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The State Library of New South Wales auditorium uses a project-specific SUPASLAT installation rather than a standard flat slat wall. Curved, preassembled timber panels with domed slat profiles wrap the auditorium, entrance and integrated doors, while varied spacing, alternating finishes and concealed acoustic construction adapt the system to the room’s geometry and sound design.
The result connects a contemporary 344-seat venue beneath the Mitchell Reading Room with the former bookstacks that occupied the refurbished area. The slats’ rounded profiles suggest rows of book spines; their curvature follows concave walls and door radii; and the backing changes from reflective solid panels to absorptive cavity construction where the design requires a different acoustic response.
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The project in context
The auditorium is part of the refurbishment of the State Library of NSW’s original bookstacks area. It sits below the Mitchell Reading Room in the heritage building and provides tiered seating for 344 people. SUPAWOOD’s project account identifies Cullen Feng as architect and INTREC as builder. Architecture & Design published its feature on 22 March 2024, while SUPAWOOD’s library archive records an auditorium project entry dated 13 February 2024.
The installation is described as “State Library of NSW Auditorium, Stage 2.” In practical terms, the timber lining is not a decorative product added after the room was resolved. It is part of the auditorium and entrance design, extending over curved surfaces and into door elements so the material language remains continuous as visitors move between spaces.
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What SUPASLAT was customized to do
SUPAWOOD supplied a customized version of its modular SUPASLAT system for the auditorium and entrance. The panels were supplied preassembled, cut to size and capable of being curved to the required radii. Shop drawings and fixings were included in the supplier’s project description, supporting coordination between the timber lining, the room’s framing and the curved openings.
Three adaptations are particularly important:
- Curvature: the panels could follow the project’s concave walls and other curved framing instead of forcing the room into straight segments.
- Variable spacing: gaps between slats changed where needed to suit the geometry and the visual rhythm of the lining.
- Integrated elements: SUPASLAT was used on curved doors in both the auditorium and entrance, allowing the doors to read as part of the wall rather than as unrelated flat leaves.
Because these features were developed for the room, the State Library installation should not be treated as a catalogue example showing one universal SUPASLAT configuration. It demonstrates how a modular timber system can be engineered around a particular architectural brief.
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Domed profiles as a visual memory
The slats have domed profiles intended to echo book spines. That reference is especially legible in a library building: repeated rounded elements recall shelves of volumes without reproducing historic shelving literally. The motif gives the new auditorium a connection to the room’s former use while keeping the expression abstract enough for a contemporary public venue.
The effect depends on repetition and continuity. A single rounded slat would read as a millwork detail; hundreds of aligned profiles establish a field that can bend around the room. Varying the spacing prevents the field from becoming a rigid grid and helps it accommodate the changing radius of the walls.
Curving the reference around the room
On a straight wall, a regular slat module can establish a predictable datum. In this auditorium, the panels were curveable, so that datum could travel across concave surfaces. The slats therefore support two readings at once: they are a recognizable timber finish at close range and a continuous, sculptural surface from the seating area.
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The same approach carries the book-spine idea into the entrance and doors. Instead of ending the timber treatment at an opening, the project uses curved door faces and surrounding panels to preserve the visual sequence. This is a design decision as much as a fabrication decision: door leaves, jamb conditions and adjacent lining must be coordinated so the pattern does not break abruptly when the door is closed.
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The project uses several timber appearances rather than a single repeated stain. SUPAWOOD identifies the following named finishes and substrates in its project information:
| Area or treatment | Timber and finish identified by the supplier | Purpose in the documented design |
|---|---|---|
| Auditorium and entrance panels | Clear Satin Spotted Gum | One of the clear-finished timber tones used across the curved slat installation. |
| Auditorium and entrance panels | Clear Satin Blackbutt | A second clear-finished species, providing tonal variation within the slatted field. |
| Selected slat panels | Spotted Gum with half or full Walnut Stain | Introduces darker stained versions of the spotted gum elements. |
| Entrance and curved doors | Clear Satin two-pack polyurethane on Victorian Ash solid timber | Finish and substrate identified for entrance and door details. |
The supplier’s naming of half and full Walnut Stain indicates that the stained spotted gum was not limited to one uniform darkness. In a curved installation, that variation can help distinguish planes or maintain a deliberate rhythm as the wall turns, but the available project description does not assign each finish to a precise wall bay. A specification should therefore confirm the finish schedule and sample approvals rather than infer locations from photographs or general descriptions.
How the acoustic construction works
The timber face is only one layer of the acoustic strategy. The project account says black SUPABAB acoustic textile backing was integrated across the panels. Behind that visible lining, the panel construction changes according to whether a surface is intended to reflect sound or help absorb it.
Solid backing for reflection
Selected panels use solid backing. In the supplier’s description, these panels assist sound reflection. They preserve a more acoustically hard surface behind the shaped timber slats, which can be useful where the room design calls for sound energy to remain present rather than being absorbed immediately.
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Cross-battens and a concealed cavity for absorption
Other panels use cross-battens to create an air cavity. Concealed insulation sits behind that cavity, allowing those portions of the wall to contribute to sound absorption. The visible slats can therefore remain visually consistent while the backing assembly changes from one location to another.
No measured reverberation time, absorption coefficient, speech-intelligibility result or other acoustic performance figure is published in the project material. The documented evidence supports a description of the construction approach—textile backing, solid-backed reflective areas and cross-battened absorptive areas—but not a numerical claim about how much the auditorium’s acoustics improved.
Curved doors make the system more than wall cladding
SUPASLAT panels were also used for integrated curved doors in the auditorium and entrance. This matters because a door is a moving, operable element with tighter tolerances than a fixed wall. Its curved face, edge clearances, hinges, hardware and adjacent panels must work together without losing the slat alignment.
Using the same family of timber profiles on the doors avoids a visual interruption at circulation points. When the doors are closed, the lining can read as a continuous curved surface. When they open, the design still has to accommodate the practical requirements of access, hardware and movement; the project description confirms the integrated door treatment but does not publish the door hardware schedule or installation tolerances.
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What the documented fabrication support included
The supplier describes the panels as preassembled, curveable and cut to size, with shop drawings and fixings supplied. For a project with compound coordination between curved walls, doors and acoustic backing, those deliverables are significant. They move fabrication decisions into the coordination stage, where radii, panel breaks, finish changes and fixing points can be checked against the architectural framing.
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A project team specifying a similar system would normally resolve the following items before fabrication is released:
- Record the geometry: establish each wall and door radius, identify concave and convex conditions, and set out where panel joints occur.
- Confirm the module: approve slat width, domed profile, spacing variations and the relationship between the timber face and the backing layer.
- Coordinate openings: align the panel pattern across fixed walls, jambs and curved door leaves, including clearances for operation.
- Approve the finish schedule: identify where Spotted Gum, Blackbutt, Walnut-stained elements and Victorian Ash door details are used, then approve physical samples.
- Coordinate acoustic zones: mark panels requiring solid backing and those requiring cross-battens, cavity depth and concealed insulation.
- Issue coordinated shop drawings: check panel dimensions, fixing locations, access for installation and interfaces with adjacent construction before manufacture.
This sequence is a practical specification framework based on the components identified for the State Library project; the published account does not provide a full construction programme or installation manual.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Fire grouping and compliance language
SUPAWOOD says the products were supplied as Fire Group 3 in accordance with the compliance requirements of the spaces. That statement should be attributed to the supplier’s project account. The available material does not independently verify the governing code pathway, test report, certificate number or whether the classification applies identically to every timber, finish, backing and insulation combination.
For another project, the fire review should cover the complete build-up rather than the timber face alone. The design team should request the applicable classification documentation for the selected species and coating, acoustic textile, insulation, cavity and fixing arrangement, then confirm that the proposed assembly satisfies the project’s jurisdictional requirements.
Who delivered the project and what recognition is recorded
The named project participants are Cullen Feng as architect and INTREC as builder. SUPAWOOD lists the auditorium as shortlisted for the 2024 AIA NSW Architecture Awards in Public Architecture. It also lists wins in several 2024 AIB Professional Excellence categories, including project management and adaptive use/management categories. These award details are reported by SUPAWOOD; they should not be read as independently verified award-body citations without checking the relevant organizations’ records.
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What designers can learn from the auditorium
Use a modular system as a geometry tool
Modularity does not require a flat or repetitive result. Here, preassembled panels retain the efficiencies of a system while curveability and variable spacing respond to the room’s actual geometry. The design value comes from defining which aspects remain fixed—the slat language and profile—and which can change—the radius, spacing, finish and backing.
Separate visual continuity from acoustic uniformity
A consistent timber face can conceal different acoustic constructions behind it. That allows the architect and acoustic consultant to place reflective and absorptive zones where they are needed without making every wall read as a different material. The State Library account documents this principle, but it does not provide performance measurements that would allow the arrangement to be copied as a tested recipe.
Carry the finish strategy through moving elements
Curved doors are often where a wall treatment loses coherence. By extending the SUPASLAT language to the entrance and auditorium doors, the project treats circulation elements as part of the architectural composition. Any project adopting the idea should budget coordination time for operating clearances, hardware and pattern alignment, not only for the visible finish.
Specification checklist for a comparable timber lining
- Define the required radii and identify every curved wall, return and door leaf.
- State the slat profile, panel module and where spacing is allowed to vary.
- List each species, stain and coating by location, including whether the finish is clear, half Walnut Stain or full Walnut Stain.
- Describe the acoustic backing separately from the visible timber: textile, solid backing, cross-battens, cavity and insulation.
- Require coordinated shop drawings and sample approvals before fabrication.
- Request fire documentation for the complete proposed assembly and identify who will confirm compliance.
- Set out access, replacement and maintenance requirements for preassembled panels and integrated doors.
- Do not claim acoustic results unless a project-specific assessment supplies measured values.
The documented takeaway
The State Library of NSW auditorium shows SUPASLAT being used as a customized architectural system: domed timber slats evoke book spines, curve around the former bookstack area, continue across entrance doors and combine with backing systems intended for different acoustic roles. Its 344-seat setting, varied Blackbutt, Spotted Gum, Walnut-stained and Victorian Ash finishes, and supplier-described Fire Group 3 classification make it a detailed case study in coordination—not a published performance test or a universal product specification.
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