“Previously, the offices were concealed from the showroom and the kitchen was tucked into a corner on the ground floor, adjacent to a fire escape,” says Goss, who accentuated the double-height void at the front.
This was achieved by removing a staircase that was inappropriately located within that void and creating new timber reveals to accentuate the monumentality of the space.
“The inspiration for these windows (extending six metres in height and approximately 400 millimetres in width), came from Le Corbusier’s suite of buildings in Chandigarh, constructed in the 1950s.
“The purpose was to provide a sense of depth to the facade (previously flimsy aluminium windows) as well as to diffuse the afternoon sunlight,” says Goss, who was also mindful of creating a backdrop to display the designer rugs in the window.
Goss Studio literally gutted the showroom, removing faux floors and ‘cleaning up’ ceiling junctions and walls.
Walls, such as those at the front, were refinished using slightly uneven tiles.
“Fortunately, there was a similar aesthetic shared with our client for a slightly rough and natural feel,” says Goss, who compares the wall tiles to the rough textured cobblestones one could easily find in an Indian village.
The in situ concrete bench, used for client meetings, also has a slightly raw finish, as do the now exposed concrete floors.
The dramatic installation by floral artist Lisa Cooper, made from woollen yarn and local foliage, has a chandelier effect.
Pivotal to the reworking of the space was the creation of a new stairwell and balustrade at the edge of the mezzanine.
Broad timber treads were inserted between two monumental plaster blade walls and a new chunky edge to the clear glass balustrade provided additional weight.
“The previous fit-out was much more glossy and lightweight.
Here, the direction was to create a sense of longevity, something that’s been here for years,” says Goss, running his hand along the timber handrail.
Instead of the former glossy finishes, the palette is now a soft pale grey with subtle white accents.
At ground floor level, there are now two meeting areas, one concealed below the mezzanine, together with a display area for the rugs.
The mezzanine has now been given over to the office area, a combination of open plan workstations and a couple of enclosed meeting areas.
There’s also the kitchen, simply dismantled from the downstairs and pieced together.
“The former kitchen was quality.
It made little sense to simply ditch this in favour of a new one,” says Goss, who modestly refers to some of the changes as simply ‘editing’.
Goss’s editing included creating soft edges on the blade walls of the staircase to add a sense of weight.
With the success of this showroom, Goss has been commissioned to create a new fit-out for Armadillo & Co in New York.
“I was fortunate with the Sydney showroom that the bones were all there.
Sometimes, you just need to see how a space could look,” says Goss, who enjoys seeing the play of light with the street tree on the pavement.
“Like these rugs, texture and depth is an important part of my practice,” he adds.