previously worked with Baker D. Chirico no less than 14 years ago in Carlton, Melbourne. This time around, it’s all about – and the full process of realising the design here has itself been a hefty six years, due not only to the Covid pandemic but also some crucial, specialist equipment acquired after long research on the part of the bakers.
Rodney Eggleston of March Studio led the design and explains some of the context further: “So, why did it take so long? First, there was the pressure of design – balancing the challenge of a worthy sequel while aiming to surpass the original. Then came the equipment. With bread as uniquely moist as Chirico’s, a standard bread slicer simply wouldn’t do. After four years of research, the solution was finally found: a specialised slicer from Germany equipped with a butcher’s blade, capable of handling the job.”
Indeed, this project most certainly does not seek to hide away the practicalities of the hospitality needs. Though preparation and washing areas are tucked away to the rear, equipment such as ovens, the Fortuna Bun Divider, spiral mixers and pastry sheeters are all give prominent placement. They are, says Eggleston, “strategically placed in full view, transforming the art of baking into a captivating performance for all to enjoy.”
Visitors are encouraged to enjoy a full view into the kitchen, while a custom curved high-gloss Italian terrazzo marble slab floor-to-ceiling cascading croissant-inspired Australian timber framework. Polished brass fixture and copper countertops add to the fine detailing in an overall composition that aims to evoke something of a Mediterranean coastal atmosphere.
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“I never wanted to have a bakery that was Italian only – I was French trained and I love German bread,” explains Baker D. Chirico founder, Daniel Chirico. “I like to say Baker D. Chirico is European inspired, because that allows me to take a few bits and pieces from everywhere. The brief was basically an evolution of Carlton.”
“Carlton’s design – with the timber ceiling that drapes down to the shelving – was inspired by an inverted bread basket. It’s the same idea here, but it’s a little bit bigger and it’s not as undulating. We wanted to heighten the ceiling and give it a bit more of an expansive feel.”
The emphasis on timber maintains continuity with the Carlton project, with a CNC-cut plywood ceiling which, Eggleston says, “cascades seamlessly down the walls to form shelving […] Brisbane’s interpretation is grander and more expressive, evoking the delicate, flaky layers of a croissant,” he adds.
Max Lamb’s terrazzo Marmoreal is used on the floor – “its playful texture reminiscent of nougat,” as Eggleston describes it – while custom furniture makes reference to Eileen Gray’s functionalist aesthetic.
Eggleston concludes: “The retail space is a true celebration of gluten-laden delights. Chirico’s vision for this second flagship – the first in Brisbane – was to craft a sequel to the brand’s identity, building on the timberwork of Carlton but taking it to bold new heights.”
March Studio
Photography
Peter Bennetts, Cieran Murphy
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