspired buffet breakfast, featuring all the favourite pastries, fresh bread and quality produce.

Chef Mickael Legrand. Photograph by NickRains. ©PONANT

For a more intimate discovery, consider Le Ponant, with its 16 high-class staterooms and suites—perfect for private charter—sailing eight exclusive routes between Greece and Croatia, offering guests unparalleled experiences both onboard and ashore. Ponant’s commitment to crafting unforgettable experiences extends beyond itineraries. Aboard their ships, the luxury is in every detail. Unwind in opulent cabins and suites, each offering private balconies and breathtaking views of the azure water and destinations beyond.

Ponant’s upcoming European Journeys are more than just cruises—they’re your passport to a world of cultural immersion, historical exploration, and unrivalled luxury. Don’t miss this opportunity to embark on the voyage of a lifetime: the Mediterranean is calling.

To book European 2025 sailings visit au.ponant.com; call 1300 737 178 (AU) or 0800 767 018 (NZ) or contact your preferred travel agent.

 

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Saint Laurent Just Opened a New Bookstore in Paris. Here’s a Look Inside.

The chic new outpost is located on the city’s arty Left Bank.

By Rachel Cormack 14/02/2024

Saint Laurent is taking over even more of Paris.

The French fashion house, which only just opened an epic new flagship on Champs-Élysées, has launched a chic new bookstore on the Left Bank. Located in the 7th arrondissement, Saint Laurent Babylone is a mecca of art, music, literature, and, of course, fashion.

The new outpost is a tribute to the connection that Yves Saint Laurent and partner Pierre Bergé had to the Rue Babylone, according to Women’s Wear Daily. (In 1970, the pair moved to a 6,500-square-foot duplex on the street.) It is also inspired by the house’s original ready-to-wear boutique, Saint Laurent Rive Guache, which opened in the 6th arrondissement in 1966.

The exposed concrete in contrasted by sleek marble accents. SAINT LAURENT

With a minimalist, art gallery-like aesthetic, the space is anchored by a hefty marble bench and large black shelves. The raw, textured concrete on the walls is juxtaposed by a soft blue and white rug, a wooden Pierre Jeanneret desk, and sleek Donald Judd stools.

The wares within Saint Laurent Babylone are the most important part, of course. Curated by Saint Laurent’s creative director Anthony Vaccarello, the collection includes everything from photos by British artist Rose Finn-Kelcey to books published by Saint Laurent itself. Some tomes on offer are so rare that white gloves are required for handling.

The store also offers an enviable selection of records that are no longer being pressed. Highlights include Sade’s Promise, Kate Bush’s Hounds of Love, and the debut studio album of electronic band Kraftwerk.

Other notable items on the shelves include Leica cameras, chocolates made in collaboration with pastry chef François Daubinet, prints by Juergen Teller, and brass skull sculptures. You’ll also find an assortment of YSL merch, including pens, lighters, and cups.

To top it off, Saint Laurent Babylone will double as an event space, hosting live music sessions, DJ sets, book readings, and author signings over the coming months.

Saint Laurent’s latest endeavor isn’t exactly surprising. With Vaccarello at the helm, the Kering-owned fashion house has entered new cultural realms. Only last year, the label established a film production company and debuted its first movie at Cannes.

The space is fitted with a Pierre Jeanneret desk and Donald Judd stools.
SAINT LAURENT

Perhaps Saint Laurent film reels and movie posters will soon be available at Babylone, too.

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The Best Watches at the Grammys, From Maluma’s Jacob & Co. to Jon Batiste’s Vacheron Constantin

Music’s biggest names sported some outstanding watches on Sunday evening.

By Rachel Mccormack 08/02/2024

Weird yet wonderful watches punctuated this year’s Grammys.

The woman of the moment, Taylor Swift, who made history by winning Album of the Year for an unprecedented fourth time, wore an unconventional Lorraine Schwartz choker watch to the annual awards ceremony on Sunday night. That was just the tip of the horological iceberg, though.

Colombian singer-songwriter Maluma elevated a classic Dolce & Gabbana suit with a dazzling Jacob & Co. Astronomia Tourbillon and a pair of custom, diamond-encrusted Bose earbuds, while American musician Jon Batiste topped off a stylish Versace ensemble with a sleek Vacheron Constantin Overseas Tourbillon. Not to be outdone, rapper Busta Rhymes busted out a rare Audemars Piguet Royal Oak for the occasion.

There was more understated wrist candy on display, too, such as Jack Antonoff’s Cartier Tank LC and Noah Kahan’s Panerai Luminor Quaranta BiTempo.

For the rest of the best watches we saw on the Grammys 2024 red carpet, read on.

Maluma: Jacob & Co. Astronomia Tourbillon

Maluma busted out some truly spectacular bling for this year’s Grammys. The Colombian singer-songwriter paired a classic Dolce & Gabbana suit with a dazzling Jacob & Co. Astronomia Tourbillon and a pair of custom, diamond-encrusted Bose earbuds. The sculptural wrist candy sees a four-arm movement floating in front of a breathtaking dial adorned with no less than 257 rubies. For added pizzaz, the lugs of the 18-karat rose-gold case are invisibly set with 80 baguette-cut white diamonds. Limited to just nine examples, the rarity is priced at $1.5 million.

Asake: Hublot Big Bang Essential Grey

Nigerian singer-songwriter Asake may not have won the Grammy for Best African Music Performance for “Amapiano,” but did wear a winning Hublot Big Bang at Sunday’s proceedings. Released in 2023, the Essential Grey model is made purely of titanium for a sleek, uniform feel. The 42 mm timepiece was limited to just 100 pieces and cost $37,000 a pop.

John Legend: Audemars Piguet Royal Oak Selfwinding

Multihyphenate John Legend wore a legendary Audemars Piguet with silky Saint Laurent on Sunday evening. The self-winding Royal Oak in question features a 34 mm black ceramic case, a black grande tapisserie dial, and striking pink gold accents. The watchmaker’s signature is also displayed in gold under the sapphire crystal. The piece will set you back $81,000.

Jon Batiste: Vacheron Constantin Overseas Tourbillon

American musician Jon Batiste received four nominations but no wins at this year’s Grammys. The “Butterfly” singer can take solace in the fact that he looked ultra-sharp in Versace and Vacheron Constantin. A tribute to the spirit of travel, the Overseas Tourbillon features a 42.5 mm white-gold case, a bezel set with 60 baguette-cut diamonds, and a blue dial featuring a dazzling tourbillon cage inspired by the Maltese cross. Price upon request, naturally.

Fireboy DML: Cartier Santos

Fireboy DML’s outfit was straight fire on Sunday night. The Nigerian singer paired an MCM wool jacket with a Van Cleef & Arpels bracelet, several iced-out rings, and a sleek Cartier Santos. The timepiece features a steel case, a graduated blue dial with steel sword-shaped hands, and a seven-sided crown with synthetic faceted blue spinel.

Noah Kahan: Panerai Luminor Quaranta BiTempo

Best New Artist nominee Noah Kahan wore one of Panerai’s best new watches to Sunday’s festivities. The Luminor Quaranta BiTempo features a 40 mm polished steel case and a black dial with luminous numerals and hour markers, a date display at 3 o’clock, and a small seconds subdial at 9 o’clock. The timepiece can be yours for $14,000.

Busta Rhymes: Audemars Piguet Royal Oak Offshore

Legendary rapper Busta Rhymes busted out a chic Audemars Piguet for this year’s Grammys. The Royal Oak Offshore Chronograph in question is distinguished by a 42 mm rose-gold case and a matching pink méga tapisserie dial with an outer flange for the tachymeter scale. The face is fitted with three black subdials, large black numerals, and a black date display at 3 o’clock. You can expect to pay around $61,200 for the chronograph on the secondary market.

Jack Antonoff: Cartier Tank Louis Cartier

Producer of the year Jack Antonoff took to the red carpet with a stylish Cartier on his wrist. The Tank Louis Cartier in question appears to be a large 33.7 mm example that features an 18-carat rose-gold case, a silvered dial with black Roman numerals and blued steel hands, a beaded crown set with a sapphire cabochon, and a brown alligator strap. It’ll set you back $19,900.

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This 44-Foot Carbon-Fiber Speedboat Can Rocket to 177 KMPH

The new Mayla GT is available with a range of different powertrains, too.

By Rachel Cormack 03/02/2024

We knew the Mayla GT would be one of the most exciting boats at Boot Düsseldorf, but a deep dive into the specs shows it could be downright revolutionary.

The brainchild of German start-up Mayla, the 44-footer brings you the blistering performance of a speedboat and the luxe amenities of a motor yacht in one neat carbon-fiber package.

Inspired by the go-fast boats of the 1970s and ‘80s, the GT sports an angular, retro-futuristic body and the sleek lines of a rocket ship. Tipping the scales at just 4500 kilograms, the lightweight design features a deep-V hull with twin transversal steps and patented Petestep deflectors that help it slice through the waves with ease. In fact, Mayla says the deflectors decrease energy usage by up to 35 percent while ensuring a more efficient planing.

The range-topping GT can reach 185 kph. MAYLA

The GT is also capable of soaring at breakneck speeds, with the option of a gas, diesel, electric, or hybrid powertrain. The range-topping GTR-R model packs dual gas-powered engines that can churn out 3,100 hp for a top speed of more than 100 knots (185 kph). At the other, more sustainable end of the spectrum, the E-GT is fitted with an electric powertrain that can produce 2,200 horses for a max speed of 50 knots. The hybrid E-GTR pairs that same electric powertrain with a 294 kilowatt diesel engine for a top speed of 60 knots (111 km/h/69 mph). (The GT in the water at Boot sported two entry-level V8s good for 650 hp and a top speed of over 70 knots.)

The GT is suitable for more than just high-speed jaunts, of course. The multipurpose cockpit, which can accommodate up to eight passengers, features a sundeck with sliding loungers, a wet bar and BBQ, and a foldaway dining table for alfresco entertaining. Further toward the stern, a beach club sits atop a garage with an electric transom door.

The garage has an electric transom door. MAYLA

The GT is even fit for overnight stays. Below deck lies a cabin with a double bed, sofa, wardrobe, vanity, and en suite. You can also expect a high-tech entertainment system with TVs and premium audio.

As for price, the GT with the entry-level powertrain will cost between $2.7 million and $2.9, depending on the final configuration. (You can fine-tune the layout, hull color, and interiors, naturally.) Interested buyers can set up a sea trial with Mayla, with test-drives set to begin this spring in Europe.

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Red Centre

First Nations artist Shaun Daniel Allen joins forces with Chopard to create a timepiece inspired by the Australian landscape.

By Horacio Silva 29/01/2024

Shaun Daniel Allen does not look like your typical collaborator on a prestige watch. For one, Shal, as he prefers to be known (“There are many Shauns but only one Shal,” he explains), is more heavily tattooed than your average roadie. His youthful appearance, bad-boy ink and all, belies his 38 years and leads to a disconnect. 

He recounts being recognised on the street recently by a journalist, who, unable to remember his name, shouted out, “Chopard!” “I was with a friend,” Shal says, holding court in his apartment in Sydney’s inner city, “and he’s, like, ‘What the hell? Does that happen to you often?’”

Perhaps because of his body art, he reasons, “People don’t put me and Chopard together.” It’s not hard to understand the confusion, Shal adds; even he was taken aback when Chopard reached out to him about a potential collaboration a little more than a year ago. “When I first went in to see them, I was, like, I don’t know if I’m your guy. I’m not used to being in those rooms and having those conversations.”

He’ll have to adapt quickly to his new reality. Last month Chopard released Shal’s interpretation of the Swiss brand’s storied Alpine Eagle model, which in itself was a redo of the St. Moritz, the first watch creation by Karl-Friedrich Scheufele (now Co-President of Chopard) in the late 1970s. 

Previewed at Sydney’s About Time watch fair in September, to not insignificant interest, and officially known as the Alpine Eagle Sunburnt, the exclusive timepiece—issued in a limited edition of 20—arrives as a stainless steel 41 mm with a 60-hour power reserve and a burnt red dial that brings to mind the searing Outback sun. Its see-through caseback features one of Shal’s artworks painted on sapphire glass.

When the reputable Swiss luxury brand approached Shal, they already had the red dial—a nod to the rich ochre hues of the Australian soil at different times of the day and gradated so that the shades become darker around the edges—locked in as a lure for Australian customers.

Shal was charged with designing an artful caseback and collectible hand-painted sustainable wooden case. After presenting a handful of paintings, each with his signature abstract motifs that pertain to indigenous emblems, tattoos and music, both parties landed on a serpentine image that evoked the coursing of rivers. “I have been painting a lot of water in this last body of work and the image we chose refers to the rivers at home,” he says, alluding to formative years spent at his grandfather’s, just outside of Casino.

It says a lot about Chopard, Shal points out, that they wanted to donate to a charity of his choosing. “Like everything else on this project,” he explains, “they were open to listening and taking new ideas on board and it actually felt like a collaboration, like they weren’t steering me into any corner.”

In another nice touch, a portion of the proceeds from sales of the watch will go to funding programs of the Ngunya Jarjum Aboriginal Corporation—an organisation, established in 1995 by Bundjalung elders, whose work Shal saw firsthand after the 2022 eastern Australia flood disasters ravaged their area. “Seeing Ngunya Jarjum suffer from the floods,” he says, “and knowing how much they do for the community on Bundjalung Country was heartbreaking. I want to see Bundjalung families thriving and supported.”

So what’s it been like for this booster of Australian waterways to be swimming in the luxury end of the pool? “I’ve done a few things with brands,” he offers, referring to the Louis Vuitton project earlier this year at an art gallery in Brisbane, “but nothing on this scale. It’s definitely fancier than I’m used to but I’m not complaining.” Neither are watch aficionados.

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