It was a rather long gestation period, three years in fact, but interior designer Karen Morris wasn’t even there for the rebirth of the iconic The Sofitel Wentworth. On the eve of her own maternity leave, Morris spoke to Travel Weekly Editor Grant Jones about how the landmark hotel was reborn with a fresh, yet respectful nod to its iconic modernist roots.
AT THE HEART any hotel transformation is the interior design. It’s not just the freshly painted and newly carpeted rooms that are slept in, but the common spaces which had to be anything but common in this heritage-listed, mid-century semi-circular building in the heart of Sydney’s business district. It’s a place where people have met, rendezvoused, rested, sought respite and appeased various appetites for almost 60 years.
Morris, of Australian design practice FK, brought to it a thoughtful vision and delicate balance that has breathed new life into the 1960s hotel – once the home of overnighting Qantas crew – without stripping away its soul.
When the project first landed on her desk, Morris admits she was hesitant. ‘It was a really deep floor plate. ‘As a firm, we said yes — intrigued by the potential. Although, I knew this one was going to be tough.”
The challenge? The hotel’s unusual layout meant that much of the central interior suffered from a lack of natural light, with a vast space hemmed in by pillars, low roofs and escalators. Creating a warm, inviting atmosphere within these constraints was the puzzle Morris and her team set out to solve.
The answer came in the form of an open kitchen concept, placed on a raised podium that also cleverly concealed essential services beneath. This act not only activated the large, otherwise gloomy central zone, but gave guests a dynamic, interactive view into the culinary heart of the hotel — a lively stage for the social theatre of hospitality.
The Sofitel Wentworth is not just a building; it’s a heritage icon designed by Skidmore, Owings & Merrill and Laurie & Heath in the Post-war International Style in the 1960s, an era when modernism meant pared-back simplicity rather than ornate decoration. As Morris explains, “It’s not an Art Deco building with plaster ceiling roses or pressed ceilings. It’s an integral, holistic piece of architecture, and respecting that heritage was key. The heritage architects on board helped us pull back on overly ornate design impulses.”
That restraint had to be balanced against the desires of the French hotel operators, Accor brand Sofitel, who kept sending lavish, ornate design references that simply wouldn’t fit the Sydney context.
“We had to keep everyone happy – owners, operators, heritage architects – but ultimately, it was about maintaining the integrity of the building and making it authentically Australian,” she says.
For Morris, this meant embracing Australian hospitality culture – laid-back, welcoming, unpretentious – and weaving that ethos into every detail.
“You can go to hotels in London or Paris and they feel one way. But Australia has this really nice, friendly culture, and we wanted that to come through in the design. People should feel comfortable walking in; it shouldn’t be intimidating.”
This philosophy extended to the food and beverage spaces too. The new grill restaurant, Tilda, run by the expert Housemade Hospitality group, eschews stiff white tablecloths for a relaxed, approachable vibe. “The food is exceptional, but the atmosphere is casual. It’s Australian hospitality at its best – inviting and informal, yet top quality,” she says.
The hotel’s layout deliberately blurs the lines between check-in, dining, and lounging areas to create a seamless, social environment. But not all design decisions came easily. Morris recalls a robust discussion around the operator’s requirement for self-check-in desks, while the design team had initially championed more traditional, service-oriented guest relations desks.
“We lost that one,” she says with a wry smile. “But people still gravitate towards the staffed desks, which says a lot about what guests want.”
Old Parisian inspiration
Lighting played a crucial role throughout the project. Shaun Dudley of Transmitt Lighting created a contemporary light feature that pays homage to the hotel’s French heritage including the bespoke bistro-style globes and a chandelier for the Tilda’s private dining space. The lobby features a stunning custom light installation of 400 individual lights, inspired by an old Parisian tradition of guiding guests to their rooms by candlelight, but reimagined in a modern, subtle way that only reveals its story to those who look closely.
Art and local sourcing were also key pillars of the design philosophy. Morris and her team collaborated with half a dozen Australian artists to craft bespoke artworks, including a 3m-long woven piece in the private dining room and delicate clay light fixtures made by Melbourne-based artist Sarah Nedovic.
“We wanted every element to speak to place – from the Australian produce in the restaurants to the locally made furniture and art. There’s a real pride in that connection,” Morris says.
The hotel also respects its setting through a restrained material palette – travertine pavers reminiscent of Sydney’s landscape, both light and dark timber finishes, and subtle colonial architectural references such as slatted bench seating. In the French-Vietnamese restaurant, Delta Rue, in the now-covered courtyard, fabrics and lighting carry soft Vietnamese-inspired patterns, layering cultural influences while also keeping the design timeless and clean.
Not all the designer’s plans came to full fruition, however. Morris notes with some disappointment missing lush greenery on the terrace bar and a mature tree that was limited by structural weight restrictions due to the grand ballroom beneath – the largest column-free ballroom in the Southern Hemisphere.
A lasting legacy
Yet, despite these challenges, Morris still feels the project delivers a lasting legacy.
“We wanted this to last 50 years,” she says. “The lobby uses timeless finishes; Bar Tilda’s design feels moody and cozy, perfect for day or night. Restaurant turnover is always tricky, but nothing here is too out-there to date quickly.”
Feedback from guests and longtime patrons has been overwhelmingly positive. One former pianist who used to play in the old piano bar told Morris how the new space still holds that same energy and glamour from years past. “It’s simple, restrained, but it feels good to be in. You don’t always know why a space works, but this one does.”
As a space, the Sofitel Wentworth now caters effortlessly to a broad spectrum of visitors – from business lunches to casual coffees and evening dinners – maintaining its status as a Sydney institution with a fresh, contemporary pulse.
For Morris, the journey has been as much about collaboration and compromise as design. “There were many voices, many opinions, but we were all aiming for a space that felt authentic to Sydney, welcoming to all, and respectful of its heritage.”
With the relaunch complete, Morris is poised to take a well-earned break before diving into new hotel and residential projects on the horizon. That is after the birth of her own child.
But the Sofitel Wentworth Sydney continues to stand as a shining example of how thoughtful design – grounded in place, culture, and history – can transform an iconic building into a vibrant future-ready landmark.
