At the Ace Hotel Sydney by Flack Studio, the reception desk is a James Lemon installation of polychrome ceramic bricks—a nod to the neighborhood’s history of pottery production—backed by a Jason Phu wall hanging.
The reception desk is a James Lemon installation of polychrome ceramic bricks—a nod to the neighborhood’s history of pottery production—backed by a Jason Phu wall hanging.

July 6, 2022

Words: Michael Lassell

Photography: Anson Smart

For the Ace Hotel Sydney, Flack Studio Creates an Authentic Australian Experience

Founded in 1999, the Ace Hotel Group has claimed an enviable slice of the hospitality pie with a chain of high-profile luxury boutique properties aimed at a creative clientele. Since opening its first location—a renovated former Salvation Army halfway house in Seattle—the brand has specialized in transforming rescued buildings of some urban significance into state-of-the-art facilities. The group currently comprises nine hotels, including the latest, which opened in May in Sydney.

The interior of the new property was designed by Flack Studio, a small firm based in Melbourne, best known for residential and retail spaces. Surprisingly, the studio had never worked on a hotel before. “The scale of the job was more than we were used to,” founder and principal David Flack acknowledges. “But I was confident that we could do it. There aren’t many hotel companies that I would want to work for, but Ace is clearly one of them.”

Flack joined the renovation project early on. Bates Smart, one of Australia’s oldest architectural firms, was responsible for gutting the Tyne Building, a 10-story brick structure dating to the early 20th century in the city’s Surry Hills suburb. The architects incorporated the exterior masonry walls into an 18-story, glass-and-steel tower that now houses 257 guest rooms and suites, but “there really wasn’t anything much to salvage of the interior,” Flack observes.

Commissioned artworks by Julia Gutman (left) and Joanna Lamb (back) enliven a pre-event space accessed by a honed Rosso Francia marble staircase.
Commissioned artworks by Julia Gutman (left) and Joanna Lamb (back) enliven a pre-event space accessed by a honed Rosso Francia marble staircase.

Although the Tyne was not officially landmarked, the designer wanted to pay homage not only to the building but also the fascinating history of the neighborhood where, in 1788, the recently arrived British discovered a deposit of pottery clay and built Australia’s first kiln. Within 40 years, Jonathan Leak, a transported convict, established his own pottery works there and was soon cranking out bricks, tiles, bottles, and domestic earthenware. In 1916, Leak’s factory was razed to be replaced by the Tyne Building—originally a pharmaceutical warehouse, later a garment workshop, and then a school for underprivileged kids. Over the years, Surry Hills was home to Chinese immigrants in the gold rush era, dangerous razor gangs in the 1920’s, bootleggers in the ’30’s, boho artists in the ’60’s, and a burgeoning LGBTQ population in the ’70’s, who established the renowned annual Sydney Gay and Lesbian Mardi Gras. Flack wanted to reference all of it.

Early on, he decided that he would stick to straightforward industrial materials used in both traditional and innovative ways. These include the existing brick, along with board-formed concrete, terrazzo and oak flooring, solid woods and veneers, and a variety of metals. There is also stone, such as honed Rosso Francia marble from Italy for the main staircase. Acoustic ceiling panels are used to line guest-room walls—not so much for soundproofing purposes (even though rooms are equipped with turntables, a selection of vinyl records, and, yes, guitars) as for aesthetic reasons: “It’s a rudimentary material, not fancy,” Flack explains, “but it has a beautiful depth and texture to it.”

As for the color palette, Flack chose a singular combination of earthy tans and ochres, burnt oranges, a variety of greens, and, most surprisingly, purple. The inspiration came from the landscape paintings of Albert Namatjira, one of the country’s best-known 20th-century artists of indigenous ancestry. Both Flack and Mark Robinson, his partner in work and life, collect modern art, which plays a large part in the design. Commissioned pieces in many forms by a diverse group of living Australian artists populate the property. The front desk, for example, comprises a multihued patchwork of variously sized ceramic bricks—a gobsmacking installation by James Lemon. “I’m not afraid of using color,” Flack happily concedes.

Applied to a guest room’s walls, acoustic ceiling panels form a kind of tall dado that, despite in-room guitars and stereo equipment, is more about aesthetics than soundproofing.
Applied to a guest room’s walls, acoustic ceiling panels form a kind of tall dado that, despite in-room guitars and stereo equipment, is more about aesthetics than soundproofing.

The furnishings are a mix of vintage pieces—both anonymous and pedigreed—and custom designs. The lobby lounge features Paul Frankl–style mid-century rattan swivel chairs surrounded by bespoke banquettes upholstered in heavily ruched leather. “I do that with leather a lot,” the designer notes. “I think it makes the seating look more inviting.” The lobby restaurant booths, upholstered in similar fashion, are joined by Mart Stam’s classic 1931 tubular-steel chairs, now manufactured by Thonet, their cantilever frames painted fire-engine red. Guest rooms and suites are equally eclectic, with Mario Bellini’s iconic 1977 leather Cab chairs pulling up to Charles and Ray Eames’s round oak-top tables in some of them. Most of the hotel’s striking light fixtures, which include columnlike sconces of aged-finish perforated brass, are custom Flack designs.

Staying “on brand” was a top concern for Flack. “Ace had rules,” he reports. “But they also allowed that rules were made to be broken.” He eventually determined that the chain’s trademark was not so much a look as a feeling. “An Ace hotel wants to engage people on an aesthetic and social level, to encourage them to congregate and interact with others, both guests and locals,” he concludes. “I wanted this hotel to be an authentic Australian experience without losing the slightly renegade history of the neighborhood. In my view, Australia’s greatest strength is our diversity.”

Vintage rattan armchairs join custom banquettes upholstered with ruched leather in the sunken lobby lounge where flooring is custom terrazzo tile and brickwork is original to the 1916 building.
Vintage rattan armchairs join custom banquettes upholstered with ruched leather in the sunken lobby lounge where flooring is custom terrazzo tile and brickwork is original to the 1916 building.
One wall in a meeting room is texturized with cement render, a finish used in many parts of the hotel.
One wall in a meeting room is texturized with cement render, a finish used in many parts of the hotel.
In the lobby restaurant, perforated panels of blackbutt, a kind of eucalyptus, clad the ceiling, herringbone-pattern oak boards cover the floor, and Mart Stam tubular-steel chairs mix with custom booth seating and tables.
In the lobby restaurant, perforated panels of blackbutt, a kind of eucalyptus, clad the ceiling, herringbone-pattern oak boards cover the floor, and Mart Stam tubular-steel chairs mix with custom booth seating and tables.
Original brickwork and board-formed concrete frame a view of the lobby library featuring an artwork by Nadia Hernández and shelves backed with rattan wallcovering.
Original brickwork and board-formed concrete frame a view of the lobby library featuring an artwork by Nadia Hernández and shelves backed with rattan wallcovering.
In the living room, a Charles and Ray Eames table and Mario Bellini chairs stand under a triangular artwork by Sydney Ball.
In the living room, a Charles and Ray Eames table and Mario Bellini chairs stand under a triangular artwork by Sydney Ball.
A custom solid-oak stool joins the freestanding tub in a terrazzo-floored guest bathroom.
A custom solid-oak stool joins the freestanding tub in a terrazzo-floored guest bathroom.
Most of the room’s other furniture is custom, including the armchairs and built-in sofa, which are overlooked by a finger-painted acrylic on mirror by Michael Lindeman.
Most of the room’s other furniture is custom, including the armchairs and built-in sofa, which are overlooked by a finger-painted acrylic on mirror by Michael Lindeman.
Honed Arabescato Corchia marble forms a plinth and backdrop for a suite bath­room’s custom vanity and mirror.
Honed Arabescato Corchia marble forms a plinth and backdrop for a suite bath­room’s custom vanity and mirror.
At the Ace Hotel Sydney by Flack Studio, the reception desk is a James Lemon installation of polychrome ceramic bricks—a nod to the neighborhood’s history of pottery production—backed by a Jason Phu wall hanging.
The reception desk is a James Lemon installation of polychrome ceramic bricks—a nod to the neighborhood’s history of pottery production—backed by a Jason Phu wall hanging.
David Rowland’s archetypal 1964 stacking chairs, never out of production, outfit a conference room where blackbutt panels line the rear wall.
David Rowland’s archetypal 1964 stacking chairs, never out of production, outfit a conference room where blackbutt panels line the rear wall.
In another guest room, custom wool blankets and vibrant carpeting offset custom oak millwork.
In another guest room, custom wool blankets and vibrant carpeting offset custom oak millwork.
Terra-cotta floor tiles are complemented by a custom vanity of oak and honed Italian marble in another bathroom.
Terra-cotta floor tiles are complemented by a custom vanity of oak and honed Italian marble in another bathroom.
PROJECT TEAM
Flack Studio: Mark Robinson
bates smart: architect of record
plant charmer: landscaping consultants
studio ongarato: custom graphics
electrolight: lighting consultant
marques interiors: custom furniture workshop
signorino: stonework
PRODUCT SOURCES
FROM FRONT
corsi & nicolai: flooring (reception)
akari: lamp (reception), pendant fixtures (lounge, restaurant)
alustain: stair railings (reception, pre-event)
rms traders: wallcovering (reception, library)
dcw editions: sconce (lounge)
flos: ceiling fixtures
nsw leather co.: banquette upholstery
through casser maison: armchairs (pre-event)
ramler: table (meeting room)
westbury textiles: curtain fabric (meeting room, restaurant)
living edge: side chairs (meeting room, conference room)
thonet: chairs (restaurant)
woodstock resources: flooring (restaurant, library)
house of bamboo: wallcovering (library)
warwick textiles: curtain fabric (guest rooms)
stansborough: custom blankets
parisi: tubs, tub fittings (bathrooms)
reece: sinks
mark tuckey: custom stools
artedomus: terra-cotta floor tile (bathroom)
THROUGHOUT
electrolight: custom lighting
halcyon lake: carpeting
terrazzo australian marble: floor tile
classic ceramics; tiento: bathroom wall tile
knauf: acoustic paneling
bishop master finishes: cement render
Kvadrat Maharam: upholstery fabric
instyle: upholstery leather
dulux: paint

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