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Custom Designer Jet carpet was not a background furnishing in Rone’s TIME • RONE. It was part of the installation’s built environment, working with hard flooring, a soundscape and a large-scale mural to turn exhibition rooms into an immersive sequence. Carpet first developed for the Melbourne presentation at Flinders Street Station was reused when the project moved to the Art Gallery of Western Australia (AGWA), giving the two versions a material and visual thread.
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At AGWA, the installation occupied the historic Centenary Galleries from 1 July 2024 to 2 February 2025. AGWA’s FY2024–25 annual report records more than 60,000 visitors, 844 survey responses and a 96% agreement rate among respondents who said the work moved and inspired them. Those results show why the flooring decision mattered: the carpet helped an artwork designed around atmosphere, movement and memory function as a complete environment rather than a series of isolated objects.
What the custom carpet contributed to TIME • RONE
GH Commercial’s project material identifies Designer Jet Custom Carpet as one component of Rone’s Melbourne TIME installation at Flinders Street Station. The project combined carpet and hard flooring with the artist’s wider multisensory treatment of a historic setting. Rone used the custom capabilities of Designer Jet carpet to develop pattern, colour and texture for the rooms, rather than selecting a standard commercial floor covering after the artistic work had been designed.
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The supplier lists Designer Jet Custom Carpet in the areas called the Head Office and Typing Pool. Those names describe zones within the installation, not separate retail products. In an immersive exhibition, a floor can establish the visual field at the visitor’s feet, control how one room transitions into the next and help an otherwise temporary intervention feel integrated with an existing building.
When TIME • RONE was presented at AGWA, GH Commercial says the carpets and flooring produced for Melbourne were reused. Its account of the Perth presentation identifies 12 spaces and again lists Designer Jet Custom Carpet in the Head Office & Typing Pool. The evidence therefore supports continuity between the two presentations, not a claim that AGWA commissioned an entirely new carpet package for Perth.
From Flinders Street Station to AGWA
The Melbourne starting point
The first installation occupied Flinders Street Station, a building whose existing architecture carried its own history and visual language. GH Commercial describes the project as multisensory and says Rone used custom carpet capabilities to shape pattern, colour and texture for that setting. Carpet and hard flooring were treated together, allowing the floor treatment to participate in the spatial composition instead of reading as an independent fit-out decision.
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1Repair Windows errors before they cause bigger problems2Fix the driver behind crashes, sound loss and screen glitches3Clear out junk files and repair common Windows errorsThe approach is significant for commercial interiors because customization can be used to respond to a specific building. A pattern can be developed for the proportions and circulation of a room; colour can reinforce the mood of an artwork; and texture can change the way a visitor perceives a threshold or pause. The project description establishes that these qualities were developed for Rone’s historic setting, while the available material does not publish a separate technical specification or performance test for each room.
Reuse as part of the Perth presentation
For AGWA, the Melbourne flooring became a portable part of the exhibition’s identity. Reusing it preserved a material connection between two venues that otherwise have different architecture, circulation and histories. It also demonstrates that a custom floor can be conceived with a second installation in mind. That does not mean every bespoke carpet can be moved without preparation: future projects still need to document dimensions, seams, backing, storage conditions, cleaning requirements and the receiving venue’s installation tolerances.
The supplier’s description is the basis for saying the flooring was reused. It does not establish that every component, fixing or subfloor detail was identical in both venues, nor does it provide a measured comparison of wear between Melbourne and Perth. The useful design lesson is narrower and more practical: the carpet was treated as an exhibition asset that could travel with the work.
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How the floor worked inside AGWA’s galleries
AGWA’s FY2024–25 annual report describes TIME • RONE as a multisensory installation combining a soundscape, mural and installation. The work evoked mid-century Australia and the passage of time. Carpet therefore operated alongside sound, image and architecture, helping establish the conditions in which visitors encountered the artist’s imagery and narrative.
The presentation opened AGWA’s Centenary Galleries fully to the public for the first time in almost 20 years. That context matters: the work was not installed in a neutral white-box sequence built for a single contemporary exhibition. It activated historic galleries, and the floor treatment helped connect the rooms into one authored experience while allowing the building’s character to remain part of the encounter.
GH Commercial’s account names 12 spaces in the AGWA installation. The available project information specifically identifies the Head Office & Typing Pool as a location for Designer Jet Custom Carpet, but it does not assign a particular carpet design or material specification to every one of the 12 spaces. A precise room-by-room materials schedule should therefore be obtained from the project team rather than inferred from the exhibition photographs or the supplier’s summary.
Exhibition dates, attendance and response
The final season dates come from AGWA’s FY2024–25 annual report, which records the exhibition from 1 July 2024 through 2 February 2025. Earlier announcements describe reception while the show was running; they should not be used as substitutes for the final dates.
| Measure | Figure | Source and qualification |
|---|---|---|
| AGWA exhibition run | 1 July 2024–2 February 2025 | Art Gallery of Western Australia, FY2024–25 annual report |
| Visitors across the season | More than 60,000 | AGWA, FY2024–25 annual report |
| Survey responses | 844 | AGWA, FY2024–25 annual report |
| Respondents who said the work moved and inspired them | 96% | AGWA, FY2024–25 annual report |
| Visitors in July 2024 | 49,737 | AGWA release dated 6 August 2024 |
| Estimated direct economic impact for Western Australia | $5.57 million | AGWA, FY2024–25 annual report; an institutional estimate |
The July figure fits within the later season total: 49,737 people attended in the first month alone, while the annual report counts more than 60,000 across the full run. In an AGWA announcement dated 29 August 2024, Director Colin Walker said:
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In the same announcement, Walker added:
“It’s been heartwarming to look through the visitors’ book and share the experiences of those coming through the exhibition”
The 96% figure describes agreement among the 844 people who completed AGWA’s survey; it is not a claim that every visitor completed a questionnaire. Likewise, the $5.57 million figure is AGWA’s estimated direct economic impact for Western Australia. It should be read as an institutional estimate, not as an independently measured causal effect attributable to carpet or to the exhibition alone.
Why material continuity matters in an immersive work
Immersion depends on consistency across sensory cues. Visitors hear a composed soundscape, see a controlled sequence of images and move through rooms whose scale and surfaces influence their pace. A floor that belongs to the same visual world can reduce the abrupt break between artwork and building services. In Rone’s project, the custom carpet was part of that coordinated field.
Reuse adds another layer. Carrying the Melbourne flooring to Perth means that an element developed for the original project remained present when the work encountered a new audience and a new building. The connection is not merely logistical; it gives the installation a material memory. At the same time, the Perth presentation remained a site-specific event because the Centenary Galleries, their history and their circulation were different from Flinders Street Station.
For architects and exhibition designers, this is a useful distinction. A traveling installation does not have to choose between a fixed visual identity and complete reinvention. A custom floor can provide a recognizable component while the host venue supplies the changing architectural conditions.
Practical lessons for specifying custom exhibition carpet
1. Start with the environmental brief
Define the artwork’s palette, narrative, visitor route and host building before selecting a carpet construction. In the TIME project, pattern, colour and texture were developed for a historic setting. The floor was therefore part of the concept brief, not an afterthought to be chosen from a standard range.
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2. Map the floor by room and threshold
Document where carpet begins and ends, how it meets hard flooring and which spaces require a visual transition. The supplier identifies the Head Office and Typing Pool, while AGWA’s presentation contained 12 spaces. A room schedule prevents assumptions about which areas share a finish and makes later relocation easier.
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If the installation may travel, record finished dimensions, seam positions, rolls or modules, backing orientation, edge details and lifting points. Photograph the installed layout and keep an inventory. Reuse at AGWA shows the value of treating bespoke flooring as a recoverable asset from the first fabrication.
4. Coordinate carpet with hard flooring
GH Commercial describes carpet and hard flooring as components of the Melbourne installation. Coordinate their levels, junctions and visual rhythm during design development. A successful transition must work for the artwork, visitor circulation, cleaning and access requirements at the same time.
5. Confirm venue and conservation requirements
Historic galleries can impose restrictions on fixing methods, moisture, cleaning agents, fire documentation and load distribution. These requirements are venue-specific and are not supplied in the published TIME • RONE case material, so they must be confirmed with the host institution before fabrication.
6. Separate aesthetic claims from performance claims
The project record supports statements about custom pattern, colour, texture and reuse. It does not publish a project-specific figure for acoustic absorption, abrasion resistance, slip performance, indoor-air emissions or service life. Those characteristics should be verified in the current technical documentation for the selected construction rather than inferred from the exhibition’s success.
What the published material does—and does not—establish
The clearest documented relationship is between Rone’s installation and the custom flooring supplied for it. GH Commercial’s Melbourne case study explains the original design role; its later news account explains that the Melbourne carpet and flooring were reused at AGWA. AGWA’s annual report supplies the final dates, visitor figures, survey results and economic-impact estimate.
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Neither source provides a full bill of quantities, carpet fibre specification, backing system, installation cost, maintenance schedule or independent durability test for the project. It would be inaccurate to turn the reported attendance into proof of a particular carpet’s technical performance. High visitor numbers demonstrate reach and interest in the exhibition; they do not, by themselves, measure wear, acoustics or safety.
Questions to ask when comparing flooring options
The project does not establish one flooring system as universally better than another. For a new installation, compare options against the requirements that actually govern the venue and the artwork:
- Visual customization: Can the supplier reproduce the required pattern, colour relationships and texture at the intended scale?
- Format and backing: Will the floor be supplied in rolls, tiles or another format, and can it be lifted and reinstalled if the exhibition travels?
- Traffic and maintenance: What traffic classification, cleaning method and replacement process are documented for the expected audience?
- Programme and lead time: Can sampling, approvals, fabrication and installation fit the exhibition schedule?
- Environmental documentation: Which certifications or product declarations are current for the exact construction being specified?
- Venue compatibility: Do the floor build-up, adhesives, edges and fixing methods meet the host building’s requirements?
These are specification questions, not conclusions about the TIME • RONE carpet. Current supplier documentation and the receiving venue’s technical team should resolve them for each project.
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Documenting the exhibition after the doors close
AGWA published a softcover TIME • RONE programme containing behind-the-scenes imagery, a feature on the Perth backstage room and words from Rone. It is useful for readers who want to understand how the installation was made and presented, but availability through any particular marketplace is not established by the gallery listing.
For design teams, a publication can preserve information that is easy to lose after a temporary exhibition: the relationship between rooms, the making process, the artist’s intentions and the material decisions that visitors may not notice consciously. In this case, the programme complements the physical evidence of the galleries and the supplier’s account of the custom carpet’s reuse.
A concise specification workflow for future immersive installations
- Define the visitor experience. Set the intended mood, route, pauses and sensory cues before selecting finishes.
- Survey the host building. Record room dimensions, thresholds, existing floors, access routes and restrictions in historic or protected spaces.
- Develop material samples. Review pattern, colour and texture at full viewing distance, not only as small swatches.
- Coordinate systems. Resolve carpet, hard flooring, walls, lighting, sound and graphics as one environmental package.
- Plan fabrication and handling. Number pieces, document seams and specify how the floor will be packed, stored and moved.
- Approve technical data. Check the exact product’s fire, slip, emissions, cleaning and traffic documentation with the venue.
- Install and record. Photograph each room, note orientation and retain an as-installed plan for future venues.
- Review after deinstallation. Inspect, clean and store reusable sections according to the supplier’s instructions before deciding whether they can travel again.
The architectural significance of the AGWA presentation
TIME • RONE demonstrates how a commercial flooring commission can become part of an artwork’s architecture. The carpet did not compete with the mural or soundscape; it helped bind those elements to the rooms in which visitors experienced them. Reusing the Melbourne flooring at AGWA extended that design language into the Centenary Galleries while allowing the historic Perth venue to shape the encounter.
The documented outcome is both specific and transferable. Specifically, AGWA’s season ran from 1 July 2024 to 2 February 2025, attracted more than 60,000 visitors and generated the audience response recorded in its FY2024–25 annual report. More broadly, the project shows why flooring deserves a place in the earliest conversations about immersive art: when pattern, colour, texture, circulation and future relocation are considered together, the floor can carry the installation’s identity from one building to another.
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