Three Of Sydney CBD's Most Luxurious Penthouses
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Three Of Sydney CBD’s Most Luxurious Penthouses

Sydney’s prestige market is looking up, here’s three of the best on the market right now.

By Terry Christodoulou
Tue, May 18, 2021 4:51pmGrey Clock 3 min

The last few years has seen a considerable uptake in apartment living across Sydney, notably in the prime market as driven by a slew of new luxury developments.

It’s meant recent Australian sales records – cue Crown’s One Barangaroo and its waterside neighbour, One Sydney Harbour – as purchasers look to secure a standout property and also embrace the benefits of expansive inner-city living.

While the penthouses of the aforementioned towers are now gone, there remains some unique, cloud-catching CBD abodes available.

Here, three of the best to purchase now.

 

3303/203 Castlereagh Street, Sydney, NSW 2000

The Castle Penthouse, located in Castle Residences and designed by Candelepas & Associates architects, sees a 4-bedroom, 4- bathroom, 2-car parking residence delivered in the heart of Sydney’s CBD.

Here a rooftop terrace boasts breathtaking views over Hyde Park and the city skyline, with an extensive and undoubtedly luxurious finish by Studio Aria ensuring it is one of the finest properties in Australia.

The penthouse is reached via a private lift, through a double door entrance and sees opulent finishes including the use of stone benchtops, large porcelain tiles and bespoke joinery.

Expect an open-plan design, leading outwards to the buildings highly desirable winter gardens. It’s here you’ll find an opulent kitchen, complete with Gaggenau appliances.

The penthouse is also offers a  master bedroom that spans the top floor, and opens out to a sky garden with decked spa.

Those fortunate to call Castle Residences home will also enjoy various hotel amenities – such as pool and gym access as well as desirable in-house dining sourced via restaurants such as Henry’s Bread and Wine, Dixon & Sons and Spice Trader. Meanwhile, housekeeping, concierge, valet parking and 24-hour security are all accessible via in-house app.

The property is expected to welcome residents from end of August 2021.

The listing is with McGrath Pyrmont’s Robert Alfeldi (+61 418 982 688); mcgrath.com.au

 

 Level 43/163 Castlereagh Street Sydney NSW 2000

 

Much has already been written about the Boyd Residence. The grand, lavish, award-winning penthouse sits some 180-metres above street level offering. 2395sqm in the heart of the CBD.

Spread across three levels comes 4-bedroom, 5-bathrooms and 2 car parking. Inside sees unprecedented levels of privacy and opulence, with 24-hour security.

Accessed via private lift, it opens to a glass wall with built-in champagne storage. Elsewhere a sleek fireplace, multiple seating groupings and walls of glass take in the panorama of the city.

Each bedroom suite arrives with a marble bathroom, while the rest of the residence is framed by double-height ceiling and dramatic walls of glass.

Also, a resort-style private rooftop pool tops the living space, adding further luxury to the pad.

The listing is with Christie’s International’s Ken Jacobs (+61 407 190 152) and LJ Hooker Double Bay’s Bill Malouf (0411 428 354); theboydresidence.com.au

 

 

83.01/115 Bathurst Street, Sydney, NSW 2000

Known as the ‘King’ Penthouse, comes this luxurious pad inspired by the global cities of New York and London.

Here, at the very pinnacle of the Greenland Centre tower comes panoramic views of the CBD, Blue Mountains, Hyde Park and Sydney Harbour.

The 4-bedroom, 4-bathroom, 4-car parking penthouses offers sophisticated details, with glamorous stone island benchtops in the kitchen and concealed scullery, to towering balconies overlooking Sydney.

The master bedroom features an opulent dressing room that opens to reveal handsome timber-panelled interiors with wide drawers and open display shelving for all your finery, handbags, watches, belts and scarves

The master bathroom is cloaked in emerald green marble and features high-quality fixtures, a free-standing bath and heated towel rack bringing minimalist glamour while a soaring skylight adds luminous radiance.

Further amenities include a 30-metre outdoor pool, gym, spa, sun deck, and multi-function residents’ room.

Contact Ben Stewart (+61 412753740) of CBRE for more information; thegreenlandcentre.com.au

 



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I.M. Pei was the confident visionary behind such transformative structures as the Bank of China Tower in Hong Kong and the Louvre Pyramid in Paris, but he was also humble, and for years resisted a retrospective of his work.

Pei, a Chinese-American architect who died in 2019 at 102 , would always protest any suggestion of a major exhibition, saying, “why me,” noting, too, that he was still actively at work, recalls his youngest son, Li Chung “Sandi” Pei. A decade ago, when Pei was in his mid-to-late 90s, he relented, finally telling Aric Chen, a curator at the M+ museum in Hong Kong, “all right, if you want to do it, go ahead,” Sandi says.

A sweeping retrospective, “I.M. Pei: Life Is Architecture,” will open June 29 at M+ in the city’s West Kowloon Cultural District. The exhibition of more than 300 objects, including drawings, architectural models, photographs, films, and other archival documents, will feature Pei’s influential structures, but in dialogue with his “social, cultural, and biographical trajectories, showing architecture and life to be inseparable,” the museum said in a news release.

As a Chinese citizen who moved to the U.S. in 1935 to learn architecture, Pei—whose full first name was Ieoh Ming—brought a unique cultural perspective to his work.

“His life is what’s really interesting and separates him from many other architects,” Sandi says. “He brought with him so many sensibilities, cultural connections to China, and yet he was a man of America, the West.”

Facade of the Bank of China Tower in Hong Kong in a photograph commissioned by M+ in 2021.
© South Ho Siu Nam

Pei’s architectural work was significant particularly because of its emphasis on cultural institutions—from the East Building of the National Gallery of Art in Washington, D.C., to the Museum of Islamic Art in Doha, Qatar—“buildings that have a major impact in their communities,” Sandi says. But he also did several urban redevelopment projects, including Kips Bay Towers in Manhattan and Society Hill in Philadelphia.

“These are all places for people,” Sandi says. “He believed in the importance of architecture as a way to bring and celebrate life. Whether it was a housing development or museum or a tall building or whatever—he really felt a responsibility to try to bring something to wherever he was working that would uplift people.”

A critical juncture in Pei’s career was 1948, when he was recruited from the Harvard Graduate School of Design (where he received a master’s degree in architecture) by New York real estate developer William Zeckendorf.

With Zeckendorf, Pei traveled across the country, meeting politicians and other “movers and shakers” from Denver and Los Angeles, to Philadelphia, Washington D.C., Boston, and New York. “He became very adept at working in that environment, where you had to know how to persuade people,” Sandi says.

During the seven-year period Pei worked with Zeckendorf, the developer fostered the growth of his architecture practice, supporting an office that included urban, industrial, graphic, and interior designers, in addition to architects and other specialists, Sandi says.

When Pei started his own practice in 1955, “he had this wealth of a firm that could do anything almost anywhere,” Sandi says. “It was an incredible springboard for what became his own practice, which had no parallel in the profession.”

According to Sandi, Chinese culture, traditions, and art were inherent to his father’s life as he grew up, and “he brought that sensibility when he came into America and it always influenced his work.” This largely showed up in the way he thought of architecture as a “play of solids and voids,” or buildings and landscape.

“He always felt that they worked together in tandem—you can’t separate one from the other—and both of them are influenced by the play of light,” Sandi says.

View of the National Center for Atmospheric Research, on the mesa, in a photograph commissioned by M+ in 2021.
© Naho Kubota

Pei also often said that “architecture follows art,” and was particularly influenced by cubism, an artistic movement exploring time and space that was practiced in the early 20th century by Pablo Picasso, Georges Braque, and the sculptor Jacques Lipchitz, among others. This influence is apparent in the laboratory at the National Center for Atmospheric Research in Boulder, Colo., and at the Everson Museum of Art in Syracuse, N.Y. “Those two buildings, if you look at them, have a play of solid and void, which are very cubistic,” Sandi says.

Yet Sandi argues that his father didn’t have a specific architectural style. Geometry may have been a consistent feature to his work, but his projects always were designed in response to their intended site. The resulting structure emerged as almost inevitable, he says. “It just was the right solution.”

Pei also intended his buildings “not only to be themselves a magnet for life,” but also to influence the area where they existed. “He never felt that a building stood alone,” Sandi says. “Urban design, urban planning, was a very important part of his approach to architecture, always.”

After he closed his own firm to supposedly “retire” in the early 1990s, Pei worked alongside Sandi and his older brother, Chien Chung (Didi) Pei, who died late last year, at PEI Architects, formerly Pei Partnership Architects. Pei would work on his own projects, with their assistance, and would guide his sons, too. The firm had substantial involvement in the Museum of Islamic Art, among other initiatives, for instance, Sandi says.

Working with his father was fun, he says. In starting a project, Pei was often deliberately vague about his intentions. The structure would coalesce “through a process of dialogue and sketches and sometimes just having lunch over a bottle of wine,” Sandi says. “He was able to draw from each of us who was working on the project our best efforts to help to guide [it] to some kind of form.”

The M+ retrospective, which will run through Jan. 5, is divided into six areas of focus, from Pei’s upbringing and education through to his work in real estate and urban redevelopment, art and civic projects, to how he reinterpreted history through design.

Sandi, who will participate in a free public discussion moderated by exhibition co-curator Shirley Surya on the day it opens, is interested “in the opportunity to look at my father anew and to see his work in a different light now that it’s over, his last buildings are complete. You can take a full assessment of his career.”

And, he says, “I’m excited for other people to become familiar with his life.”