As with William’s previous studio, arranged around the art of model-making, here, staff are literally surrounded by maquettes, all constructed in Balsawood and painted white, like the pristine white walls dotted with plans and schemes. Finely curated like William’s bespoke homes, apartments and commercial projects, even the staff computers and materials appear recessive in the individual black laminated alcoves.
While this studio is open plan on a substantial footprint of 3,600 square metres, there’s also the boardroom and enclosed meeting areas on the mezzanine level. Accessed by terrazzo treads and 53 white steel wires for the balustrade, it’s artfully conceived ‘macrame’ (a 1970s phenomenon) for the future.
While William enjoys the studio environment, he also appreciates leaving this space at occasional times during the day and every night to find solitude in the loft-style apartment he shares with his partner. “When we were planning this space, we decided to make it entirely open, with the only fixed door to the bathroom,” William says. So, while everything is on one level and without doors, spaces have been discretely located to create privacy.
Featuring pink granite floors and curvaceous ceilings, reaching an apex of four metres, the apartment includes everything that William’s last home didn’t, and in some instances did, include. “We never use a bath so why include this? Likewise, we didn’t want the kitchen to ‘read’ as a traditional kitchen,” William says, pointing out the sculptured Corian bench with two smaller fridges concealed below. This artistry extends to the dressing area that creates a subtle ‘veil’ to the bedroom. Embedded into the dressing room cupboards are graphic paintings by artist Mike Parr.
For William, who designed this space for the long term, there’s a sense of calm and tranquillity as he enters the separate entrance via a curved glass wall set into the black glazed brick facade and climbs the pink terrazzo treads. “It’s such a reflective space, enjoying the stream of light on the brickwork and how this changes along with the reflections of the landscape on the glass. It’s serene and allows me the space that I need not only physically but in my mind,” William adds.
This feature originally appeared in est Magazine issue #42.
William Smart | Photography courtesy of Martin Mischkulnig