“A persona is embedded in the very structure - an abstract zoomorphic form with a long brick neck and a set of super-scaled eyes looking out to the north.” These words from Patrick Kennedy of Kennedy Nolan capture the spirit and vision behind Melbourne Place, the architecture studio’s first-ever hotel and a compelling new addition to Melbourne’s cityscape.

Located in the east end of Melbourne’s CBD, Melbourne Place is more than a hotel - it’s a complete design. The sixteen-level new build blends architectural integrity with richly detailed interiors, all shaped by a single design team. This holistic approach lends the building a rare coherence, from its handcrafted Kraus brick façade and sculptural tinted concrete to the integrated brise-soleil crowning the top floors. The result is a building with character, gravity and humour - anchored in place but brimming with personality.

Externally, Melbourne Place draws inspiration from the surrounding built history, referencing the materiality and scale of its 20th-century neighbours like the T&G building and Cavendish House. “We were conscious of being a polite addition to the street,” Patrick explains, “but also wanted a building that would be memorable - a familiar friend to Melburnians.” That intention is realised through architectural

storytelling: the façade not only responds to the city but also seems to watch over it, animated by shadow, texture and a quietly expressive identity.

Kennedy Nolan’s choice to embed a zoomorphic character into the design gives the building an almost mythic presence in the city. The giant “eyes” on level twelve are not merely sculptural flourishes - they are viewfinders looking north over the skyline, lighting up at night to create a gentle but distinctive visual landmark. It’s this kind of poetic gesture that elevates Melbourne Place from a well-executed hotel to an icon in its own right.

Inside, the design prioritises sensory richness. Kennedy Nolan’s interiors are layered with texture - oiled jarrah, silk wallpaper, terrazzo, travertine and corten steel - fostering a sense of place that is both tactile and deeply atmospheric. “We believe in emotional and sensory connections to place,” Patrick notes. “That connection transforms buildings into characters in our collective memory.” The hotel’s material palette not only invites touch and curiosity but ensures durability and longevity - a vital consideration in designing for lasting relevance.

The interiors also explore the evocative power of colour, with each guest room offering a tonal experience shaped by its orientation. North-facing rooms glow in deep blue, east-facing rooms embrace moody greens, and the warmer west is brought to life with golden browns. Suites on level thirteen expand on this palette, drawing from Australia’s ochres and timbers in a grounding mix of marble, corten and jarrah. Colour is treated with depth and complexity - hues are designed to react and fluoresce, transforming with the movement of the sun and the rhythms of the day.

Lovelight’s custom window furnishings play a quiet but critical role in the guest experience. In the penthouse, five-metre linen sheers soften the double-height glazing and shape a sense of intimacy despite the scale. Throughout the hotel, operable shutters add ventilation and shading while contributing to the building’s sculptural skin. These considered layers allow each space to breathe, adapting to light, aspect and atmosphere. Kennedy Nolan’s approach to privacy is similarly thoughtful - balancing openness with retreat, transparency with enclosure.

Downstairs, the restaurant Mid Air extends the language of the rooms into a saturated and theatrical space. Its interior and terrace flow together via harlequin porcelain tiles, cobalt bars and jarrah booths. “Our palette is always grounded in natural materials,” says Patrick, “but we punctuate it with jewel-toned colours that make the space feel alive.” The design of Mid Air also champions intimacy and variety - booths, planters and curated views shape an experience that is both expansive and personal.

Essential to the success of this design is the feeling that Melbourne Place could only exist in Melbourne. From its site-responsive form to its locally sourced art, furnishings and materials, it is an authentic celebration of the city - one that brings warmth, wit and a deeply personal touch to the world of hospitality. Every element - from the brickwork to the furniture, from the gardens by Amanda Oliver to the custom terrazzo - speaks to a place that’s creative, grounded and enduring. In Melbourne Place, Kennedy Nolan has not only designed a building but crafted a lasting contribution to the city’s identity