Richard Johnson — the Australian painter whose bold, landscape-derived abstractions anchor the Art Series Hotels concept — gives this Brisbane property both its name and its curatorial spine. The Johnson sits in Spring Hill, the dense inner-city suburb that rises sharply above the CBD, in a twelve-storey tower whose white rendered facade and rhythmic balcony grid carry the clean, horizontal geometry of mid-century Australian modernism updated for contemporary expectations. The ground-level entry, clad in dark-framed glazing set beneath a warm timber soffit, announces a lobby where cracked terrazzo flooring and slatted timber ceiling baffles establish a material register that is relaxed without being casual — the kind of considered restraint that characterises the broader Art Series approach. Rooms are fitted in pale oak millwork with navy and charcoal upholstery punctuated by terracotta and ochre cushions, Johnson's prints hung in white frames against white walls where the colour does the talking. The upper-floor suites open onto full-width glass sliders with Brisbane CBD views to the east, while the mid-rise pool deck — a long lap pool set beneath a deep pergola of heavy timber battens — catches the northern light over Spring Hill's intact canopy of Jacaranda and fig. Throughout, the art collection is treated as architectural furniture rather than decoration: large-format canvases positioned so they're encountered at corridor turns and room thresholds, pulling Johnson's ochre-and-cadmium landscape palette through spaces that might otherwise read as straightforwardly contemporary.

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