Five homes that celebrate spring Essential outdoor furniture Gardens Now: three experts’ advice
GRAND DESIGNS ONE MAN'S NZ DREAM
Plus: FIVE FABULOUS BATHROOMS / AT HOME IN AN ECO-SANCTUARY/ THE WORLD’S MOST FAMOUS GARDEN DESIGNER / IN PRAISE OF SMALL VIEWS
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Fearon Hay Architects design a holiday home in an Auckland suburb
A Pakiri house by Paul Clarke debuts on Grand Designs NZ
Chef Peter Gordon’s sweet retreat in a London terrace
Michael O’Sullivan’s new Lyttelton studio inspires creativity
Sir Miles Warren revisits a modernist Scandinavian marvel
HOME NEW ZEALAND / 07
ART & DESIGN 17. DESIRE AND ACQUIRE Favourite design finds
22. SWEAT AESTHETICS A new spa-style yoga studio
24. A TIME FOR WINE Auckland’s French Café has a luscious new space 80
24. HEAVY METAL Powersurge’s new two-tonne vintage tool
26. GARAGE PROJECT
34. GARDENS NOW Advice from three New Zealand landscapers
42. OUTDOOR FURNITURE Furnish your al fresco space in designer style
52. IN PRAISE OF SMALL VIEWS Douglas Lloyd Jenkins explains why less is best
66. LAND AND SKY
28. SHELTER ME
Dame Anne and Jeremy Salmond’s Gisborne ecosanctuary
30. READING MATERIAL Books on modern living
32. SITTING PRETTY 36
Insights from Chris Moller, host of Grand Designs NZ
Wellington’s new eatery by Foundation Architects
A design destination in Ponsonby, Auckland
33. HIGH MINDED
David Moreland for Citta and Dawson & Co’s refurbished showroom
72. THE BEAUTY IN EVERYTHING Piet Oudolf, the world’s most famous garden designer
TALES OF ENCHANTMENT Katie Lockhart works magic by inviting the outdoors in
EXTRAS 48. IN STORE Furniture arrivals at key retailers
54. HOME OF THE YEAR Enter the 2016 awards
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146. BATHING BEAUTIES Five fabulous bathrooms
160. SUBSCRIBE TO HOME And be in to win with Coast
162. FLASHBACK Rau Hoskins’ restoration of a unique Whanganui building
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Photography / Mark Smith
Top left A home by Fearon Hay in Takapuna designed around a central courtyard, p.88. Photograph by Simon Wilson. Top right The garden near the entry to a beautifully restored 1959 Warren & Mahoney home in Christchurch, p.134. Photograph by Sam Hartnett. Above left Michael O’Sullivan’s remarkable studio retreat in Lyttelton, p.122. Photograph by Patrick Reynolds. Above right Stylist Katie Lockhart explores the idea of bringing the outdoors into interiors, p.80. Photograph by Harry Were.
It’s true that the concept of indoor-outdoor flow has become a ghastly real estate cliché, but this doesn’t mean it should be dismissed outright. One of modernist architecture’s great breakthroughs was the way the movement designed homes to embrace their gardens. A thoughtful relationship with the outdoors is fundamental to a successful home today, but the real estate cliché suggests the only way to do this is with vast expanses of glass, a big deck and, if possible, an even bigger view. The homes in this issue have different ways of inviting the outdoors in, of creating a comfortable middle ground between these opposite poles. On our cover, a home by Jeff Fearon and Tim Hay is split in two around a central courtyard (p.88). In London, Peter Gordon found a new window and side door were all he needed to better connect his petite Victorian terrace to its lush garden (p.112). And Michael O’Sullivan’s Lyttelton studio (p.122) addresses a showstopping view in typically unconventional and interesting ways. The indoor/outdoor theme pervades the rest of this issue. You’ll find three landscape designers talking about their approaches to gardens (p.34); Douglas Lloyd-Jenkins agitating for less glass and more wall space (p.52); Jeremy and Anne Salmond showing us around their home and incredible eco-sanctuary near Gisborne (p.66); and me writing about the great pleasure of visiting Dutch landscape designer Piet Oudolf at his wonderful garden in the Netherlands (p.72). Instead of controlling his garden, he prefers to watch it, seeing beauty in it even in the brownedout depths of winter. “You have to see the beauty in everything,” he told me. If we approach the design of our indoor and outdoor spaces with open-mindedness like this, we’re far more likely to create our own visions of how to live, rather than thoughtlessly occupying someone else’s cliché. Jeremy Hansen
We’re making our first call for entries to our 2016 Home of the Year award in this issue (entries close on December 10; more details are on p.54), and we’re making some changes to the programme. The Supreme Award for New Zealand’s best new home will still carry a $15,000 prize as before, but we’re also introducing four new categories: Best Beach Home, Best City Home, Best Small Home and Best Multi-Unit Residential Project. We think these categories will encourage an even greater diversity of entries. It’s an acknowledgement that New Zealanders’ housing needs are changing, and part of an effort we’re making to present not only the best stand-alone homes, but to show how good architecture can make higher-density living alluring too. We’re delighted to be supported in these efforts for a sixth year by our Home of the Year sponsor, Altherm Window Systems.
HOME NEW ZEALAND / 11
Editor Jeremy Hansen Art Director Arch MacDonnell Inhouse Design Senior Designer Sarah Gladwell Inhouse Design Senior Designer Oliver Worsfold Inhouse Design Designer Hamish Haydon Inhouse Design On our cover, interior architect Penny Hay with her son Peter and dog Rocky at a home by Fearon Hay Architects in Takapuna, Auckland. Photograph by Simon Wilson. Produced by Amelia Holmes. For more, see p.88.
Senior Stylist/Designer Sam Smith Stylist/Designer Catherine Wilkinson Editorial Assistant Fiona Williams
Editorial Office Bauer Media Group Shed 12 City Works Depot 90 Wellesley St Auckland, New Zealand homenewzealand@ bauermedia.co.nz +64 9 308 2739 Postal address HOME magazine Bauer Media Group Private Bag 92512 Wellesley Street Auckland 1141 New Zealand
Contributors Jo Bates Simon Farrell-Green Amelia Holmes Douglas Lloyd Jenkins Katie Lockhart Maria Majsa Henry Oliver Emily Simpson
Photographers Simon Devitt Samuel Hartnett Russell Kleyn Jackie Meiring Patrick Reynolds David Straight Karen van Til Manja Wachsmuth Harriet Were Simon Wilson
Chief Executive Officer Paul Dykzeul
Publisher Brendon Hill
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Commercial Director Paul Gardiner Marketing Manager Martine Skinner Commercial Sales Manager Liezl Hipkins-Stear firstname.lastname@example.org +64 9 308 2873 Classified Advertising Kim Chapman email@example.com +64 7 578 3646 Advertising Account Manager Nicola Saunders firstname.lastname@example.org +64 9 366 5345 Financial Business Analyst Ferozza Patel Group Production Manager Lisa Sloane Production Co-ordinator Clare Pike Advertising Auckland Liezl Hipkins-Stear email@example.com +64 9 308 2873
HOME is subject to copyright in its entirety and the contents may not be reproduced in any form, either in whole or in part, without written permission of the publisher. All rights reserved in material accepted for publication, unless initially specified otherwise. All letters and other material forwarded to the magazine will be assumed intended for publication unless clearly labelled â€œnot for publicationâ€?. We welcome submissions of homes that architects or owners would like to be considered for publication. Opinions expressed in HOME New Zealand are those of the contributors and not necessarily those of Bauer Media Group. No responsibility is accepted for unsolicited material. ABC average net circulation, April 2014 to March 2015: 10,795 copies. ISSN 1178-4148
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INSTORE & ONLINE
KARIN VAN TIL
The Raglan-based photographer traveled to the Netherlands to capture the gardens at the home of Piet Oudolf (p.72).
Maria visited Dame Anne and Jeremy Salmond at their home in Gisborne where they’ve regenerated land into an eco-sanctuary (p.66).
The photographer shot the 1959 RH Ballantyne House, a Christchurch gem by Warren & Mahoney (p.134).
You photographed Piet Oudolf at his home in Hummelo, a couple of hours from Amsterdam. How would you describe him and his garden? Piet is a creative observer with a strong vision. He is also very driven and humble. His private garden is like a good painting; with interesting lines and beautiful colours. I would call his garden a mix of romantic, modern and sophisticated.
Longbush is a remarkable story of land rehabilitation, and of vision and patience. Did it make you feel that any scarred bit of land can be turned around? After seeing what the Salmonds have achieved at Longbush, I do think any bit of land could probably be turned around, but only if sufficient grit and dedication are applied.
You’re originally from the Netherlands – is Oudolf well-known there? Has he had a big influence on Dutch garden design? Piet has been well known in Holland among garden lovers and creatives for a long time and more so in general in recent years. His annual nursery days have always attracted lots of people. He has certainly had a big influence on Dutch garden designs, although his design focus is on public spaces, not so much private gardens.
Jeremy and Anne own the property. He’s a writer and architect and she’s a historian and writer. How did they find the time to achieve what they have at Longbush? My only guess is that they never sleep. It’s difficult to imagine how they managed to fit in all that work on top of their very demanding day jobs, but it’s a real testament to their love for the land. You feel the force of it when you’re there talking to them about what they’ve achieved and all the wonderful people who have helped them.
This is the second mid-century marvel by Miles Warren you’ve shot for us recently. What is it about these homes that stands out for you, and makes them so satisfying to photograph? There’s something about the truth to materials in these Warren & Mahoney places that I really enjoy. The detailing seems very honest, with nothing to hide. They have a solidity and warm tonal simplicity that makes you feel very at home.
This issue is about the connections between indoors and out. Do you have a garden at your place, and what’s it like? Our house has large sliding glass doors in the living area, opening to the deck on two sides, which creates a perfect indoor-outdoor flow. It overlooks a big lawn with an ever-giving lemon tree and is surrounded by a bush of manuka, ferns and flaxes. Through the bush we see the emerald water of the outlet of Raglan harbour. It’s magical. Every day I realise how lucky I am to live here.
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What else are you working on at the moment? I recently discovered an Australian website called Stereo Stories (stereostories.com). It’s about music and memoir, which is pretty much my dream brief. I think everyone has a stereo story in them – music is such a powerful emotional trigger. It’s a very addictive site – I started writing for them and haven’t been able to stop. They also have live gigs where the author reads out their memoir and a musician plays the song which inspired it. Such a cool idea.
What other projects are you working on at the moment? My partner, fashion designer Beth Ellery, and I have been hectic with our two little kids and Beth has been getting out her summer range. I’ve put a few personal projects on hold while helping people photograph their own art and architectural projects. This issue focuses on the connections between indoors and out, and on gardens. Are you much of a gardener? I can’t say we have green thumbs, but now that we have a garden we’ve been enjoying getting into it and trying our luck planting vegetables. Most of our garden is overgrown, which we love. Big windows look onto the backyard of blossom trees and hedges growing out of volcanic lava flow. It has a secretgarden feel to it. Having a green view is a luxury. Our last place had one tiny window that looked onto a gloomy car park. Our youngest son Wilson still calls parks “car parks”.
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HAPPY TO BE HOME SHAPELY DESIGN FINDS TO SPARK UP SPRING. 03
01—‘Godmother Defenser’ hat, $150 from Everyday Needs, everyday-needs.com 02—Postalco notebook, $45 from Gubb & Mackie, gubbandmackie.com 03—‘Melt’ pendant (large) by Tom Dixon, $2110 from ECC, ecc.co.nz 04—Leather dog lead, $140 from Simon James Concept Store, store.simonjamesdesign.com 05—‘Emperor’ wool blanket by Penny + Bennett, $359 from Tessuti, shop.tessuti.co.nz 06—Cork table by Jasper Morrison for Vitra, $610 from Matisse, matisse.co.nz 07—Bag by Epice, $115 from Scotties, shop.scottiesboutique.co.nz 08—‘Quilt’ ottoman by Ronan and Erwan Bouroullec for Established & Sons, $7870 from Simon James Design, simonjamesdesign.com 09—‘Re/Done’ jeans by Levi’s, $450 from Fabric, thisisfabric.com. Edited by Amelia Holmes.
HOME NEW ZEALAND / 17
CRAFT WORKS NATURAL MATERIALS MAKE FOR INTERIOR INSPIRATION. 05
01— Banneton bread-proofing basket, $58.95 from Milly’s Kitchen, millyskitchen.co.nz 02—Ceramic mug by Wundaire for Ceremony, $40 from Ceremony, ceremony.company 03—‘Goldie’ brass side table, $890 from Powersurge, powersurge.co.nz 04—Apron by Matt Nash, $115 from MN Uniform, mnuniform.com 05—Pocket square by Christian Kimber,
$125 from Gubb & Mackie, gubbandmackie.com 06—Pot holder by The Foxes Den, $39.90 from The Shelter, theshelter.co.nz 07—‘Stilt’ side table by Marco Guazzini for Living Divani, $5200 from Studio Italia, studioitalia.co.nz 08—‘Porter Holder’ paper-towel holder by Hay, $137 from Simon James Concept Store, store.simonjamesdesign.com 09—Leather belt, $85 from Ruby, rubynz.com. Edited by Amelia Holmes.
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Showcased at ‘The Department Store’ installation at Milan ‘15 was the Crescent Light by Lee Broom. This illuminated sphere is sliced in half to reveal a crescent-shaped, brushed brass fascia, which seamlessly combines the solid and the opaque. Broom themed each space in the installation around a different shop
department to create an absolutely stunning and award-winning result. Come and view the Crescent Light on display in ECC Showrooms. Mike Thorburn Managing Director, ECC
www.ecc.co.nz Since 1909
Auckland Wellington Christchurch Sydney Melbourne Brisbane Milano
Balance Geometry Style
TACTILE NATURE DESIGN ITEMS WITH JUST THE RIGHT TOUCH. 05
01—Mosaic table, $125 from Flotsam & Jetsam, flotsamandjetsam.co.nz 02—Sandals by Marni, $850 from Scotties, shop.scottiesboutique.co.nz 03—Tajika pruning clippers, $189
from Everyday Needs, everyday-needs.com
04—Bath towel by Ottoloom, $126 from Whitegold, whitegoldnz.co.nz 05—Oilskin anorak, $599 from Moreporks, moreporks.com
06—Charcoal concrete pot by Leden, $30 from White Gold, whitegoldnz.co.nz 07—‘Golden Tools’ 2015 in 24-carat gold, steel and resin by Richard Orjis, POA from Melanie Roger
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08—Turkish rug, $350 from The Vitrine, inthevitrine.com 09—Chair by Baumann, $390 from Vitrine, inthevitrine.com. Edited by Amelia Holmes.
Everyday made special It’s great when the everyday becomes something more. That’s why we created the Sparkling Water Fridge. It delivers your choice of perfectly chilled still or sparkling water, straight from the dispenser.
Welcome to the new home
So now you can decide to add some sparkle at the touch of a button. It’s innovation that makes the everyday a little more special.
SWEAT AESTHETICS A NEW AUCKLAND EXERCISE STUDIO COMBINES HOT YOGA WITH SLEEK SPA STYLE.
Stretching is being taken to luxe new levels with the opening of Studio Red, a hot-yoga venue in Auckland’s CityWorks Depot. Cheshire Architects was asked by owner and hot-yoga enthusiast Vicky Cullinane to create “a modern sanctuary that felt more day spa than fitness studio”, she says. Led by Nat Cheshire, the team at Cheshire Architects worked with a palette of subtle textures and soft colour to contrast with the concrete brutalism of the lower levels of the former engineering workshop in which the studio is housed.
The yoga area itself features fragrant cedar linings, German yoga mats and sophisticated lighting, acoustic and temperature control systems. Cullinane says the studio welcomes beginners as well as experienced yoga practitioners, running five or more classes every day of the week. Studio manager Erica Davis incorporates different yoga styles into the routines and will be inviting local and international guest teachers to host classes on a regular basis. STUDIO RED hed 15.5, CityWorks Depot S 90 Wellesley Street, Auckland studioredyoga.com
01—Fragrant cedar lines the walls of the hot-yoga studio. 02—Subtle lighting adds to the spa-like nature of Studio Red. 03—Stripped-brass tapware is a feature in the well-appointed bathrooms. 04—The studio’s reception area is furnished with ‘Heaven’ chairs by JeanMarie Massaud for Emu, ‘LC2’ armchairs by Le Corbusier for Cassina and ‘The Passenger’ sofa by Simon James. The stone artwork behind the sofa is by Chris Charteris. The sculpture standing to the right is by Richard Reddaway.
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Photography by Maggie Gardyne.
WINE TIME AN INTIMATE DINING SPACE OPENS AT AUCKLAND’S FRENCH CAFÉ.
Photography by Darryl Ward.
Auckland’s French Café has collaborated with interior designer (and HOME contributor) Katie Lockhart to create another luscious new space: a cellar and dining room off The French Kitchen, the private dining space at the back of the award-winning restaurant. The petite room packs a lot of good taste into a small space: it seats eight to 10 people around an iroko timber table with copper detailing, while fretwork cabinets by Grant Bailey and a large wine cabinet elegantly offset the simple room. “It’s an intimate space for a special kind of service,” says Lockhart. We’d like to book it right now. THE FRENCH CAFÉ 210 Symonds Street, Auckland 09 377 1911 thefrenchcafe.co.nz
HEAVY METAL A TEAM OF METALWORKERS EXPAND THEIR ARSENAL.
The artisans at Powersurge have a new tool in their workroom: a power hammer, a two-tonne beast made in 1904, purchased from Central Otago and now in residence at their west Auckland workshop. Todd Stevenson and his team will use it to create high-end furniture pieces and other metal marvels. Powersurge already collaborates with architects and designers to create pieces we admire, such as the custom-made, laser-cut steel drawer units in Auckland fashion boutique Eugenie (top left), and the steel-and-brass-topped café tables in the city’s Imperial Lane café. They also create custom wine racks, shelving systems, elegant screens and much more, showing that the vogue for all things industrial has plenty of energy left in it yet. powersurge.co.nz Photography by Ophelia King.
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GARAGE PROJECT A NEW WELLINGTON EATERY MAKES IMAGINATIVE USE OF AN UNLIKELY SPACE.
Wellington has a popular new restaurant where a parking garage used to be. Hidden away down Egmont Street (which is really little more than an alleyway running off Dixon Street), the restaurant was established by Simon Pepping, who also runs the Catering Studio that conveniently shares the premises. Foundation Architects designed the smart, split-level interior to complement Pepping’s menu of fresh, seasonal and simple food, while the low-ceilinged bar area serves a menu of excellent cocktails. Pepping barely had time to talk when we called during Wellington on a Plate, and the restaurant has been so successful that they no longer take reservations (in the manner of many similarly popular joints). The eatery is open for breakfast every day, and for dinner from Wednesdays to Saturdays. It’s a form of adaptive reuse that we wholeheartedly support.
EGMONT STREET EATERY 1 5-21 Dixon Street (entrance on Egmont Street), Wellington 04 801 6891 egmontstreet.co.nz
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Photography by Russell Kleyn.
01—A former carpark in central Wellington has been transformed into a smart eatery by Foundation Architects. 02, 03—The split-level interior incorporates exposed timber and concrete beams, industrial-style lighting and pendant lighting, with accents of greenery.
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SHELTER ME A NEW DESIGN DESTINATION PROVIDES FOOD FOR THOUGHT.
The latest design destination just off Auckland’s Ponsonby strip is The Shelter, a lofty, airy space that mixes homeware such as planters from Trestle Union, cushions and cutlery from Broste Copenhagen, and fashion labels such as Lela Jacobs, MOBI shoes, Jimmy D, Preen and Company of Strangers. The former laundromat was redesigned by Aucklandbased architecture and interiors firm Pennant & Triumph (who also designed Deco, the new restaurant at Lopdell House in the western suburb of Titirangi). The store also features a smart eating and drinking space with a mural by BMD, stools by IMO, coffee by Eighthirty and bagels from Al Brown’s Best Ugly Bagels. A spot to rest in the same place as you’re shopping? That’s thoughtful design. THE SHELTER 78 Mackelvie Street, Ponsonby, Auckland 09 376 6544 theshelter.co.nz
02 01—The mural at Eat cafe in The Shelter is by artistic duo BMD. 02—A former laundromat, the retail destination designed by Pennant & Triumph is blessed with industrial-scale proportions. 03, 04—The Shelter sells fashion and homewares by a host of local and international designers and brands.
04 Photography by Simon Wilson.
HOME NEW ZEALAND / 29
MODERN LOVE A NEW BOOK EXAMINES MODERNISM’S IMPACT ON DAILY LIFE IN NEW ZEALAND.
Design historian, curator and author Bronwyn Labrum has a new book out. Real Modern: Everyday New Zealand in the 1950s and 1960s is due from Te Papa Press on October 29 (RRP $75) and examines the influence of modernism on the ways people lived at the time: not only in furniture and home design, but in clothing, appliances, ceramics and much more. Labrum says she was motivated to write the book when she noticed how seldom objects featured in histories of New Zealand, and her tome does much to rectify this imbalance. Generously accessible and beautifully designed by Spencer Levine, Real Modern is full of fascinating curiosities that collectively create an absorbing portrait of an era.
01—The Wellington motorway under construction, 1960. 02—Mrs. Mitchell in her 1950s Wellington kitchen, photographed by JW Chapman-Taylor.
THINKING SMALL THE RIGOUR OF SMALL HOMES IS CELEBRATED IN A NEW VOLUME.
02 Photography by Patrick Reynolds.
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Small homes are big right now, as writer Catherine Foster’s new book suggests. Small House Living (Penguin Random House, $50) features 20 architect-designed homes under 90 square metres, many of which will be familiar to readers of this magazine. These homes collectively form an attempt to wake our population from its apparent desire for larger and larger living quarters (Foster points out that New Zealand trails only Australia and the US in average house size). Small homes are, Foster says, “the Zeitgeist in built form”. Built in locations from Dunedin to Auckland, the homes form a parade of variety and inventiveness that will hopefully have you reconsidering how much space you really need when you embark on a project of your own.
01—A studio flat designed by Mitchell & Stout Architects. 02—Parehuia, the McCahon House Residency and Studio by Bossley Architects.
style safari PRESENTS
CHRISTCHURCH A day of design store tours and expert briefings guided by HOME editor Jeremy Hansen
FRIDAY OCTOBER 16
$75 OUR GUEST SPEAKERS
Jeanne Bertenshaw MATISSE
The co-founder of Matisse will talk through new arrivals from the Milan Furniture Fair as well as the latest developments in kitchens and bathrooms.
BoConcept’s Cam Dickey will talk guests through the Danish furniture label’s latest releases in their new Christchurch store.
ECC’s Mike Thorburn has a host of new lighting and furniture releases from Milan covered, as well as the latest trends from the world’s biggest design event.
The New Zealand design house IMO will brief guests on their classic range of furniture and their innovative prefab kitchens.
HOW TO BOOK Book your tickets online at eventopia.co/stylesafarichch Each ticket costs $75 and includes lunch and our all-day Style Safari experience. For information, contact Liezl Hipkins-Stear, 09 308 2873 or email@example.com
HOME NEW ZEALAND / 31
SITTING PRETTY CITTA LAUNCHES A NEW SOFA COLLECTION BY DAVID MORELAND.
Auckland-based designer David Moreland is a regular finalist in this magazine’s annual furniture Design Awards, and he’s just launched a new sofa collection for his employers at Citta Design. The ‘Hem’ collection includes two- and three-seater sofas, an arm chair and an ottoman, all made with a steel base and pine frame covered in multi-density foam and wool blend or tweed upholstery. The sofas are made in New Zealand and are economically priced, with the two-seater starting at $2790, and the three-seater from $2990.
cittadesign.com Citta stores are in Auckland, Hamilton, Wellington and Christchurch.
HOUSE PARTY DAWSON & CO TAKES UP RESIDENCE.
The Strand in Auckland’s Parnell is cementing its reputation as one of the city’s most important furniture destinations with the opening of Dawson & Co’s new showroom. The handsomely refurbished, 750-square-metre showroom (with plenty of parking out the back) – a former warehouse – devotes about a quarter of its floor area to a special zone for its Timothy Oulton collection, while the rest is home to outdoor furniture from Belgian brands Tribu and Manutti, as well as pieces from Denmark’s Wendelbo and a host of others. The showroom “is meant to be about affordable luxury”, says general manager Scott Fisk.
DAWSON & CO 15 The Strand, Parnell, Auckland 1 09 476 1121 dawsonandco.co.nz
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HIGH MINDED THE HOST OF GRAND DESIGNS NEW ZEALAND GETS STARTED.
Don’t go thinking Chris Moller, the host of the newly arrived Grand Designs New Zealand, is an empty talking head. In fact, he has serious architectural chops, and hopes the diverse range of homes on the show – there’s a straw-bale house and one made from recycled car tyres, for example – will act as a wake-up call for a nation in which home-building remains ridiculously expensive. “Housing affordability is absurd here,” he says. “The countries that are really successful at affordable housing have governments that drive that, and this government pretends that’s not its role.” Moller should know: the 54-year-old spent 15 years designing significant high-density housing developments in the Netherlands. Since his return to New Zealand, he’s run his own architecture firm and advocated greater prefabrication in the country’s housing. He’s also developed his own prefabrication system called ClickRaft, an easily assembled plywood lattice that he’ll soon deploy in a little 46-square-metre house for a Wellington client.
Architecture is big in the Moller family: Gordon Moller, designer of Auckland’s Sky Tower, is Chris’ uncle, but the newly minted TV host says his father, an engineer and industrial designer, was a more significant influence, as he spent large parts of his youth working at his dad’s engineering workshop in Wellington. Grand Designs New Zealand will occupy most of his time for the next few months, but Moller sees it as a complement to his own practice and the teaching he does. “Bringing that strong passion for good design to a broader public is a fantastic opportunity,” he says. “It’s important to help people understand how critical architecture is.” Grand Designs New Zealand screens at 8.30pm Sundays on TV3, with re-runs showing on 3now.co.nz. See more of Scott Lawrie’s Grand Designs New Zealand home in our feature on p.100.
01—‘The Crossing’, a home by Paul Clarke, features in Grand Designs New Zealand. Photograph by Simon Devitt. 02—Chris Moller, the host of Grand Designs New Zealand, with homeowner Scott Lawrie at Lawrie’s Pakiri house. 03—Moller, Lawrie and his dog Skip in the kitchen of the home.
HOME NEW ZEALAND / 33
DIVERSITY AND SENSITIVITY XANTHE WHITE’S FRESH APPROACH. INTERVIEW
/ Jeremy Hansen
Xanthe White has won a clutch of landscape design awards and written two books, but she’s about to tackle a rather more personal project: her own garden. What makes a good garden now? It’s about relationships with the landscape and the person. The designer is a conduit between the owner and their landscape – the more it looks like I don’t exist to the client, the more successful a design could be said to be, because the client feels like it’s theirs. The importance of growing food is very clear. But the thing I consider of primary importance is diversity: sensitivity to the surrounding environment, and making our plant palette as broad as possible to leave us options as changes in nature evolve. Do you approve of “low-maintenance” gardens with limited plant palettes? I disagree that limited plant palettes are low-maintenance. If things are looser with more depth it’s a bit more forgiving. But if someone likes things very controlled and clean, that’s fine. You shouldn’t put people in a garden that doesn’t fit them.
You’ve just renovated your house. What’s your garden looking like? We haven’t landscaped because we don’t have any money for it yet. But I love it, even though it’s quite shit. I wake up every morning and all I can see is the treetops and birds, the sun hitting the plants. A loose and natural garden changes every day. Watching it do so is really good for your wellbeing. xanthewhitedesign.co.nz
01, 03 White’s ‘Garden for World Peace’ won Best Design at the 2012 Gardening World Cup. 02 Loose planting styles in a garden by White. 04 A garden by White at a home by Glamuzina Paterson.
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OUR LAND A LANDSCAPE DESIGNER’S NEW BOOK CELEBRATES LOCAL VERNACULAR INTERVENTIONS. INTERVIEW
/ Jeremy Hansen / David Straight
Philip Smith of O2 Landscapes has collaborated with photographer David Straight on Vernacular: The Everyday Landscape of New Zealand (Potton & Burton, $69.99). What made you want to do this book? I’ve wanted to write this book for 10 years. One of the things that’s amazing about visiting Europe, or the old world, is that I get a sense of people feeling their place within the landscape is justified, whereas in the new world we have this idea of humans being an inherently foreign element, that we need to expunge our marks on the landscape. Often, this results in us riding roughshod over our own cultural marks. We end up with an impoverished idea of ourselves when we don’t value the human mark if we only view landscapes as what we’re given. We’re only just starting to value the Maori marks on our landscape. These marks of occupation, they’re part of who we are, and what this book is about.
What stands out to you about the vernacular features that you’ve celebrated in the book? One of the key things is that they come out of the everyday. They need to function. Another key thing is that they’re authorless. These days, we’re surrounded by designers and brands and authorship. There’s an economy and a humility and quietness to a lot of the things that we looked at for the book. They’re often idiosyncratic, but not kitsch. They’re a natural history in built form. vernacularlandscape.com
01 A late-1950s gate at Kaiaua. 02 Stairs near Kaikoura. 03 Mooring structures on the Waitemata Harbour. 04 A bench in Devonport, Auckland. 05 Terraces at New Plymouth Boys’ High School. 06 Bannockburn’s beautiful Carrick Water Race.
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HOME NEW ZEALAND / 37
NO SHOUTING JARED LOCKHART DESIGNS GARDENS OF QUIET AND CALM. INTERVIEW
/ Jeremy Hansen
Jared Lockhart recently returned from the UK to establish his own practice in New Zealand. He also runs the website Garden Objects with his wife, Lisa Davis.
What were you doing in the UK? I was working in an office with three designers: Jinny Blom, Tom Stuart-Smith and Todd Longstaffe-Gowan. They share a studio but are separate companies. Todd is the adviser to all the royal parks, and Tom and Jinny are among the best-known landscape architects in the UK. They taught me everything. I have an engineering degree, so what I went through with those guys was an apprenticeship. I got one-on-one time with all of them. Why did you move back here? We wanted to start a family, and New Zealand seemed like a better place to do that. Plus, I think there’s lots of opportunity in New Zealand, especially in landscaping. People understand gardens add value to properties now. What’s your approach to gardens? My philosophy is that it’s all about the site and the client. Having strong bones comes from hard landscaping and that’s important. The looseness comes with the planting. I want to make sure the design is sympathetic to its surroundings – the last thing you want is a garden continually shouting at you. You want it to announce itself, but to sit quietly: that’s what good landscaping is. When you’re moving earth and planting trees, these are significant activities, and I really enjoy the responsibility that comes with that. jaredlockhart.com garden-objects.com
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01–04 Jared Lockhart’s design for a garden in London’s Blackheath combines robust structure and loose planting.
SNAP A TEA-INSPIRED MOMENT AND BE IN TO
Tea -Inspired Moments GRAND PRIZE
Laurent & Camille
THE ULTIMATE HIGH TEA An inspirational contemporary high tea created by Global High Tea gold medallists and overall champions, Laurent Loudeac and Camille Furminieux from the renowned
MUSEUM ART HOTEL WELLINGTON
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20 LUCKY RUNNERS UP Will each win a contemporary HIGH TEA set: Two ﬁne, bone china tea cups and saucers, a three-tier cake stand, a teapot and a selection of Dilmah tea. A stylish way to share high tea with someone special.
TO ENTER Snap your tea-inspired moment with your favourite Dilmah tea pack, upload to
foodtolove.co.nz with a short description & you’re in to WIN! T&Cs on foodtolove.co.nz
PHOTOGR APHY COMPETITION B RO U G HT TO YO U BY D I LM A H
Take our lead and bring rooms to life with Resene paint colours and a little imagination. For information, advice and samples, visit the Resene ColorShop nearest you, call 0800 RESENE (737 363), or resene.co.nz.
From left: ‘Heaven’ table by Jean-Marie Massaud for Emu, $3755, and ‘Re-Trouvé’ armchair by Patricia Urquiola for Emu, $1545, both from ECC; pots and plants from The Botanist; ‘Tulip’ chair by Eero Saarinen for Knoll, $3890 from Studio Italia; ‘Cesar’ stools by Rodolfo Dordoni for Minotti, $2590 and $2650 from ECC; ‘Tulip’ chair (no arms) by Eero Saarinen for Knoll, $3190 from Studio Italia.
ADVERTISING PROMOTION / HOME + RESENE
RESENE COLOUR CHALLENGE
Play with a spring palette that takes fresh cues and vibrant hues from nature. STYLING
/ Emily Somerville-Ryan
/ Melanie Jenkins
Resene Paris Daisy
HOME The theme of this issue is ‘Indoor/ Outdoor’ and embracing spring. How did you choose a colour palette to respond to this? EMILY SOMERVILLE-RYAN I was inspired by spring bulbs – yellow daffodils, orange tulips – and fresh spring greens. The colours of Resene ‘Feijoa’ and Resene ‘Groovy’ green ﬂow to nature and link the outdoors with the interior. The bright-white furniture balances these intense colours and, together with the tropical plants, give the space a classic Hollywood Hills feel. How would you advise people to do this – is it a simple process? It’s surprisingly easy and the results are very effective. Decide on a colour palette of ﬁve or six hues of similar tones. Measure up your walls with small pencil marks, then run Resene tape from point to point, pulling it tight at both ends to create a perfectly straight line – there’ll be no need to rule pencil lines on the wall. Mask out around each shape and paint with two coats. Once dry, remove the tape. Tape up the next space and repeat until ﬁnished.
GREAT OUTDOORS FURNISH YOUR AL FRESCO SPACE IN SUITABLE STYLE.
01—‘Mesh’ side table by Patricia Urquiola for Kettal, $1900 from Studio Italia, studioitalia.co.nz 02—‘Diamond’ chair by Harry Bertoia for Knoll, from $4600 from Studio Italia, studioitalia.co.nz 03—‘Tornaux’ chair by Henrik Pedersen for Feelgood Designs, $1895 from Backhouse, backhousenz.com 04—‘Vases’ stool by JM Ferrero for Vondom, $512 from UFL, ufl.co.nz 05—‘Club 1009’ sofa by Prospero Rasulo for Zanotta, $10,500 from Studio Italia, studioitalia.co.nz 06—‘Hee’ lounge chair by Hee Welling for Hay, $628 from Cult, cultdesign.co.nz 07—‘Elba’ lounge chairs, $379 each, and table, $879, from BoConcept, boconcept.co.nz 08—‘Tosca’ daybed by Monica Armani for Tribù, $19,999 from Dawson & Co, dawsonandco.nz 09—‘Tio’ easy chair by MassProductions, $1059 from Simon James Design, simonjamesdesign.com 10—‘Butterfly’ low table by Patricia Urquiola for B&B Italia, POA from Matisse, matisse.co.nz . Edited by Sam Smith.
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Auckland’s ultimate lifestyle Wynyard Central is an opportunity to change the way you live. Situated in the heart of Wynyard Quarter, only a short walk from the waterfront, city centre and best city-fringe suburbs, it is unparalleled by location. Living here you will be at the centre of a thriving new urban neighbourhood
and part of a vibrant community of entrepreneurs, foodies and outdoor enthusiasts. You will have immediate access to some of Auckland’s best eateries, parks and entertainment including North Wharf, Silo Park and the brand new ASB Waterfront Theatre.
A trusted partner Wynyard Central will reach a new standard of apartment living in Auckland. Willis Bond & Co is a development partner you can trust to deliver on that promise. The company has set the benchmark for premium apartment living in New Zealand, winning the Supreme Award at the 2015 Property Council awards for Clyde Quay Wharf. Willis Bond is dedicated to quality and committed to creating sustainable and long-lasting communities. It is a sponsor of the New Zealand Green Building Council and has designed Wynyard Central to target an unprecedented Homestar 7 rating for sustainability and energy efﬁciency.
Wynyard Central is coming to life The uptake of apartments at Wynyard Central has been overwhelming, with over half selling in three months from launch. The apartments have mostly sold to Aucklanders seeking high quality, low-maintenance, well-designed homes in a secure and exceptional location. The 128-year lease is fully pre-paid by Willis Bond with a guarantee of no rent payable throughout that period. With this peace of mind, inner-city living in Auckland has never looked so appealing. The project is on track for construction to begin in October with the ﬁrst residences due for completion mid-2017.
Experience the quality Our spectacular display suite showcases a full-scale Wynyard Central apartment that allows you to experience the stylish design, generous proportions and quality of ﬁnishes ﬁrst hand.
For further information and to view the display suite call 09 377 4065 wynyardcentral.co.nz
WELL RESTED LOUNGE ALL YOU LIKE IN THESE UNIQUE OUTDOOR PIECES. 06
01—‘Butterfly’ sofa by Patricia Urquiola for B&B Italia, POA from Matisse, matisse.co.nz 02—‘Solid’ sofa by Stefano Giovannoni and Elisa Gargan for Vondom, $1195 from UFL, ufl.co.nz 03—‘Bitta’ dining chair by Rodolfo Dordoni for Kettal, $3300 from Studio Italia, studioitalia.co.nz 04—‘Elisa’ three-seater sofa by Enzo Mari for Driade, from $11,150 from Indice, indice.co.nz 05—‘Duna – Sled’ chair by Lievore Altherr Molina for Arper, $540 from UFL, ufl.co.nz 06—‘Stone’ sofa by Stefano Giovannoni and Elisa Gargan for Vondom, from $2388 from UFL, ufl.co.nz 07—‘Mesh’ sofa by Patricia Urquiola for Kettal, $17,600 from Studio Italia, studioitalia.co.nz 08—‘Fat’ sofa by Patricia Urquiola for B&B Italia, POA from Matisse, matisse.co.nz 09—‘Bundle’ swing by Lionel Doyen for Extremis, POA from Cult Design, cultdesign.co.nz. Edited by Sam Smith.
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imagine comfort with a fresh new look Introducing the new Stressless® Skyline recliner with BalanceAdapt™ technology. Sleek and eyecatching design is only part of the story. The new BalanceAdapt™ technology integrated into Stressless® Skyline takes comfort innovation to another level. Not only does the recliner respond to every movement your body makes without the need for handles and levers, it also gently rocks on the elegant base. It’s the ultimate in top to toe comfort. Try one! Because feeling is believing.
MADE IN NORWAY
STRESSLESS® STUDIOS DANSKE MØBLER: AUCKLAND • HAMILTON • TAUPO • HASTINGS • PALMERSTON NORTH • LOWER HUTT Whangarei Fabers Furnishings Whitianga Fagans Furniture Tauranga Greerton Furnishings Gisborne Fenns Napier Danks Furnishers New Plymouth Clegg’s Furniture Court Wanganui Wanganui Furnishers Masterton Country Life Furniture Paraparaumu Paula’s Furniture Blenheim & Nelson Lynfords Christchurch D.A. Lewis • McKenzie & Willis Ashburton Redmonds Furnishing & Flooring Timaru Ken Wills Furniture Dunedin McKenzie & Willis Queenstown & Invercargill H & J Smith
PLEASE BE SEATED HIGH, LOW OR LAID-BACK, THESE OUTDOOR DESIGNS COVER ALL THE OPTIONS. 05
01—‘Basket’ chair by Patricia Urquiola for Kettal, $4700 from Studio Italia, studioitalia.co.nz 02—‘Eos’ table, $1135, and stacking armchair, $500, both by Case
from Simon James Design, simonjamesdesign.com 03—‘Gijs’ daybed by Piet Boon, $7035 from ECC, ecc.co.nz 04—‘Anker’ picnic table by Dirk Wynants for Extremis, $8802 from Cult, cultdesign.co.nz 05—‘Knit’ coffee table by Patrick Norguet for Ethimo, $960 from ECC, ecc.co.nz 06—‘Mood’ barstools, $1599 each, and bar table, $2399, by Tribu from Dawson & Co, dawsonandco.nz 07—‘Mirto Outdoor’ setting by Antonio Citterio for B&B Italia, POA from Matisse, matisse.co.nz 08—‘Knit’ lounge chair by Patrick Norguet for Ethimo, $2230 from ECC, ecc.co.nz. Edited by Sam Smith.
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FOR HOME IDEAS, IDEAS INSPIRATION, INSPIR DIY TIPS & TRICKS
HOME + MATISSE
JEANNE BERTENSHAW THE MATISSE CO-FOUNDER CHOOSES HER FAVOURITE NEW DESIGN ITEMS.
‘Fractal’ pendant by Brand
‘Moulds’ lights by Jan Plechác
‘Volare’ bed by Roberto
‘Hide 1085’ chair by Bartoli
‘Munich’ chair by Sauerbruch
Dutch lighting sculptors Brand van Egmond have produced ‘Fractal’ which is, in effect, a mathematical set that uses a repeating pattern played out in several different scales. The reflecting elements offset this with the ‘chaos’ of dispersing light. We perceive the orderly patterns at the same time as the random light, making it a beautiful brain-teasing chandelier.
Following the long tradition of hand-blown glass and crystal in the Czech Republic, the ‘Moulds’ series captures a specific moment when molten glass resists the shape expected of it and becomes a random, indeterminate bubble. Various materials are combined using the technique of blowing glass into a beech form, which is retained with the LED set directly into the charred wooden mould.
What could be more romantic than a four-poster bed? This pared-down, light and airy version can be dressed up or down to be minimal or sumptuous. Ash and tulip wood are beautifully combined with Poltrona Frau’s famed handcrafted leather to create the perfect bed for your palazzo or loftstyle home.
The ‘Hide 1085’ is remarkable on several fronts; the hide itself is an extra-thick, malleable material from workrooms that produce luxury handbags and shoes not usually used in furniture making. The chair’s curved, folded design reflects the superior qualities of the materials, while a decorative rod from boating technology can adjust tension to smooth out any wrinkles that develop over time.
Three versions of the ‘Munich’ chair were designed by Sauerbruch Hutton for the Brandhorst Museum, which opened in Munich in 2009. Each version was designed to suit specific needs within the building. The ‘Munich’ range offers durability and ease of use that are suited to homes and offices as well as museums, which is why it has been integrated into ClassiCon’s permanent collection.
& Henry Wielgus for Lasvit
Lazzeroni for Poltrona Frau
Design for Kristalia
Hutton for ClassiCon
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HOME + ECC
MIKE THORBURN ECC’S MIKE THORBURN ON THE NEW DESIGNS LIGHTING UP HIS SHOWROOMS.
‘Gem’ wide pendant
‘Aballs’ pendant by Jaime
‘Tank’ bar collection
‘Skygarden’ pendant by
‘Hex’ Bowl by Tom Dixon
This abnormally oversized and overweight pendant light from the British designer Tom Dixon is characterised by angular edges and indentations to create a three-dimensional gem shape, mimicking the facets of semi-precious stones.
With a base in white, black or golden ceramic, blown glass is linked by a polished brass ring to combine traditional skills blended with artisan craftsmanship. The dimmer’s control lever is also made of polished brass. The collection includes a chandelier, hanging lamps and table lamps.
The ‘Tank’ range of bar ware from Tom Dixon is a strikingly elegant collection created from mouth-blown, cold-cut glass and handpainted copper details. The range includes a decanter, jug, highball and lowball glassware.
Inspired by an antiquedecorated plaster ceiling in one of designer Marcel Wanders’ former homes, the ‘Skygarden’ is like a piece of history secretly hidden in a minimalist architectural sphere. I love the way Wanders keeps coming up with exciting new designs.
by Tom Dixon
Hayon for Parachilna
by Tom Dixon
Marcel Wanders for Flos
A solid copper multifunctional dish, hand formed with a hammered hexagonal pattern and beaten finish. This design from Tom Dixon is polished and sealed with a food-safe clear lacquer.
HOME NEW ZEALAND / 49
HOME + BOCONCEPT
IN STORE 01
BOCONCEPT’S CAM DICKEY ON THE DANISH BRAND’S LATEST RELEASES IN THEIR NEW CHRISTCHURCH STORE.
‘Adelaide’ outdoor collection
The ‘Monaco’ sofa is an exciting new addition to the BoConcept collection, with unique heavy-stitched seams and hexagonal armrests that combine quality and attention to detail. The modular sofa pieces can be customised to your own personal needs and are available in the complete range of BoConcept’s fabrics and leathers.
The new 32-piece ‘Living’ collection is a selection of practical accessories that serve to furnish your home with style. The simple, elegant designs feature feminine forms that are complemented by more masculine materials such as marble, concrete and leather.
The ‘Carmo’ sofa has fully upholstered seating units that let you play with different combinations to create your own look. The Lux Felt fabric defines the shape and detail of the sofa beautifully, and enhances its modern Scandinavian design.
The ‘Adelaide’ outdoor range erases the border between outdoor and indoor furniture. The beautiful contrast between the white highpressure laminate and warm eucalyptus gives it a strong identity – letting it stand out from most other outdoor furniture.
These rugs are all handmade pieces of art with a range of different shapes, sizes and designs from which to choose. Enjoy the geometric patterns and many different textures such as knitted wool, cow hide and kilim in colourful stripes.
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HOME + IMO
IMO’S CO-FOUNDER SAM HAUGHTON ON HIS FIRM’S CLASSIC FURNITURE AND NEW PREFAB KITCHEN RANGE. 01.
‘Plateau’ table by IMO
‘Baker’ stool by IMO
‘Fiord’ table by IMO
‘ABC’ accessories by IMO
‘KXN’ modular kitchen
‘Plateau’ is a table you will cherish for decades to come. With its generous proportions and forgiving edges, ‘Plateau’ is the perfect partner for entertaining, enjoying a lazy Sunday breakfast or spreading out the paperwork. Tailor your table with a range of accessories to help you do more at work – it might be work, but it doesn’t have to feel like it.
Whether you perch, straddle, sit cross-legged or side saddle, the hard-wearing materials and meticulously refined details of the ‘Baker’ stool will bring you design joy every day for decades. Mix and match the colours and materials of the seat, legs and foot ring to create your perfect perch. With more than 16,000 material and colour combinations, even the trickiest-to-please individual will find a favourite.
Characterised by its visual lightness and architectural leg structure, the ‘Fiord’ table can be enjoyed both indoors (with a top in solid oak) and out (with a top in powdercoated aluminium available in black, white or grey). The legs and feet are made from powder-coated stainless steel. Link the modular elements together to create the ultimate long lunch table.
‘ABC’ is a range of containers designed to keep your work and living spaces clutter-free. The range includes a paper tray, folder tray, utility caddies and containers. The small caddy includes drainage holes for airflow and quick drying. ‘ABC’ is made from zinc-coated steel with solid beech handles.
system by IMO
‘KXN’ kitchens have a simple, timeless aesthetic and are made from durable, quality materials. ‘KXN’ allows you to personalise your kitchen layout whatever the size or budget. It’s available in three widths, two depths and various configuration: just select the modules you want, then arrange them to suit your needs. It fits all appliances, has no toxic glues, and is recyclable.
HOME NEW ZEALAND / 51
THE SMALL PICTURE When it comes to connecting indoors and out, our columnist argues for a less-is-more approach. INTERVIEW
— Douglas Lloyd Jenkins
I recently visited an old villa in a line-up of old villas, where every house in the street was positioned near the front of its site, with a small gap between each home. These neighbourhoods are familiar to most of us. We’ve all driven down similar streets and witnessed the rise of the inner-city villa from neglected old house to respectable family home. Nowadays we appear to be watching the emergence of the villa as a super-preened inner-city fortress: the high stone wall, security gate and the new garage buried under the verandah. At the home I visited, the first rooms, two to each side of a hall, painted white with a polished timber floor, delivered the villa experience. The back of the house, like so many villas these days, had been demolished and replaced with a large, contemporary open-plan kitchen, dining and family room. This was finished off with an enormous wall of sliding glass panels occupying the entire width of the house and providing a seamless view into the garden. What remained of the garden was entirely taken up by a swimming pool, leaving only a lip wide enough to walk around its perimeter. The small space that remained between the pool edge and the property’s boundary walls was occupied on three sides by tall, pleached hedges, neatly under-planted and corralled behind a low wall. The effect was precise and not at all unpleasant (I only wish my own garden was so refined). Reflected light from the pool lit the interior with an intense, flickering glow. But it made me think about the contemporary trend for all-glass walls, and the almost-lost art of framing a small view and privileging interior space. Rather than feeling invited out into the garden, the villa’s wall of glass and the intense light coming through it made me retreat to the inner reaches of the house. Looking out, I started to notice imperfections, those things not thought about in the design: the impossible-to-hide top of a recycling bin, the pool chemicals and discarded toys. The garden vista through those glass panels rapidly became tiresome, glowing at me and demanding widescreen attention. By the time I escaped out the front door I was exhausted by its relentlessness. Retreating to the room I write in at home, I was pleased
52 / HOME NEW ZEALAND
— Jackie Meiring
to have the comfort of a small window. The sill is just above my eye line when I’m seated at my desk. To see the view requires an effort. Standing up and looking at the view always has a refreshing effect. It’s a good view, dividing into foreground, middle and the long view, and taking in everything from the vine growing on the neighbour’s fence to the blurry outline of the Bombay Hills. Often a glimpse is all that is required. Having puzzled out the next sentence while staring at the view I sit back down, two fingers ready to type out the next line. We all get tired of looking. Over-exposure to visual stimulation exhausts our senses. What keeps my office view and the view through almost any small window empowered with the ability to refresh is their unavailability for continuous consumption. Precious objects are often boxed or presented in a glass-fronted cabinet. The process of taking them out of their boxes re-energises their preciousness. Views are the same. A glimpse of a great view makes us stop and look. The process stimulates our senses. Leave a precious item exposed on a shelf and it gathers dust and ordinariness. Overexposed views become ordinary too. Architects of the Arts & Crafts movement understood nature as an artwork in need of framing, not broadcasting. They provided small windows and broke those down into even smaller windowpanes designed to enhance the sensation of looking. Even now, faced with an artwork that requires framing, we spend a great deal of time looking at the possibilities that might best enhance the picture itself. The best answer is seldom an enormous frame. The opposite has occurred in architecture, where too often we’ve come to believe that large windows allow the landscape in, and that using the largest sheet of glass available signifies the best of contemporary work. Yet all this really ensures is that our precious, fought for, views become ordinary. Eventually we pull the blinds. Thinking carefully about how a view might be revealed, rather than opting for its immediate consumption, leads to an altogether more satisfactory relationship between inside and outside. It also provides places to hide the recycling bin.
Above Douglas Lloyd Jenkins in his study at his Auckland residence, the 1938 Robin Simpson House – one of the country’s first modernist homes. The window above his desk offers a perfectly framed view to the south.
Above right The writer looks out his study window. Right The sketch at right is by Hildegarde Read from the 1940s, while the framed Christmas cartoons are by Alan Paterson.
HOME NEW ZEALAND / 53
HOME OF THE YEAR 2016 CALL FOR ENTRIES Next year, our prestigious Home of the Year award turns 21. In addition to the Supreme Award (which carries a prize of $15,000), this year weâ€™re expanding the programme to include four new subcategories.
Right The twin cabins in Kaipara by Nat Cheshire of Cheshire Architects won the 2014 Home of the Year award. Photograph by Darryl Ward. Below Richard Naish of RTA Studio designed the E-Type House, his family home, which won the 2015 Home of the Year award. Photograph by Patrick Reynolds.
Award entries are due by 5pm, Thursday 10 December, 2015. For full terms and conditions of entry, visit homestolove.co.nz/homeoftheyear or contact firstname.lastname@example.org
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Left The 2013 Home of the Year, the Headland House on Waiheke Island by Stevens Lawson Architects. Photograph by Mark Smith. Below Stevens Lawson Architects also designed Te Kaitaka, the 2010 Home of the Year in Wanaka. Photograph by Mark Smith.
S U P R E M E AWA R D
M U LT I
HOME OF THE YEAR 2016
+ NEW DEVELOPMENTS
HOME NEW ZEALAND / 55
DESIGNS FOR LIVING
SEEKING SIMPLICITY NEW ZEALAND ARCHITECT SIMON STOREY’S OWN HOME OCCUPIES A TINY SITE IN LOS ANGELES.
New Zealand-born Simon Storey calls his Los Angeles home the “Eel’s Nest”, after the narrow urban properties of the same name in Japan. It was his first house to be realised off the drawing board and, as it turned out, his most challenging. At just 15 feet across and hemmed in by a concrete stairway on one side and a property on the other, there was almost no room to manoeuvre. With constraints aplenty, Storey could only keep things as simple as possible. And that’s exactly how he likes it. “My number one concern was to make it feel like a normal house as much as possible,” says the architect. Although Storey never had any interest in building something tall and skinny, the size of the site dictated that he design his home in an uncompromisingly vertical way. With three floors and a roof terrace offering a 360-degree panorama of the greater Los Angeles area, Storey managed to carve out enough space for a workshop and an architecture studio, as well as all the living area he needed. Storey explains that the trick to working within the confines of a 15-foot width is to keep the front of the house simple. “You’re stuck with a box, and if you want to get creative with that, it’s only going to make it a smaller box.” While Storey focused on solving the spatial issues of his home in a no-frills way, he didn’t realise until after it was finished that it offered a different way of living. “After I started living here, I realised 960 square feet is all you need, as long as it’s well thought out and has lots of natural light,” he says. “It becomes a pretty liberating space to live in, because it’s nothing more than you need.”
Left “It’s like the house doesn’t even exist because it’s beneath you,” says architect Simon Storey of the home’s roof terrace, where he sits with his wife, Jen Holmes.
Below Experimenting with alternatives to conventional windows, Storey used a regular door, which he keeps open in summer and treats as a balcony.
Left The home sits on a slim, 4.5-metre-wide site. The garage becomes a workspace when Storey takes his car out onto the footpath.
Left Storey says he has realised that a dwelling of modest proportions can be liberating – “it has nothing more than you need”.
Photography by Simon Devitt
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DESIGNS FOR LIVING Right The living space at the Wellington home has compartments and alcoves fitted together like in-built furniture to economise on space. Furniture was deliberately chosen to be smaller-scale to make the space feel larger.
FRINGE BENEFITS WELCOME TO DAVID MELLING’S SMALL BUT PERFECTLY FORMED TAKE ON URBAN-FRINGE LIVING.
Left The roof terrace repeats the footprint of the studio, with enough space to rival a suburban backyard.
Above David Melling was determined to ensure the roof terrace was well-used and designed a kitchen shed so that everything needed for outdoor living is at hand.
Small homes are big right now and they don’t come much smaller or smarter than David Melling’s Wellington abode. He refers to it as a “City Bach”, but confesses the original idea wasn’t for an urban bach but a “hut in the bush in the city”. Melling, who runs his own business, Melling Architects, returned to Wellington after 12 years overseas just in time to see the long-delayed inner-city bypass begin construction. Where others saw the destruction of a precinct, David saw healthy development. He bought an old villa on a long, narrow section with just enough space for him to subdivide and develop a small building that turned away from the existing house and focused its attention to the street. On paper, the apartment is deceptively modest: a double garage on the ground, a studio apartment in the middle, and a roof terrace on top. On the street the home is tough and uncompromising. Inside, the studio is a piece of living furniture, with compartments and alcoves, light and space, all fitted together with economy but not in any miserly way. It is surprisingly calm, too, helped considerably by the use of sound insulation and acoustic glass that minimises traffic noise from the busy street. A space-saving exterior staircase leads to a rooftop deck, with a kitchen ‘shed’ up top providing the option of outdoor dining. At 40 square metres, the living space is the size of some ensuites but, in this case, small is both beautiful and entirely liveable. Melling believes that good architecture should say something about the context it occupies. “City Bach is modern in form and proportion, urban in context and size, but it uses soft, natural, weathered materials in an attempt to blend within the branches of the rata tree,” he says. melling-architects.co.nz
Right The house turns away from the other house that shares the site and focuses on Victoria Street, just a few blocks from Wellington’s inner-city bypass.
Photography by Paul McCredie
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DESIGNS FOR LIVING Left Sally Ogle of Patch Work Architecture reclines in the downstairs living area of the home she and her colleagues designed and built in Whanganui.
THRIFTY LIVING A GROUP OF YOUNG ARCHITECTURAL GRADUATES BUILD A COST-CONSCIOUS AND ENVIRONMENTALLY FRIENDLY WHANGANUI HOUSE.
In a unique tale of architectural derring-do, three designers from Patch Work Architecture – Ben Mitchell-Anyon, Sally Ogle and Tim Gittos (who now has his own firm, Spacecraft Architects) – designed and built a thrifty, clever house on a steep Whanganui hillside. Despite the adventurous 20-somethings having no building experience, they built the house themselves on the north-facing 607-square-metre slice of land. The project’s small size was the most significant factor in keeping costs down, but having more time than money, the group also scoured the internet for cheap materials and second-hand fittings. Rusty steel trusses, which the group purchased on TradeMe and cleaned up, became a major driver in the home’s design, with their number and dimensions defining the overall width and shape of the roof. On the ground level, a cast, in-situ concrete box embedded into the bank behind contains the living areas and kitchen. This is glazed along the front face to draw in as much light and heat as possible. The afternoon sun soaks into the thermal mass of the concrete, helping to keep the house warm. On top of the concrete base rests a lightweight timber and polycarbonate box with two bedrooms and the main bathroom. Thin blue steel trusses underscore this lightness, which is accentuated by separating the rooms with twin-wall polycarbonate panels. Its use of recycled materials demonstrates recycling can be beautiful and practical. “Every design decision we made was a balance between cost and architectural value,” Tim says.
Above All the more appealing for its simplicity, the quarter-sawn pine and macrocarpa cabinetry in the kitchen was fabricated on site by the home’s designers.
Above A secondhand bargain at just $1.50, the freestanding bath at the end of the open-air corridor is contained within a timber frame.
patchworkarchitecture.co.nz Above The tongue-and-groove flooring of the upper level is crafted from Lawson cypress, which was purchased online and milled in Whanganui.
Left Vertical shiplap boards of Lawson cypress combine with Duralite cladding to form the home’s exterior.
Photography by Paul McCredie
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DESIGNS FOR LIVING
DESIGN FOR LIFE
Q&A WITH ANZ MORTGAGE MANAGER, RACHEL HOLDING.
FURNITURE DESIGNERS SAM HAUGHTON AND HANNAH BRODIE REMODEL A WORKSHOP AND DESIGN THEIR CITY LIVES.
HOME It’s fairly common for building
An ex-furrier’s workshop may not seem the ideal space for family living, but furniture designers Sam Haughton and Hannah Brodie are no newbies to clever design. The couple, who run furniture design firm IMO (Industry for Modern Objects), saw possibility in this industrial building in Auckland’s central city where others saw little at all. Within a few months they transformed the space into a remarkably compact and efficient home for themselves and their young son Jack. Redesigning the workshop meant the couple redesigned their lives, too. Sam and Hannah’s decision to remodel the 1963 inner-city building meant they were living much closer to work. It was a very deliberate decision. “I could see more of Jack,” Sam says, “being able to come home for dinner, read to him, put him to bed, then go back to work.” Built almost entirely by Sam himself, the apartment proves urban living can be family friendly and spacious all in the right places. Entering by the front stairs from a busy city street, one moves down a short hall flanked by the bedrooms and bathroom into an openplan living and kitchen area that flows onto a spacious terrace. The effect is deceptively generous, despite the necessarily condensed layout.
Above The open-plan living, dining and kitchen area of the former workshop looks out to the terrace. The solid American white-oak table was custom designed by Sam Haughton of IMO.
Right Ivy creeps up the terrace wall from a custom planter box by IMO. The table is also by IMO.
Below The original block work in the generous open-plan living area has been left exposed and painted white.
The apartment features a number of distinctive design flourishes, including a beautiful shiplap kauri wall milled from a tree that Sam cut down as a boy on the family farm in Northland. Sam attributes his practical streak to his rural upbringing, and it is at the core of his working method. “For me the manual manufacturing of furniture is inherently tied to the design of it and they shouldn’t be separated. It’s not just sketching and then making, it’s the whole process.” imo.co.nz Photography by Toaki Okano
ANZ lending criteria, terms, conditions and fees apply. The Q&A material is for information purposes only. Its content is intended to be of a general nature, it does not take into account your financial situation or goals, and is not a personalised financial adviser service under the Financial Advisers Act 2008. You should seek professional advice relevant to your individual circumstances. To the extent permitted by law, ANZ does not accept any responsibility or liability arising from your use of this information.
projects to go over budget because of any number of unseen factors. How do you advise and support homeowners in these situations? RACHEL HOLDING My role starts at the very beginning when customers are getting in all of the costs, quotes and contracts for their project. I will look for provisional costs and address these with the clients; this enables more certainty about the budget. I also encourage my customers to get specific with their builders and what is being budgeted for. A total package may look reasonable, but ensure you’re comfortable with the amount the builders have budgeted for in each area of the house (including any upgrades you may want) to avoid any variations in budget or ending up something you’re not happy with. If there are cost overruns due to unforeseen reasons we will work with the customers to ensure that we can get the project back on course. What are the three key things you would advise potential homeowners to consider at the outset of a homebuilding project? Why do you want to build? Is it to get your dream home or you can’t find something that suits your style? What is your budget for the land and then the build? Some land is cheaper because it costs more to build on. Where will you live during the build? If you’re renting, can you afford this and the cost of the growing mortgage? What’s the best way for people to get in touch to tap into ANZ’s expertise? As a Mobile Mortgage Manager, I specialise in home loans. I have done many building loans from start to finish with customers, which means I have seen the good, the bad and the ugly when it comes to what can and does happen. I can come to people at a time and place that suits them so that they can have complete comfort in discussing their plans. Thinking about building a new home or renovating? Talk to ANZ, the home loan experts. They’ll walk you through the process of financing your project. Visit anz.co.nz/homeloans.
to the home loan experts today. HOME NEW ZEALAND / 59
ADVERTISING PROMOTION / HOME + DULUX
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THE DESIGN AGE Dulux’s Colour Forecast 2016 takes us to unexpected places. Our colour appetites are constantly shifting, affected by seasons, broad cultural inﬂuences, and deeply personal moments that could be inspired by the botanical world, a memorable artwork, or everyday colour combinations that generate a peculiar and unforgettable alchemy. Bree Leech is a trend forecaster with two decades of experience in the design industry. She collaborates with Dulux to create colour forecasts; her job is to weave multiple inﬂuences into a coherent set of predictions of what colours we’ll be adoring and absorbing in the next year. “It’s quite an instinctual process,” she says of developing Dulux Colour Forecast 2016. The following pages reveal what her instincts are telling us about colour for the year ahead. She’s grouped these developments into four key themes.
Above The Inﬁnite Worlds palette by Dulux is “about inﬁnite space and deep oceans”, a contrast of inky base tones and bold brights.
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HOME + DULUX
Featured: —— Dulux Russell —— Dulux Night Life —— Dulux Double Cove —— Dulux Napier
INFINITE WORLDS “Inﬁnite Worlds is about inﬁnite space and deep oceans, our fascination with unexplored territories,” Leech says. “There’s a real interest in mysterious deep-sea creatures with phosphorescent colours against deep inky blues: think of pinks and corals and space-age metallics against dark backdrops. The colours of nebulas and exploding stars came to mind as we were developing this high-contrast palette. We were also thinking about the boldness of the 70s, with David Bowie and Ziggy Stardust, the gleeful celebration and conﬁdence of those colour contrasts. These inﬂuences are coming through in fashion a lot, too.”
Bold, deep classical colours make a comeback in the Dulux Future Past palette, which is updated with mustard and primrose tones. Left The Inﬁnite Worlds palette combines deep, inky base colours with high-contrast brights.
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ADVERTISING PROMOTION / HOME + DULUX
FUTURE PAST Featured: —— Dulux Punga Cove —— Dulux Miramar —— Dulux Loose Leather —— Dulux Emerald Forest
“Steampunk is an inﬂuence which started a number of years ago and it has surfaced again in the Future Past palette,” says Leech. “This is a slightly newer look with multiple references, a new version of the old. I’m seeing a very classical inﬂuence here as well, with deep colours being used on walls, which feels very much now. These are heritage shades but people don’t immediately recognise them that way when they’re used in a modern context. Brown will be a big inﬂuencer next
year, along with burgundy and green, while mustard and primrose tones modernise the palette. You see crumbling old buildings with modern pieces set against them and they look fantastic, which was a big inﬂuence on our thinking here.”
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HOME + DULUX
Below Softness and natural imperfection were the guiding mo iva mot ivatio tio ons n b beh ehind ehind nd th n he form form or ati a ion on o n of tthe of e Biio Frag Frag gili iliityy pal pa ett et e for for Du ux. Dul u ux
BIO FRAGILITY Featured: —— Dulux Matamata —— Dulux Lilac Suede —— Dulux Purebred —— Dulux Manorburn Half
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“We’ve been seeing lots of soft pastel colours coming through,” says Leech, “so we had to look forward and work out what would be inﬂuencing them in the next 12 months. We ﬁnd designers are almost looking to nature to collaborate with them. They create something and leave the rest to nature so they may end up with an imperfect result, and that idealisation of imperfection is being incorporated into interiors. It’s about taking our colour cues from nature and living matter such as ﬂesh tones,
lichen, moss and stone, and introducing what we call prickly elements such as cracked surfaces of parched earth, exotic textures in an otherwise soft landscape. It’s about the fragility of nature and how that’s being reﬂected in design.”
Left The Dulux Retro Remix palette combines acid brights with faded, muddied colours.
Below w There’s a postmodern inﬂuence in the sass and conﬁdence of the Retro Remix palette.
RETRO REMIX “The Retro Remix palette is inﬂuenced by the postmodern era, and carries on the inﬂuences of the Memphis style that began to emerge last year,” Leech says. “It’s about remixing the 60s, 70s and 80s and getting a new result: it’s not retro as you know it, it’s a remixed version. It doesn’t take itself too seriously, as the colours are very happy, optimistic and energetic, with acid brights clashing with faded, muddied colours such as browns and olive greens. It also embraces the idea of those patterns being used on the walls, with people exploring how they can use masking techniques to create them. I love seeing unexpected new combinations and thinking, ‘that really works’. People have been obsessed with whites and neutrals, but I do believe we’re gaining conﬁdence in using colour again.”
Featured: —— Dulux Titi Islands —— Dulux Colombo Street —— Dulux Mt Victoria —— Dulux Piglet
Dulux Colour Forecast 2016 For more information, visit dulux.co.nz/ colour or watch our interview with Bree Leech on homestolove.co.nz. Dulux and Worth doing, worth Dulux are registered trademarks of DuluxGroup (Australia) Pty Ltd.
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Near Gisborne, Jeremy and Anne Salmond create a home and a publicly accessible eco-sanctuary, rehabilitating a once-magnificent landscape.
— Maria Majsa
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— Patrick Reynolds
Jeremy and Anne Salmondâ€™s home at Longbush is part of an extensive regeneration project: Longbush is now home to more than 100 species of native plants and is a sanctuary for wildlife.
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Below Jeremy and Anne Salmond’s home is replete with an impressive library of books. The chairs are made by local craftsman Jasper Murphy with manuka taken from the site, without using nails or screws.
Follow the snaking gravel track alongside the Waimata River, 9km out of Gisborne, and you will find a rare and beautiful slice of riverside bush. Thanks to the dedication of Dame Anne and Jeremy Salmond, this protected area is now alive with the sound of tui, bellbirds, piwakawaka and kereru. The Longbush Ecosanctuary is also home to a host of endangered native bird, plant and animal species, some of which had disappeared from the area entirely. Jeremy and Anne have a long and close history with the Waimata River, particularly Anne, who grew up in the area. On scorching hot days when she was a child, Anne and her brothers and sisters would avoid the local beaches, jump on their bikes and ride out to swim and picnic under the leafy canopy. “Before Cyclone Bola there was a fantastic water hole here for swimming,” Anne remembers. “Under the trees was always the coolest place to be on a hot summer’s day.” Years later, Jeremy and Anne would visit Gisborne and come to this quiet spot to wander around and talk when they were courting. “We always thought it would be a wonderful place to build a house,” says Anne. “I love the view down the valley and the way the surrounding hills make a perfect circle of the sky above you.” In 1998 while visiting Anne’s mother, the couple drove up to Longbush and discovered it was for sale. “One hundred and twenty hectares was a daunting amount of land,” says Jeremy. “It was assumed someone would buy it for grazing or forestry, but we had other ideas.” They made an offer on the property and a year later, it was theirs.
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Before the Salmonds’ purchase, Longbush had been grazed by stock and used as a dumping site. It was overrun with invasive weeds, possums, rats, stoats and feral cats. For Jeremy, an architect, and Anne, a historian, the rehabilitation process was a case of learning as they went. “We were a bit naïve at first,” Jeremy admits. “The idea was to stop the degeneration that land clearance, erosion and pests were causing. We started fencing off parts of the bush to keep the stock out, then the weeds ran riot, so we had to start spraying them.” Gradually they fenced more and more of the property and developed a 10-year regeneration plan – a massive and, at times, overwhelming task. In 2003, Ecoworks pitched in with an intensive pest-control programme and the area was formally protected with a QEII Covenant. Over the years, a network of experts, friends and volunteers have rolled up their sleeves to help out at Longbush. You can feel the sense of optimism and community spirit in the air. “It has been a real labour of love and a wonderful collective experience,” says Jeremy. Today, the combined effects of fencing, replanting and pest eradication on the property are impressive. More than 100 species of native plants have been recorded at the sanctuary and wildlife is flourishing. The native robin, which had been extinct in the Poverty Bay area for more than 100 years, has been successfully reintroduced. A rare one-metre high Black Orchid has also reappeared at Longbush, now that rats and possums are no longer feeding on the tubers of this striking native plant. With a busy life in Auckland and family to stay with in Gisborne, the Salmonds initially felt no pressure to build a house on the land. For 10 years they visited regularly and worked on the property, before deciding it was time to establish a more permanent base. A garage was designed and constructed from which to run the project. Solar panels for water and power were fitted as a rational and less expensive solution to using electricity from the grid. Jeremy’s brother Mike built much of the house single-handedly while living on site in a caravan for two years. There were many long discussions between the brothers during the process. Jeremy, who designed the house, describes it as a “slow-cooked house”, created thoughtfully with good materials and allowed to happen at its own pace. With a compact footprint and classical double-storey form, the Longbush house is the perfect dwelling for a couple. A low mono-pitch roof tilts to the north and sheltering eaves protect the house from the harsh extremes of the weather. The interior has the fine-grained quality of a handmade piece of furniture. It is warmly inhabited, well-stocked with books (many written by Jeremy and Anne) and plenty of comfortable places to sit and read them. Jeremy describes it simply as “one room on two levels connected by a void”. On the ground floor, the kitchen morphs into a lofty double-height lounge; upstairs are two generous bedrooms and a bathroom. The view from the main bedroom is a magnificent sweep of the valley and Waikereru Hills. Jeremy and Anne like to start the day with a cup of tea on the north-facing deck off their bedroom, contemplating this outlook. “I love how the view puts you up in the sky,” says Anne.
Left The kitchen, where Maria Majsa sits at a Guéridon table by Jean Prouvé, flows to a double-height living space. Two bedrooms and a bathroom are upstairs. The Firetube fireplace was imported from Germany. The sculpture atop the bookshelf was made by a young neighbour. The ‘Koura’ light is by David Trubridge.
Above Jeremy describes his design for the home as simply “one room on two levels connected by a void”. Below The south face of the house is Hebel block construction with steel windows, providing privacy at the entrance and protection from cold southerly winds.
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Left The Welcome Shelter, designed by Sarosh Mulla, comprises three box-like volumes that can be opened and closed to the elements. The side wall of the meeting room is lowered with a hand-operated winch to form a platform that links the room to a raised terrace. The ‘Monarch’ table by Goldsworthy was donated jointly by Goldsworthy and Cult. The ‘A2’ stools were donated by IMO.
Above The Welcome Shelter was created with volunteered skill and time and through sponsorship. It provides a place for volunteers and hikers to meet and a lookout tower offers spectacular views of the surrounding hills. Left The locker room has ladder access to a roof lookout. The ladder was made by Murphy with manuka from Longbush. The shelving was donated by Lundia.
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As the public became increasingly interested in the work they were doing at Longbush, Jeremy and Anne realised the need for a space to accommodate both visitors and volunteers. They were delighted when Sarosh Mulla, a talented young architectural graduate, offered to design a Welcome Shelter as part of his PhD at the University of Auckland. The sanctuary’s completed shelter is an elegant series of three dark-stained volumes with a roof hovering above them. Intended as an outdoor classroom, the shelter has space for practicalities such as storage, a composting toilet and rainwater collection. There is room for volunteers and hikers to meet and share meals and a lookout tower with a spectacular view of the surrounding hills.
Perhaps most impressively, the Longbush Welcome Shelter was designed and constructed with a zero budget. Keen to avoid the pitfalls of the usual development model, Mulla wanted to push another agenda of sustainability and restoration without incurring a single dollar of debt. And with the help of 88 sponsors and more than 100 volunteers, he did exactly that. The project has been “all about how to make architecture a community endeavour again”, he says. In keeping with its founding principles, entry to Longbush is free to visitors. There is something inspiring and uplifting about a place where like-minded people can share knowledge and work together to make things better for everyone.
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Top The gardens at Piet Oudolfâ€™s home reveal his regard for working with nature, and his distaste for too much control of it. Above Oudolf regularly opens his garden to the public.
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At home with the world’s most famous garden designer. TEXT
— Jeremy Hansen
He has become the most famous garden designer in the world, yet he still opens his own property to the public a few days a week in summer and is happy to show people around it personally. Last August, in intermittent rain, we drove an hour and a half from Amsterdam to the outskirts of the village of Hummelo, where Piet Oudolf and his wife Anja have spent more than 40 years creating a garden and plant nursery. Anja appeared in the driveway to show us where to park, and Oudolf soon emerged from his studio for a stroll around the garden. Some of the other visitors looked momentarily star-struck: one asked for a photograph with Oudolf; another told him that his designs had changed the way she thought about gardening. Oudolf, who is tall, handsome and quietly affable, seemed pleased at these comments, because they show that his decades of challenging gardening convention are having an effect. Oudolf, 71, designs gardens all over Europe and America. His best-known garden is arguably on New
— Karin van Til
York’s High Line, the elevated railroad on Manhattan’s lower west side that became a wilderness after it was abandoned in the 1980s, and whose wildness Oudolf sought to emulate with his planting design for the railroad’s reinvention as a public park in 2009. Oudolf is not an advocate of manicured, high-maintenance gardens: he finds anxious weeding and dead-heading an unnecessary fuss. His designs combine unusual plants and grasses in thoughtful clumps to form gorgeous, abundant meadows that look as if they might have evolved naturally. His gardens are designed to look beautiful in every season, but he has an unconventional notion of beauty. He particularly loves the skeletal shapes and monochromatic colours of his browned-out garden in winter. “Flowers open, flowers decay,” he says when we sit for coffee in a small barn behind his home. “The dynamics of plants can change in a storm or by frost. I feel very strongly in the sort of planting that I do that you feel the changes all the time. It is a changing beauty: from beauty into beauty, you know?”
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Oudolf designed the studio on his property in conjunction with a local stonemason. It is surrounded by the gardens he has developed over 40 years, where he observes the ways various plants evolve together.
Piet and Anja, who have two grown sons, purchased their Hummelo property in 1982. Oudolf had already been designing small gardens and liked the idea of a space where he could propagate plants for his projects and observe how they grew together. He collected specimens from England and Germany and developed a reputation “for having special plants that were interesting – the plants we grew were so different from plants that were more decorative,” he says. In 1991 he published, with Henk Gerritsen, the book Dream Plants for the Natural Garden, a type of manifesto featuring 1200 mostly perennial plants that Oudolf felt hadn’t received the attention they deserved. A subsequent book, Designing with Grasses, proposed including grasses as an alternative to the conventional garden vocabulary. He describes his gardens as a mix of design and ecology (he combines plants that grow well together and are not dependent on irrigation or fertilisers), and says his designs are underpinned by his intimate knowledge of plants. “Most designers in
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landscape don’t know about plants,” he says. “They see plants as a three-dimensional image. I love plants. Being a good designer and understanding plants means you can create something that is more than just a design.” Oudolf has not only proposed an alternative way of planting. He also believes the traditional rhythms of gardening, where everything is cut back in late autumn and prepared for spring, needs to be re-examined. “It’s not laziness,” he says. “I just wanted to do things that worked over a longer period. Everyone in life tries to control things all the time, but when you get older you know that you can’t, so you try to find a way to control less, and that’s what I do in gardens. We wanted to make gardens where you didn’t have to work in them the whole time.” As we talked in the barn, a storm was brewing. Oudolf, eternally observant, ducked out briefly to photograph the dark clouds on the horizon, and went outside again a few minutes later to take more pictures as torrential rain began to fall. He is always watching his garden, but for long periods photographs are his only
Top With his intimate knowledge of plants, Oudolf creates an impression of wild naturalism. Above left and right While he is engaged in the pursuit of beauty, Oudolf has never arrived at a rigid notion of what that might be.
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“The dynamics of plants can change in a storm or by frost,” says Oudolf. “I feel very strongly in the sort of planting that I do that you feel the changes all the time. It is a changing beauty: from beauty into beauty, you know?”
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Top A courtyard on the property features a whimsical arrangement of grasses. Above The brick barns were an original feature of the property.
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Unlike the gardens elsewhere on the property, this one outside Oudolf’s home has a more formal structure.
intervention in it. “You have to keep your eyes open,” he says. “At a certain angle I think, ‘that plant must come out’. But I don’t do it! It’s not a household – you don’t have to sweep every day. I could manicure and edit all day long, but I don’t want to do that.” His approach means it is easier for only a few people to maintain a large plot. He has a staff member working in the nursery three days a week, but otherwise he and Anja do all of their gardening themselves. He comes across as charmingly casual, yet there is a lovely exactitude about his designs. After our tour of the garden, Oudolf shows us around his studio, a two-storey brick building at the end of the garden that a stonemason erected seven years ago. He works here with a single assistant, while project staff are based in an office in the town of Haarlem. The studio is sparsely outfitted, with a desk featuring large sheets of plans he draws by hand. The plans are beautiful, with delicate pencil lines encircling swathes of colour-coded blobs that mark the future locations of hundreds of different plant varieties.
This is the rigorous structure behind the impression of wild naturalism he creates in his work. There’s a strange artifice in this of which Oudolf is well aware. He never professes to be a purist, partly because after centuries of human intervention in landscapes it is difficult to determine what pure might be. At one point, he likens plants to characters, “as players you could put together on stage and they could perform.” His gardens are not reproductions of something that may occur in the wild, but representations of a singularly romantic view of nature. Despite his laissez-faire approach to maintenance, he happily acknowledges that gardening is still about control. He appears entirely comfortable with these minor contradictions, which is just as it should be: he observes them in the same open-minded way he watches his garden. He is engaged in the pursuit of beauty, but has never arrived at a rigid notion of what beauty might be. “You have to see the beauty in everything,” he says, “the beauty in things that are not so beautiful on first sight.”
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Interiors create magic by inviting the outdoors in.
— Katie Lockhart
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— Harriet Were
Wall colour: Resene ‘Wax Flower’, resene.co.nz. Furniture and accessories (clockwise from left): ‘Biagio’ marble lamp by Tobia Scarpa for Flos, $10,155 from ECC, ecc.co.nz; Japanese carry stool, $175 from Garden Objects, garden-objects.com; ‘Misu’ figures, $275 each, and owl and kingfisher jugs, $880 each, all by Bronwynne Cornish from Masterworks Gallery, masterworksgallery.co.nz; party straws, $16.95 for six, from Milly’s Kitchen, millyskitchen.co.nz; hand-knitted dishcloth by Harry Were, $39 from Everyday Needs, everyday-needs.com; gingham fabric as tablecloth from The Fabric Store, thefabricstore.co.nz.
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Wall colour: Resene ‘Wax Flower’, resene.co.nz. Artworks: ‘Talolo (Greeting Party)’ 1965 (centre) by Teuane Tibbo, POA from Michael Lett, michaellett.com; ‘Pleasure Garden (eighteen)’ 2015 by Kirstin Carlin, $3500 from Melanie Roger Gallery, melanierogergallery.co.nz. Accessories and furniture (from left): orchids, $95 each from Ponsonby Plant Centre, 09 376 6887; outdoor French terrazzo table, $950 from Bashford Antiques, bashford.co.nz; poplar and willow trug, $145 from Garden Objects, garden-objects.com; ‘Solo’ chair by Nitzan Cohen for Mattiazzi, $746 from Simon James Design, simonjamesdesign.com.
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Wall colour: Resene ‘Wax Flower’, resene.co.nz. Accessories and furnishings: vintage karp wind sock, $100 from Asia Gallery, 09 634 7231; Sahara weave rug by Armadillo & Co. (bottom), $2260 from The Ivy House, theivyhouse.co.nz; striped cotton hand-woven runner, $75 from Song, songstore.co.nz; vintage Japanese fabric from Asia Gallery, 09 634 7231; vintage Liberty print cushion, $179 from Everyday Needs, everyday-needs.com; child’s hat, $57, from CLASKA Gallery and DO Shop, Tokyo, do.claska.com.
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Fearon Hay creates a casual beach retreat —— 88 Paul Clarke’s grand design in Pakiri—— 100 Peter Gordon’s London home and garden —— 112 Michael O’Sullivan’s creative space in Lyttelton —— 122 A mid-century Warren & Mahoney gem in Christchurch —— 134
P RE S E NT E D BY
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Previous pages An exercise in casualness and reduction, the holiday house fulfils the brief of the Canadian owners who wanted to escape the brutal northern winter for the breezy relaxation of Takapuna, the Auckland beach they fell for 20 years ago. Right There’s no direct path to the entrance of this beach house in the ‘burbs, just a narrow grassy strip that leads to a deck and bi-fold doors. Bulit on a slim site and with neighbours close by, the perforated exterior screens provide privacy while still allowing interaction with the outdoors. The ‘Zio’ dining table is by Marcel Wanders for Moooi from ECC, and the ‘Cab’ chairs are by Mario Bellini for Cassina from Matisse.
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An Auckland home by Fearon Hay finds new ways of inviting the outside in.
— Simon Farrell-Green
PHOTOG RAPHY PRODUCTION
— Simon Wilson
— Amelia Holmes
It might seem a little odd to design a holiday house in the middle of an Auckland coastal suburb, but that’s exactly what the owners of this Takapuna home asked Fearon Hay Architects to do. Based in Toronto, the owners and their children visit the house for a month or so each year to escape the brutal Canadian winters, having fallen in love with Takapuna and Auckland on a holiday there two decades ago. The result is something a little different to the average Takapuna mansion – it might be two sites back from one of Auckland’s most beautiful beaches, but it’s an exercise in laid-back reduction. You have to admire their bravery. How many owners building a house in the suburbs and fretting about resale value would split the bedrooms between the main house and a sleepout across the lawn? “It sounds strange now, but the idea of the East Coast Bays and Takapuna, in fact the whole North Shore, was that it was beach houses,” says Tim Hay of the home’s beginnings. “We wanted it to feel like a couple of cabins, somewhere between bach, beach shack, cabin and crib.” From the street, there’s a little dance as you work out how to approach the place – there is no front fence and no gate, barely even a path to guide you down to the front door. The house is exclusively used in summer and the approach is down a grass path to a small deck
and through bi-folding glass doors into a long, narrow living space that is essentially a breezeway open on three sides, with sliding glass doors and windows and white metal screens flowing out to the gently sloping lawn. “The idea of buildings in the lawn is something we quite like,” says Hay. “It’s a beach thing – it has a casualness that works.” The site is long and narrow, and you can hear the waves wash onto the beach, which is visible from the main bedroom upstairs. Hay and his co-architect Jeff Fearon twisted the main house slightly on its axis so that it peeks out at the ocean in between two houses in front – a move that Hay describes as “pulling its bum in” and which has the effect of subtly guiding you down the gently sloping section. The closeness of those neighbours also drove the architects to install perforated metal screens around the entire structure: they can be opened up completely or shut down for privacy. When this happens at night, the whole thing glows like a lantern. First impression? Two simple white boxes. But where it could easily have turned into something minimal and cold, Fearon Hay’s plan has the buildings clad in whitepainted macrocarpa boards, rough-sawn for texture and warmth. The same timber is used on ceilings throughout the house. Instead of covering the structure up with expensive materials, they left the four steel portal frames
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Bright and light with exposed structural details, the home has the hallmarks of a breezy beach house. The ‘Flag Halyard’ chair by Hans J Wegner for PP Mobler and the Icelandic sheepskin are both from Cult Design. The floor rug is from Nodi Rugs. The ‘Neo Wall’ sofa by Piero Lissoni for Living Divani is from Studio Italia, with a throw from Indie Home Collective. The ‘Zeus’ side table by Prospero Rasulo for Zanotta is from Studio Italia.
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The home consists of two structures – the main house at left and a separate building containing the garage and two bedrooms at right. The architects wanted the feel of “a couple of cabins, somewhere between bach, beach shack, cabin and crib”, says architect Tim Hay. The ‘Coconut’ chair on the deck is by George Nelson for Vitra from Matisse, with a throw from Siena.
exposed and painted them a crisp white. The same shade of white was applied to the exposed timber rafters that have been designed to change direction in a beautifully thoughtful way above the kitchen, defining the zone and casting pretty shadows. The floors are polished concrete, and the joinery is black aluminium. It’s a simple, robust palette that is beautifully detailed. It’s easy to forget what a technically complex task this is. Services from upstairs are neatly built in between two sets of rafters, then capped by painted macrocarpa, a feat that takes head-breaking precision in design and construction. Fearon and Hay slaved over the details, ably assisted by builder Josh Dalton, who has constructed a number of their designs. “We had to think really hard about how to build the structure,” says Hay. “The house is quite skeletal – everything is exposed.” Upstairs, it’s delightfully simple: an airy bedroom with a view of the ocean, a study and bathroom in between. The rooms are modestly sized; walkways are economical without feeling mean and yet there is a slipperiness to the plan – the macrocarpa ceiling extends over the tops of the walls, making it feel like one continuous space, while large white MDF doors on chunky white metal rails slide back and avoid occupying too much space. It’s in the placement of the second bedrooms that the house really starts to differentiate itself from its neighbours: there are two more bedrooms and a simple bathroom tucked in behind the double garage at the top of the site. This structure faces across the lawn to the main house and is reached by a timber ramp and a screened porch to allow ventilation. This is where the couple’s children and guests sleep, an idea that harks back to thrown-together buildings on coastal sites around the country. Yet not many people do this in the city: lots of people talk about exposure to the elements, but few are brave enough to put it into practice. Maybe more people should.
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Left The bedroom, which is located upstairs with a bathroom and study, has views to the sea. Sliding doors open the ensuite to the bedroom and the view. The bed linen and bag are from Siena. Right Hay describes the house as “quite skeletal – everything is exposed”. White mesh screens provide sun filtering and privacy. The ‘Flag Halyard’ chair by Hans J Wegner for PP Mobler is from Cult.
“We enjoyed the idea of a city beach house, especially one that could recall the original beachside occupation of this part of Auckland.”
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This isn’t a permanent home. How did that influence the design? We enjoyed the idea of a city beach house, especially one that could recall the original beachside occupation of this part of Auckland. The design uses external circulation and a separation of structures to generate a sense of relaxation, occupation for leisure.
The site is close to the beach but hemmed in by neighbours – how did you deal with that in your design? We worked with a combination of two strategies. The spaces of the house are protected with the addition of external screens, integral to the massing strategy of the architecture. Secondly, the creation of an external space between two separate structures gives an opportunity to open the house without opening directly towards neighbours.
Structure and services are on show in the home – this must have required precise drawing and building. It seems like a simple idea to expose everything but, yes, significantly more intensive work with architect and contractor is required to achieve the desired result. There needs to be a deep understanding between the team undertaking the construction and the designers to adopt this approach.
DESIGN NOTEBOOK Q&A with Jeff Fearon (left) of Fearon Hay Architects
How did the design and build work with clients on the other side of the world? We’ve become experienced in working remotely with clients – it changes the way you approach the design conversation. Most importantly, it requires a level of trust between client and architect.
Below, from left Looking through the home’s dining and kitchen areas; a hallway in the garage wing, with only mesh panels on the exterior; a view through the kitchen; the main bedroom features bandsawn macrocarpa ceilings and linen from Siena.
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1. Garage 2. Bedroom 3. Laundry 4. Bathroom 5. Dining 6. Kitchen 7. Living 8. Study 9. Ensuite 10. Main bedroom
HOME + CORIAN
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Main photo, Photographer: Anthony Turnham, snapphotography.co.nz. Inset photos, Photographer: Matz Photography.
Left A DUO sink in Glacier White nestles in a Corian® benchtop. Kitchen design and manufacture by Advanced Joinery.
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The Crossing, a new home by Paul Clarke (which makes its debut on Grand Designs NZ), brings its owner surprising happiness.
— Henry Oliver
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— Simon Devitt
Above The winding road through the valleys to the hills above Pakiri, the north-Auckland beachside community where the home is located.
Previous pages The home’s coated copper exterior provides shelter on a windswept hilltop (left), while the view is revealed at the end of the hallway (right).
Left The living areas open onto a terrace facing the ocean. The abstract geometry was inspired by that of the offshore islands visible from the house.
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You move to the country to get away from other people or bring other people to you: you build a fortress or a destination. Scott Lawrie, who lives alone with his dog Skip on the hills above Pakiri Beach, is firmly in the latter category. Lawrie, an outgoing Scotsman who lived in Sydney before moving to Auckland and building his new home, entertains regularly there, inviting friends old and new. When I arrive to see the house and have a chat, he cheerfully invites my wife and daughter in to have a look around. The home’s architect, Paul Clarke of Studio2 Architects, soon arrives with his teenage son and his son’s friend. Add a photographer and assistant, and it’s a full house. Lawrie likes it that way, balancing the solitariness of living and working alone in the country with the social buzz of visitors. “I think houses need to have people in them,” he says. “Houses have a soul. When a house has a good feeling, I always think that has to do with people, something to do with energy of people in the house, and history.” The house is named The Crossing, after the old cattle crossing track that sits behind the house (the track has been there since the 1890s). It occupies a modest site cut from the expansive farm that extends from the flats behind the beach over the surrounding hills. There are 16 subdivisions across 32 hectares; Lawrie’s is one of six that overlook Pakiri Beach, Little and Great Barrier Islands, and the Mokohinau Islands. The farmer who sold him the land told him the “cows didn’t need sea views”. As we look out at the view, past the beach to the three islands off the coast, Lawrie tells me that the ever-changing weather provides him with all the entertainment he needs. “I don’t have a TV here,” he says, qualifying that he has Apple TV only to watch movies. “And I thought it would be a bit hard, but I’ve never missed it. I sit and watch this. People always ask if I get bored, but there’s noise from wildlife and you watch weather fronts come in, you watch weather change. The colour of the sea, the whole thing changes in front of your eyes. It’s the world’s longest movie.” To find the site, Lawrie, who travels frequently for work, drew a circle around the airport with a radius of an hour-and-a-half’s drive. Pakiri just made it. After buying the lot, he engaged Clarke, and the two spent a year designing together. Lawrie, who owns and operates a branding consultancy, briefed Clarke with a detailed PDF, adopting the processes he uses to enable companies to articulate their brand voices. “I ask: ‘What are the values of this entity? What does it really believe in? What’s the personality of this entity?’”
Above right The ramp at the home’s main entry. Right An original Frenchmade Gyrofocus fireplace anchors the corner of the living area. The dining chairs are by Charles and Ray Eames.
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Right Scott Lawrie in the kitchen with Skip. The island and the mezzanine above are clad in steel. The bar stools are from The Warehouse and the artworks on the far wall are by Brent Harris. The ceramic vessel on the table is by Melbourne artist Brendan Huntley.
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Below The steps leading to the mezzanine study. The handrail was detailed to reflect the irregular geometry of the homeâ€™s exterior.
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The values Lawrie wanted for The Crossing were simplicity, integrity, quirkiness and “surprising but inevitable”. The personality traits he identified were: “Primordial”, “Invisibly Brilliant” and “Beautiful”. The brief reads in bold red letters: “How do you design a contemporary New Zealand home with a sense of belonging, but give it an old soul?” Lawrie told Clarke to take him to a place he’s slightly uncomfortable with, to make him five percent nervous. He tells his clients that he should be making them nervous, because they’re doing something new. “If they come back and say, ‘That’s really nice Scott,’ then I’m not doing my job. It should be the same for Paul.” When you arrive, the 148-square-metre house appears black and impenetrable, with just a single thin window belying the generosity of its owner. Entering over a small concrete bridge and into a dark hallway with black walls and concrete floors, cut with slivers of LED lighting, you get a view to the ocean framed by the black walls and the angled ceiling. While many modern houses emphasise openness and flow, the bedrooms at The Crossing are closed and dark. People must sleep well here. A staircase – cut down the middle and shifted half a step so the stairs dictate which foot goes on which stair – leads to the mezzanine office, the view perfect for procrastination. Continuing down the hall, you meet the sitting room. A large window faces south and frames the neighbouring valley as if it were a classic painting. To the east is the grand view. Sliding doors open the kitchen and sitting
area to the patio and the lawn, which declines towards the hill, receding into a view of patchwork farmland, then the beach, the water and the islands. The islands in the distance influenced the building form – an origami-like geometry, with no parallel lines, no shape repeating when viewed from another angle – which is mimicked in details throughout the house such as the handrails and the kitchen island. The palette is a simple trio: “Metal, timber, concrete. Done,” says Clarke. The coated copper exterior gives the wrapping roof a shed-like quality. From the lawn the house looks like an asymmetrical modernist church, minus the crucifix. The concrete pad anchors the house to the windy hill. As we sit on the patio, looking out to the hills, the islands, and the ocean, Lawrie says that his fear was that his modern house in the country wouldn’t integrate into the land, that it would be soulless. “A Maori friend said something really beautiful to me: ‘Living here,’ she said, ‘you’re looking at the sea, you’re looking at the mountains, you’re looking at the river and they’ve all been here before you. They’ve all been here for hundreds of thousands of years, and they’ll be here for hundreds of thousands of years after you.’ That’s really nice, to connect back into that sense of history.” We both pause and take it all in. “It’s the happiest I’ve ever been in my whole life,” he says. “I’ve had a year of genuine happiness. I always thought I’d find it in another human being. And I didn’t. I found it in a place. I found it in a house.”
Far left A view into the main bedroom. The artwork is by Neil Pardington. Left Dark honeycomb tiles line the bathroom.
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From the lawn the house looks like an asymmetrical modernist church, minus the crucifix. The homeâ€™s living area opens towards the view, the irregular geometry of its exterior carried through to the design of the kitchen island.
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How do you approach a brief that asks for a modern house with an old soul? Here I suppose it comes from the rural idea of the elegant shed. It’s about connecting to the imagery and materiality of traditional New Zealand building forms, linking the house to the rural setting through the external materials, the metal. And a lot of those traditional buildings were timber framed, so we’ve actually allowed the timber to be presented as the internal form of the building. And the steel relates to our galvanised roofing vernacular.
In a lot of modern architecture, there’s an emphasis on openness and flow. How did you approach the closedness of the back of the house? The bedrooms are about being tucked away, about privacy
Q&A with Paul Clarke of Studio2 Architects.
and sleep. This could have been a glass house – you’ve got no neighbours, no one can see you. But I think when you’re so exposed, you want to be able to hunker down when it is really stormy. But if you want to, you can push yourself out into the elements in the front and have the fire going. It’s not a big house, but there are so many feelings and spaces. Everywhere you go, it just changes. See more of this home on Grand Designs New Zealand, screening on TV3 at 8.30pm Sundays. You can see re-runs of every episode of the programme on 3now.co.nz. Enter our competition to be flown from anywhere in New Zealand with three friends for a guided tour of the home. For details, see the opposite page.
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1. Entry 2. Living 3. Fire 4. Dining 5. Terrace 6. Kitchen 7. Bedroom 8. Wardrobe 9. Ensuite 10. Storage 11. Laundry 12. Gas store 13. Mezzanine/ study
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Right The entry door opens to reveal a view right through the home. Far right A window in the sitting area frames a view of the neighbouring valley. The artwork is by Sally Gabori.
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Be in to WIN
A PRIVATE TOUR OF THIS GRAND DESIGNS NEW ZEALAND HOME FOR YOU AND THREE FRIENDS.
HOME IS GIVING ONE LUCKY READER (AND THREE FRIENDS) THE OPPORTUNITY WIN A PRIVATE TOUR OF THIS GRAND DESIGNS NEW ZEALAND HOME BY PAUL CLARKE.
GRAND DESIGNS NEW ZEALAND Hosted by New Zealand architect Chris Moller, TV3’s Grand Designs New Zealand shares the stories of creative and enterprising New Zealanders who have taken on the challenge of building their own unique and inspiring homes. No design is too daring, and no obstacle too large in their quest for the ultimate house. Based on the internationally successful Grand Designs format, the series follows the development of ambitious design projects, as well as the personal journeys behind them – from the initial blueprints, through to the long and often arduous task of turning grand plans into reality. This is your chance to tour in person The Steel House in Pakiri that features in Grand Designs New Zealand, including ﬂights and accommodation for four.
TO ENTER visit www.homestolove.co.nz/granddesignsnz Entries close on 7th December 2015. For full terms and conditions, visit www.homestolove.co.nz/granddesignsnz
GRAND DESIGNS NEW ZEALAND, SUNDAYS 8.30PM ON TV3 OR WATCH ON 3NOW.CO.NZ
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Previous pages In the living room (left), the oak bench is by Istanbul designers Autoban. The artwork above it, at right, is by John Walsh. The garden (right) was designed by Maria Dallow.
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Above The colour of the doors is about all that distinguishes the row of Victorian terrace homes in Hackney, London, from one another. Here, Peter Gordon sits on the sill outside his place.
Peter Gordon’s London home is a sweet retreat in a near-famous street.
— Jeremy Hansen
— Manja Wachsmuth
Peter Gordon was entirely nonplussed the first time he perused the London street he now calls home. Beck Road in Hackney is a byway of brown-brick Victorian severity, two rows of no-fuss terraces that were built in 1890 and have remained outwardly unchanged ever since. Gordon, a chef whose global interests include restaurants in London (Kopapa, The Providores and Tapa Room) and Auckland (The Sugar Club and Bellota), was moving out of West Hampstead and had pictured himself in a street “where there would be trees and bushes and things, but this [street] seemed hideous, as the only plant was a weed growing off the train bridge”. The back of the house, however, was a pleasant surprise: its tiny yard hosted a sunny but totally overgrown garden, an intriguing tangle of weeds that formed a complete contrast to the austerity of the street. “It looked like a bomb site, but it had a beautiful vibe about it,” Gordon says. He bought it, and moved in four years ago. Gordon’s modus operandi is to fully immerse himself in numerous projects simultaneously, so it was no surprise that he started work on the house immediately. The terraces were originally designed as separate upstairs and downstairs dwellings sharing a ground-floor entrance and bathroom, but a previous owner had combined both levels into a single residence. The two front rooms, however, still sported an ungainly division which Gordon knocked out, laying new floorboards and installing shelving to create a more unified living and dining space.
The garden was the next project. Gordon called in his friend Maria Dallow, a former Aucklander turned London gardener, who instructed him to tear out the tangle and start afresh. A full-size telephone pole, among other things, was concealed beneath the ivy that had engulfed the small space. The garden that has grown in its place, Gordon says, “isn’t intended to be a little bit of New Zealand” but turned out that way nonetheless, featuring lancewoods, kowhai, ponga ferns and feijoas (supplied by another New Zealand expat, James Fraser of Avant Gardeners) clustered around a small, sunny sitting area set out on bricks from the interior wall he removed. Perhaps unusually for a chef who appears to think nothing of hosting an impromptu lunch for 20 at home, Gordon didn’t renovate the 1970s kitchen for three years. He mulled the possibility of opening the back of the house to the garden, but nixed this idea because it would have relegated the kitchen to being little more than a galley-style thoroughfare. Instead, he installed a side door to access the garden, and a new window on the back wall that means the garden is visible from the bench as well as all the way from the front door. The kitchen – which is a couple of steps down from the living and dining area – is now arranged in an efficient U-shape that allows the inclusion of a small dining table beside some bookshelves at the other end. Grey cabinetry and timber benches are offset by the ping of a bright-red linoleum floor. Like the rest of the house,
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Left Shelves in the dining room contain an antique Chinese wedding crown, a collection of some of the earliest Poole ceramics, and pottery by New Zealand artists Katherine Smyth, Paul Maseyk, Bronwynne Cornish, John Parker, Chester Nealie, Ross Mitchell-Anyon and Christine Thacker. The drawing of terrace houses is by a graduate of the Royal College of Art. The Danish extending table and chairs were purchased from a dealer on nearby Columbia Road.
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Above Gordon relaxes in the garden, a former tangle of weeds that was revamped by Maria Dallow, a former Aucklander, with plants supplied by James Fraser of Avant Gardeners. Left In the main bedroom, a vintage chair sits beside a vase from the Cazaux family pottery studio in Biarritz. A photograph by Patrick Reynolds rests on the floor; above it is a photograph by Frances Lang. The work over the fireplace is by a young Royal College of Art graduate. More of Gordonâ€™s pottery collection lines the shelves. Far left A view of the kitchen window from the garden.
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Above The black credenza in the dining room was purchased from a store in nearby Broadway market. On it is a vintage lamp from Berlin. Above right The living room windows are frosted to provide privacy from the street. Right Gordon lived with the former 70s kitchen for several years before a recent renovation. The appliances are all by Fisher & Paykel.
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the space is petite, but Gordon’s long experience of producing meals in tiny restaurant kitchens for hundreds of customers, combined with his affability as a host, means the space never feels cramped, no matter how many guests he’s invited over. Gordon’s decision to purchase the home wasn’t entirely due to its charm. The liveliness of the neighbourhood was an enormously influential factor. Just around the corner is Broadway Market, rapidly becoming one of the city’s busiest food destinations. On Saturday, it hosts a bustling market of food stalls and produce sellers, and every evening it fills with diners looking for a slice of sourdough pizza at Franco Manca or some other delicious dish from the many restaurants along the street. Gordon sometimes says he feels like the oldest person in the area, but that the Broadway Market mood doesn’t have anywhere near the same amount of oppressive hipsterdom as nearby Shoreditch. Once or twice a week, he wanders around the corner to dine at Hill and Szroc, a specialty butchery that, in the evenings, also happens to make beautiful meals from its wares. During the day, he often swims at London Fields Lido, a heated outdoor pool across the park just a few minutes’ walk away. He doesn’t own a car and doesn’t feel the need to, catching the Tube to work and a combination
of bus, Underground and Overground rail to pretty much anywhere else. Some people still seem to regard Hackney as a dangerous area, and wonder why Gordon moved there, but he says “you’d have to be really stupid or in the complete wrong place at the wrong time for anything bad to happen – the whole area is an incredibly busy, thriving, happy place.” Gordon records much of this happiness on his busy Instagram account, which has recently charted the progress of his eighth book, due to be published in Europe next year. The book focuses on one-plate meals using his signature fusion flavours, all of it cooked and photographed at his home. On some days while he was creating the book, he uploaded photographs of the dining table pushed aside to clear space for the boxes of produce required for a day’s worth of recipes and photography. Broadway Market and his favourite nearby stores have played an important guest-starring role: most of his ingredients in the book have been purchased from his favourite suppliers just around the corner. He’s on a first-name basis with all of them. It’s a case of the austerity of the street belying the generous community spirit of the neighbourhood. “There’s heaps going on all the time,” Gordon says. “I couldn’t think of anywhere I’d rather be.”
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DESIGN NOTEBOOK Q&A with Peter Gordon.
Your street has a lovely austerity about it. But you weren’t that keen on the street when you first saw it, were you? Some friends had suggested I move here, but initially I thought it was hideous. The only plant was a weed growing off the train bridge, but when I looked inside it felt good and there was a really sunny garden. It looked like a bomb site but had a beautiful vibe about it. There’s a nice history too: the street was going to be demolished in the 1970s, but a whole lot of artists and their families who had moved in formed the Beck Road Arts Trust and campaigned to save it. And I’d been to the area a few times before and loved the neighbourhood in general. What did you do to whip the garden into shape? When I bought the house, the garden was completely overgrown. Maria Dallow is an old friend with a gardening company. She said, ‘oh darling, we just have to rip that out’. So we did. It has a lancewood, kowhai and feijoa. It’s all gone completely lush and bonkers. It isn’t intended to be a little bit of New Zealand, but it is. The neighbourhood is great, isn’t it? Shoreditch is too young and hipster, but Broadway Market has a really relaxed feel to it, with an incredible food scene. I go once or twice a week to the butcher’s, there’s a great fish shop and the Saturday markets just get better and better. There’s heaps going on all the time. It’s becoming a real eating and drinking destination. And it’s just a short walk to the London Field Lido, where I like to swim. I don’t need a car because buses and the Tube take me everywhere.
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Below left In the kitchen, a table by Eero Saarinen is combined with vintage Ercol chairs. The artwork at right is by Michael Hight. Bottom A complete contrast to the austerity of the home’s street face, the garden is an intimate pocket of green.
Below right The bedroom floor lamp is a restored theatre light, while the wall light above the bed is by Autoban.
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High on a Lyttelton hilltop, a new building by Michael O’Sullivan makes for a spectacular creative getaway.
— Jeremy Hansen
— Patrick Reynolds
He calls it a monastery. It clings to a steep hill above Lyttelton, a site rendered so undesirable by earthquake-induced rock falls that he bought it for less than half its original price (the dangerous rocks on the slopes have since been taken care of, blasted away by local authorities). The location, with its port and what he calls its “bleak topography” feels to him like a SouthSeas parallel to Castletown Berehaven, the similarly precipitous Irish locale where his father was born. It’s a place of withdrawal from daily life, a space where he believes he can think clearly. It is, in many ways, the most wonderful kind of indulgence: a building designed to allow the imagination to take flight. The building is a studio, a retreat for architect Michael O’Sullivan and his team. Its upper level is a single 70-square-metre space with full-length glass on one side and a zigzagging sapele mahogany ceiling overhead. A seat at the long desk overlooking the harbour feels like a place for launching a hang-glider. On the floor below, three basic dorm-like bedrooms are tucked against the hill with only curtains separating them from a long, thin hallway. A small kitchen and dining area opens onto a sunny, compact deck at the northern end of the lower floor. The bare-bones simplicity of the lower floor suggests a clear hierarchy: in this building, domesticity takes a back seat to creativity.
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Previous pages In his studio above Lyttelton Harbour, architect Michael Oâ€™Sullivan has created a space to inspire creativity. Architecture students Erica and Aiden sit at the back entrance.
Above The site is so extreme that metal tethers are in place to prevent the roof peeling off in high winds. Oâ€™Sullivan stayed in the tiny hut at right while he built the studio.
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Left The building takes the highest perch on the Lyttelton hillside. Below O’Sullivan designed the studio’s glazing to divide the view like Colin McCahon’s multipanel landscapes. The drawing and model-making bench that spans the window was welded to steel portals and lined with leftover American oak flooring. The round table is a marble slab from Italian Stone on an Eames frame, paired with Eames chairs. The ‘Baker’ stools and ‘Ellington’ sofa are by IMO.
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This unusual structure is, in part, the product of Auckland-based O’Sullivan’s enthusiasm about getting involved with Christchurch’s post-earthquake rebuild. He channelled much of this energy into creating a special architectural drawing room on the studio’s upper floor, a space that would double as a “glossy show home” that he could present to potential clients. There was also a more prosaic motivation behind this project: his despair at having to spend too many nights in dismal Christchurch motels. O’Sullivan is an architect of immense talent who loves to take on seemingly insurmountable tasks (most of his friends would probably just call him pig-headed). Some readers of this magazine might remember his own petite and inventive family home, a finalist in our Home of the Year award in 2009, which he built himself (with the assistance of friends) while maintaining a full-time architecture practice. Here in Lyttelton, he was determined to be DIY again. He started with a tiny (20-square-metre) shed at the bottom of the property where he stayed for weekends as he constructed the building. The labour was indeed monastic. He would catch a 6.10am plane from Auckland on a Friday morning, be on site by 8.15am, work all weekend and fly back on a Sunday night. After
occasionally roping friends and relatives in to help, and taking a week off work to clad the building, he completed it in about a year. It wasn’t an easy assemblage of store-bought parts. Most of the structure is clad in a bronzed aluminium weatherboard (a tint selected to blend in with the sunbleached hills) that O’Sullivan first designed for use in his Auckland home. The site is extreme not only in its steepness: metal ropes were designed to prevent the roofing from peeling off in high winds, and when he was building the structure O’Sullivan had to be vigilant in ensuring his materials didn’t blow away. Rock falls were another risk when the building was under construction, something O’Sullivan’s design responds to. You enter on the upper floor through a back wall clad in recycled timber from the Lyttelton wharf, designed as a shield against any stray rocky chunks. Once inside, you are almost immediately thrust into the view. How do you design a space in which to be creative? O’Sullivan appears to know. The minute I entered the building, I was struck by a hitherto undiscovered desire to take a year off work so I could sit at that desk overlooking the harbour and write a novel. I have no idea what the novel would have been about; my point is that this room seemed to stimulate the appetite to write one.
Above Stairs to the kitchen (left) also open onto a small deck, while a hall leads from the kitchen to the cubicle bedrooms and bathroom (right).
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O’Sullivan used the same aluminium weatherboard cladding for the Lyttelton studio that he designed for his home in Auckland. The Gaelic inscription above the window is from Yeats’ poem ‘Wishes for the Cloths of Heaven’. O’Sullivan says it’s a metaphor for his love of the landscape and a suitable title for the studio.
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“It’s an architectural monastery,” he says. “You go there in isolation and you can get a lot done.”
It isn’t just the lofty perch and the drama of the outlook. The primacy of the way the long bench occupies the window makes it clear this is a space for work – if you can stop gawping at the view, that is. O’Sullivan says he designed the structural glazing with its vertical fastenings to divide the view like Colin McCahon’s multi-panel landscape paintings. The building is oriented to the east, filling the studio floor with spectacular light at sunrise. A clerestory window above the west-facing sleeper-clad wall invites late-afternoon light without overcooking the space on a hot summer day. At night, the lights of the port and incoming ships twinkle below while the waters of the harbour reflect the glow of the moon. It’s an entrancing spectacle that’s entirely absorbing. Small changes of light and weather begin to seem unexpectedly important. There’s something about the room’s openness to the view and containment on its western wall that makes it feel thrilling and secure at the same time. “It’s a very relaxing and soothing space to go to,” O’Sullivan says. “It can be torrential and almost dangerous weather outside and as soon as you are in the front door with the fire going, it’s something else.” The studio’s furniture is arranged in what O’Sullivan pictures as a production line, with preliminary drawings happening at one table, working drawings in the sitting
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area where the sofas are, and developed design at the other table at the end of the space. It’s possible for him to log into the server in his Auckland office when he’s there, but he mostly prefers to sit and do watercolour paintings that help him think through a building. So far, the building hasn’t resulted in Bull O’Sullivan Architects landing any big Canterbury jobs, although they have designed a house for clients who purchased the site next door that will soon be under construction. Their work in Christchurch has mostly been bread-andbutter earthquake fix-its: O’Sullivan estimates they’ve done the drawings for 250 replacement chimneys, garages and firewalls. None of it is terribly stimulating or glamorous but, as O’Sullivan says, those jobs effectively paid for the materials for this building. He visits most weeks for meetings, or simply for the opportunity to work with a clearer head. “It’s an architectural monastery,” he says. “You go there in isolation and you can get a lot done.” He’s also visited a few times with his partner, Melissa Schollum, and their children: the monastery also happens to make for a good school-holiday getaway. He describes his Lyttelton retreat as an “incredibly architecturally hedonistic thing to do”. If it’s hedonistic to design a space that fires up the imagination, then we need much more of that sort of thing.
Far left Dorm-like bedrooms that file off the hallway are accessed through curtains rather than solid doors. The bathroom is located at the end of the hall.
Left The deck, where Erica, O’Sullivan and Aiden sit with the neighbour’s dog, is accessed from the kitchen, and is a sun trap at the studio’s northern end.
Below The back wall, clad in recycled timber from Lyttelton wharf, was designed to buffer any rock fall, which was a danger during construction.
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DESIGN NOTEBOOK Q&A with Michael O’Sullivan of Bull O’Sullivan Architects 1 2
You’re based in Auckland. How did you end up designing and owning this building in Lyttelton? Christchurch called us by way of a house we were building for a neighbouring property and by a desire to build a special architectural drawing room. When I stood on the land it was like standing on a similar piece of land in Ireland where Dad was born. It was called Castletown Berehaven, and has a port and similarly bleak topography. The project was driven a bit by that, by pure enthusiasm to be involved with the rebuild, and despair at having to stay in Canterbury motels. It’s a great space to work in, and it’s also good to bring potential clients to. It’s a space that offers comfort and reassurance. They can understand more of what our work is like, saving us from having to talk and explain it.
What do you do when you go there? Whenever I get there, the first thing I seem to do is sleep on the couch for 30 or 40 minutes before anything happens. It’s a very and soothing space to go to. It can be torrential and almost dangerous weather outside and as soon as you are in the front door with the fire going, it’s something else. The sunrises are breathtaking because the building faces east. I go down there for meetings most weeks. The computers are connected to the work server, but mostly I prefer to do watercolour paintings of potential projects at one of the desks. When you’re there on your own, you’re actually a lot more productive than in our regular office.
Lower Level 8
Above The studio’s kitchen on the building’s lower level. Left The changing aspects of light and weather become important parts of daily life at the studio. At night, the harbour lights twinkle and the moon reflects off the water.
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1. Guest quarters 2. Entrance 3. Studio 4. Library 5. Kitchen/dining 6. Laundry 7. Bedroom 8. Main bedroom 9. Bathroom
HOME + MOREPORK
A BIRD’S EYE “My home is full of things I love,” says Shelley Ferguson. “And Morepork keeps an eye on it all.” In search of a convenient and costeﬀective home security system to protect the most important things in life, managing editor of Your Home & Garden and Taste, Shelley Ferguson tries Morepork by Spark.
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“The decor style I like is a pared-back palette with a penchant for pale, so the appearance of interior products is important to me,” Shelley explains. “Morepork is clean, white and streamlined, with unobtrusive components and discreet sensors that sit ﬂush.” The Morepork system can be placed where you want, how you want, and you can choose the number of sensors, cameras and components to suit the size of your space. “Personally, I don’t want cameras throughout my whole home, so I opted for
Above Because I was able to install Morepork myself, I placed a sensor near my favourite Hans Wegner reproduction Peacock chair. Below When I’m out and about, I can check on the house via my mobile – and the babysitter too.
“It’s a home monitoring system you can take with you when you move.” two which are strategically placed.” It was one of those strategically placed cameras that actually helped solve a mystery at Shelley’s place. “Our cat was getting a little thin and we were worried about her. While I was at work, I started regularly checking the app and saw that a big ginger tom was popping in daily to eat her food!” So many things in life are beyond our control (including ‘visiting’ cats), but home security should not be one of them. “From my kids to my collections, to my clothes, I feel peace of mind when they’re protected.” morepork.nz
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Previous pages Sir Miles Warren points out the detail that slipped through during the design phase and past the home’s original and exacting owner – the fact that the exterior concrete blocks are half a block short of meeting the exact centre of the gable above.
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Above The 1959 home has been restored by its new owner, former interior designer Kristina Pickford. The pair of off-white chairs are by American midcentury furniture designer Milo Baughman. The safari chair in the corner is by Kaare Klint.
Right In the sitting room, a vintage credenza purchased from Christchurch’s Mr Mod sits below an artwork by Bill Hammond. The vintage lamp has a shade by Le Klint. The artwork in the foyer is by Heather Straka.
A Scandinavian-inspired mid-century marvel by Warren & Mahoney is sensitively updated for a new era.
— Jeremy Hansen
— Samuel Hartnett
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Christchurch’s RH Ballantyne House was commissioned in the late 1950s by a captain of industry who had great faith in a talented young architect. The client, Ronald Ballantyne, owner of the city’s famous department store, had no desire to show off: his home was to be invisible from the street and inspired, its architect says, by Danish homes that were “simple, modest and economic – adapted for what, by today’s standards, were quite frugal times”. Despite its city’s conservative reputation, the home was thoroughly contemporary, its crisp detailing and minimal material palette of concrete block and timber an incongruous foil for the owners’ Edwardian and Victorian furniture and oil paintings in heavy gilt frames. Sixty years after designing the house – his ninth residential project in a long career – Sir Miles Warren sits in the library of Ohinetahi, his grand stone pile on Banks Peninsula, to talk about it. He sits beneath a row of names of great classical and modernist architects – Palladio, Mies, Aalto, Foster and more – applied to a frieze on the walls above his bookshelves. “Do you know the mistake on that façade? Have you picked it up?” he asks of the RH Ballantyne House, scolding me for not having done so. The error, he says, crept in during detailed design: a vertical edge of concrete block on the home’s exterior is half a block out, failing to rise to the exact centre of the gable above it. Sir Miles laughs off the mistake, and the fact that it slipped by his exacting client. The uncharacteristic error was made during an extremely busy time. Sir Miles had returned from an 18-month stint working in London about four years before designing the house, and his fledgling business was taking off. In 1958, he had formed Warren & Mahoney with Maurice Mahoney and found himself in the surprising position of being asked to design major buildings and private homes for some of the city’s most prominent figures. “It was a very optimistic period,” he says, “When I think about it, it’s really quite extraordinary that somebody from the old establishment should engage a young architect. You could really call it innocent faith. They really had no idea what they were getting. I was determined to build with masonry and concrete [and], in the public taste of the time, it did seem extraordinarily severe. [But] I don’t remember a design being rejected or even altered.” We’re interrupted by a loud snore from Bertie, his miniature schnauzer, who is snoozing on the floor in the sun. “He’s old and deaf, fast becoming like his owner,” Sir Miles says.
“It’s really quite extraordinary that somebody from the old establishment should engage a young architect.”
Right The low rimu ceiling in the foyer lifts dramatically in the kitchen and sitting room. Pickford extended the kitchen to the left by 600mm, calling in Ian Bisman, a former associate at Warren & Mahoney, for advice. The parquet floor was laid as part of the restoration, its pattern echoed by the newly laid bricks on the patio. The artwork on the sitting room wall is by Bing Dawe.
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Above left The kitchen was slightly extended and updated in the renovation. Above right Another view of the sitting room, with artwork by Bing Dawe on the far wall.
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Below The dining room also includes a small sitting area, where a mid-century chair by BĂ¸rge Mogensen sits under a Pat Hanly artwork.
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The rush of late-1950s work that Sir Miles refers to wasn’t entirely dumb luck. His obvious talent and experience in the UK gave him an edge over the small crowd of Christchurch architects of the time. And he wasn’t unknown to the Ballantynes. Ronald Ballantyne was a distant relative – a cousin of Sir Miles’ grandmother, also a Ballantyne – and Warren & Mahoney was already doing so much commercial work for the department store, including a recently completed Timaru outpost, that Ronald Ballantyne called Sir Miles into his office to scold him for failing to invoice him for the firm’s work. “We were roaring ahead and had so much work on we hadn’t sent our fees in,” the architect remembers. “Ronald Ballantyne dressed us down in no uncertain terms.” In those days, Sir Miles says, briefs for a new home were straightforward, with the architects asking how many rooms their clients wanted and then going away to work on a design. The RH Ballantyne House is located on an idyllic site with mature trees and a lawn sloping gently down to a stream. Sir Miles describes the home’s plan in his autobiography as “essentially Danish in character: a square of a living room, dining and kitchen, a long bedroom wing with a connecting flat-roofed entrance link, all now in the usual vocabulary of white concrete block and dark grey tiles”. This Scandinavian connection was inspired by a visit Sir Miles made to Denmark, Sweden and Norway from London in 1953. He had admired Danish modernist homes in various publications before his visit, and realised that, unlike the lightweight homes with
large overhangs that Auckland’s Group Architects had been designing for that city’s semi-subtropical climate, Christchurch’s colder winters and flat landscapes demanded a greater sense of solidity and enclosure. A particular touchpoint was Copenhagen’s Finn Juhl House, designed by the great architect and furniture designer as his own residence in 1942. When he was in Denmark, Sir Miles cycled into the Copenhagen suburbs to locate the house. “We found it, and bravely knocked on the door. One of his staff answered and said Finn Juhl was away and that I was welcome to come and have a look,” he remembers. He recalls liking the house, but says it was obvious that its much-emulated fireplace smoked, as he had predicted after seeing photographs of it. Like the Finn Juhl House, the Ballantyne house has two gabled forms connected by a flat-roofed section. Their floor plans are different, but the two homes’ exteriors look so similar in some photographs that a few years ago the Finn Juhl Institute expressed interest in making a short film about this piece of Danish-inspired modernism on the other side of the world (the plans fell away in Christchurch’s post-earthquake chaos and although the home was barely damaged, its new owners have had too much on their plates to pursue the connection). But Sir Miles rebuffs any suggestions that the Ballantyne House was directly inspired by the Finn Juhl House. He says he drew on a wider range of “simple, straightforward European houses” and pulls a few vintage volumes on beautiful mid-century Danish homes from his shelves to prove his point. He says the design
Right The dining area features a table by Hans J Wegner and a light by Paavo Tynell. Far right The vegetable garden in a courtyard adjacent to the bedroom wing.
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Below The main bedroom formerly sported an aluminium bay window extension, which Pickford had removed in the renovation.
of the Ballantyne House stems as much from simple logic and the suitability of the Danish design style for the Christchurch climate as anything else. About six years ago, former interior designer Kristina Pickford saw the Ballantyne House was up for sale. At the time, she and her husband, Michael Wolfe, were living in a villa. When she visited the house, which the Ballantynes had passed onto their daughter, a few unsympathetic accretions meant it had lost some of the clarity of Sir Miles’ original design. An aluminium conservatory had been constructed between the living room and bedroom wings and bronzed aluminium joinery had spread haphazardly to other parts of the house. The bathroom and kitchen had succumbed to 1980s shades of pink, and blue carpets covered the floors. “Everything superficial needed changing,” Pickford remembers, “but structurally the house was sound. It was just about scraping away the layers and trying to be true to the original intent.” The renovation was conducted in stages and took five years. The carbuncle-like conservatory was ripped off. Carpets were pulled up and replaced with parquet flooring, the pattern mimicked in the bricks under the pergola that Pickford designed to extend off the low-ceilinged entrance. The hardest (and most expensive) decision involved the kitchen, which Pickford felt was too narrow
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Right Pickford designed a new pergola to connect the foyer to the garden. The living areas open onto the lawn, which leads down to a small stream.
to work well in a contemporary sense. So, nervously, she made plans to widen the space by extending the existing gable another 600mm. In order to do this, she consulted closely with Ian Bisman, a former Warren & Mahoney associate and their longest-serving employee. “He was so sensitive, he was brilliant,” says Pickford. They added two large, square windows – a scaled-up version of those in other parts of the house – to bring more light into the space. The new kitchen now possesses a generosity its predecessor lacked, and from the exterior it’s almost impossible to tell the home has been altered. When the process was complete, Pickford nervously asked Sir Miles to visit and see the results. Only six of the 23 Christchurch office buildings designed by Warren & Mahoney are still standing, and some of the firm’s most remarkable homes have also been demolished since the earthquakes. “I feel sad about it, but fortunately there were three phases of our office buildings, and the best examples of two of those phases are still standing,” Sir Miles says. To this list he can add the Ballantyne House, which he regards as one of the best of the firm’s homes of the period, and which has now been restored in a way that ensures it will endure for many more years. “Never has a house been so carefully and gently restored,” he says of Pickford’s work there. “It’s beautifully done – more carefully done than the original.”
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DESIGN NOTEBOOK Q&A with Sir Miles Warren
Right and below Sir Miles Warren’s original 1950s watercolour plans and elevations of the house. (Courtesy of Macmillan Brown Library, University of Canterbury, MB 1421, Warren & Mahoney architectural drawings, reference code 27605, Ballantyne House).
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I wanted to ask you about the connection to the Finn Juhl house, because you’d visited it some time before designing the RH Ballantyne House, hadn’t you? A good friend Michael Weston and I went on a £10 rail ticket from London to Le Havre and then to Copenhagen, Sweden, right up to Stockholm and across to Oslo. [In Copenhagen] we acquired bicycles. We went hunting for the Finn Juhl House, found it, and bravely knocked on the door. One of his staff answered and said Finn Juhl was away and that I was welcome to come and have a look. Michael always quotes me as saying I went into the living room and saying I knew [the fireplace] would smoke. [But] It wasn’t just the Finn Juhl House [that inspired this one] – just simple, straightforward European houses.
They were simple, modest, economic, adapted for what were, by today’s standards, quite frugal times. Why did you think the Scandinavian style adapted so well to Christchurch? Danish work sort of matched the modest, simple, clean-cut pitched roofs like our traditional outhouses. They had crisp gables, no overhangs. It was in considerable contrast to what was being developed by The Group in Auckland, which was appropriate for the Auckland climate, but the progeny of The Group has sensibly produced glass fronts facing north behind a verandah for a semi-subtropical climate. Christchurch – before the days of insulation, double glazing and heating systems – [needed] much more sense of enclosure.
KITCHEN INSPIRATION OUR GUIDED TOUR OF THE LATEST KITCHEN DESIGN DEVELOPMENTS.
In August, HOME held its second annual Kitchen Day, a tour of Auckland’s best showrooms guided by editor Jeremy Hansen and featuring detailed briefings on the latest kitchen trends at every stop. The day began at HOME headquarters with our 50 guests enjoying coffee from Nespresso before setting off for a lesson on the latest in kitchen ergonomics and effortless drawers and pantry systems from Blum. From there, we dropped in to inspect the beautiful Arclinea kitchens at Matisse and the latest in countertop technology and design innovation from Corian at Kouzina. After a delicious Japanese lunch at Ebisu, our guests were shown a range of new projects by the expert team at Kitchens by Design, and the newest innovations in Poliform Varenna Italian kitchens at Studio Italia. All of our guests left the day full of inspiration for improving the home’s most important space.
01—Our Kitchen Day sponsors Blum showed our guests their ranges of high-quality European drawer and pantry systems. 02—The team at Matisse showed us the latest in Arclinea kitchens. 03—Our guests were treated to Nespresso coffee at the beginning of the day. 04—Studio Italia showcased the newest Italian Varenna kitchens by Poliform. 05—A kitchen featuring Corian by Kitchens by Design.
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SEASIDE SERENITY CHRISTOPHER KELLY CREATES DESIGN CONNECTIONS WITHIN A BAYSIDE HOME IN WELLINGTON. BATHROOM 01 —
Main bedroom ensuite
Oriental Parade, Wellington
Christopher Kelly, Architecture Workshop PHOTOGRAPHY —
For a restful room that reflects design elements throughout the home
How does the aesthetic of the bathroom connect with the rest of the house? CHRISTOPHER KELLY The colours and finishes are consistent with the other rooms in the dwelling, which provide a restrained background for the clients’ lifestyle. There is a rigour in the detail and consistency of materials with the odd flourish. What were your design objectives when creating this bathroom and making the space work best for the owners? This is an inner-city site with a constrained footprint and the bathroom, dressing room and entry hallway are contained in the 4.150m width of the south block. We kept the separated ablution functions different from the relaxing, conversing functions. This provided a hierarchy of privacy from the separate WC through to the bath with views out to the harbour in the sleeping area. The shower and vanity can be opened up to the hallway to the dressing area via the large glazed sliding doors. What constitutes enduring bathroom design? Simplicity, natural light and sunlight or, at the very least, heated floors so it doesn’t feel humid or musty. This affects our design approach as we try not to design so there are doors everywhere constraining and enclosing the spaces. We like to maintain a connection to the outside, even from the bathroom.
Tiles Floor, wall and accent tiles from Spazio Casa. Joinery by Renalls Joinery, Carterton. Tapware Paini 'Cox' mixer and spout. Showerhead Remer ‘Minimal’ from Spazio Casa. Door Cedar with safety glass and D-pull handles. Wall light Philips LED Bulkhead IP-rated splashproof light. Mirror light Astro Luga with white opal glass diffuser. Glassware Heated bathroom mirror and shower screen by Metro Glass.
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ENDURING RETREAT ARCHITECT JULIAN GUTHRIE CREATES A SPACE OF SECLUSION AND CALM. BATHROOM 02 —
Main bedroom ensuite
Julian Guthrie with interior designer Penny Hay
For a sense of enveloped luxury
The shower is contained within its own cubicle. What was the thinking behind this, as opposed to a fixed-glass shower screen in a wet room? JULIAN GUTHRIE The toilet and shower areas are in marble-lined cubicles, which are one step up from the main floor with a glass screen and full-height towel rail providing a degree of screening from the vanity area. The step up was a necessity due to the exposed concrete structure (forming the kitchen ceiling below) but it also enhances the sense of separateness of the cubicles. The idea was for the cubicles to make the users feel enveloped in marble, making ablutions something more wonderful! They also give more privacy to these parts of the room which allows the doors into the ensuite from the bedroom to remain open if desired. The bathroom is in a central block within the main bedroom, how did you resolve light and ventilation for the space? The ensuite has steelframed glass doors on both sides so, even with the doors closed, the light from adjacent windows enters the space. The west wall has a large shuttered window throwing light into the bathroom. Ventilation can be gained from the same west-facing windows filtered through the shutters, but is complemented with good mechanical ventilation when they are closed. What constitutes enduring bathroom design? Possibly the most expensive space in the home, materials and fittings which endure in practical and aesthetic terms are very important. When designing, I consider if I'm confident I will love the result in 10 or even 20 years. It's great, but rare, when you enter older houses and find original bathrooms and kitchens which still function well, look good and work with the home's architecture. Walls and flooring—Silver travertine slab from SCE Stone & Design. Shower doors—Custom-made, steel-framed glass. Towel rail—Raw brass by Hawthorn Hill from In Residence.
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PAST PRESENT IN HIS REMODELLING OF A BATHROOM IN A LATE-60S TOWNHOUSE, DION GOSLING BLENDS THE PAST WITH A CONTEMPORARY AESTHETIC. BATHROOM 03 —
Freemans Bay, Auckland
Dion Gosling, Studio 106 PHOTOGRAPHY —
To upgrade while respecting the original era
How did you create a sense of space here? DION GOSLING We removed everything that was superfluous: toilet-roll holders, towel rails, brush holders, wall-hung cabinetry. Removing the glass shower partition opened up a long view from the door to the picture window and cityscape beyond. We took time to line up tile joints and consider the treatment of material junctions. Pattern is used confidently here. What are the design rules when applying colour and pattern to a small area? Having a concise and motivating concept is critical. The overriding concept here was “Beautility” – an idea from Sebastian Conran specifically for small spaces (he applied it to luxury yachts), and brought to us by our client. We all had great admiration for the original design intent and wanted to present this in a new, contemporary way. The floor tiles were a love letter to the original '70s home. The step up into the shower was a fun moment to play with the optical illusion of the 3D nature of the tiles. Spruce wrapped on the wall and up to form the ceiling achieves a warm, relaxed feel; an enclosure. How did you make the linen shower curtain work in a wet area? Everyone thought we were mad using a linen curtain. Many comment on what a lovely soft and unexpected element it adds. It goes into the washing machine each week – a much better solution than cleaning glass partitions.
Floor tiles Concrete 3D from Artedomus. Wall tiles Alarti from Artedomus. Marble bench from Artedomus. Toilet Sphere from Waterware. Tapware Elisa wall-mount mixer from Waterware. Wall/ceiling lining Spruce from Aspen Saunas. Shower curtain Linen from Global Fabrics. Curtain rail Auckland Drape Company.
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SOLITARY REFINEMENT MICHAEL O'SULLIVAN TAKES A ZEN APPROACH AT HIS DESIGN HAVEN.
BATHROOM 04 —
Michael O’Sullivan, BOS Architecture
For a space that's liberated from the rigours of the design studio
The view from the bathroom is mesmerising, how did you ensure to capitalise on this? MICHAEL O'SULLIVAN I placed the most relaxing component of the bathroom – namely, the bath – on centre stage with the landscape. What were the objectives when creating this 11-square-metre space? It had to be wholly liberated from the rigours of the drawing room upstairs (the studio is featured on p.122) and the composure of the sleeping modules. As an architect’s monastery, bathing, showering, teeth-brushing and even toilet duties are part of the whole mindset. Just as in monastic life when one aspires to a higher plane, the function of a well-designed bathroom is to take the body into a relaxed state of levitation. Materials, fixtures, fittings, lighting, exposure and containment all play an equal part in defining this state. It is the architect’s job to establish this at a very early stage in the design process. How does the bathroom’s aesthetic tie into the location of the studio retreat? The marble was specifically chosen to correlate with the mountains on the other side of the Lyttelton harbour.
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Wall lining and ceiling American oak finished in WOCA oil. Wall tiles From Italian Stone Bath Soul F/S luxury bath by Athena from Hydro Pro Tapware La Torre Studio floor spout from Chesters. Towel rail Heirloom Euro 700 fourbar heater from Chesters.
LITTLE LUXURIES A TINY CONCEALED SPACE IN A SMALL WAREHOUSE CONVERSION IS A LABOUR OF LOVE.
BATHROOM 05 —
Ben Daly, Palace Electric PHOTOGRAPHY —
To create a compact space with a separate identity
How did working with a tight budget and recycled materials transpire in the bathroom? BEN DALY I didn't make the bathroom bigger (it's six square metres) and used the original location of plumbing. The cheaper items are my favourites – the old brass taps took an eternity to fix up; a cast-iron fire grill was cut down and powder-coated black for the drain; and the World War II naval light was bought on eBay. It all meant I could spend more on the shower and floor tiles. What were your objectives when creating this bathroom and making it work best for you? Since the apartment is a large open space, I wanted the bathroom to feel as if it were its own thing within. This includes entering the space through a plywood cowl among the shelving and using materials that were more lush than elsewhere.
Wall tiles Maxim white gloss from Tile Trends. Floor tiles Winckelmans Olde English terracotta tiles from Tile Trends. Walls and joinery Okoume plywood by Palace Electric. Taps Vintage brass Kowhai taps. Basin Fango hand-made basin from Tile Depot. Light Beck & Co vintage industrial light from eBay, UK. Shower Chrome shower by Heritage Bathware. Shower fittings and fixtures Perrin & Rowe. Linen curtain ES Design.
What were the challenges of designing and building the bathroom yourself? The challenge of smaller spaces is to make them appear larger. Storage is in a hidden cupboard in the plywood entry cowl, as I wanted the vanity area to float and display the wonderful hand-thrown basin. Another challenge was not to move primary plumbing, yet make the space bigger.
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NO CORD NO HASSLE WITH THE EXCEPTIONAL DESIGN AND VERSATILITY WE’VE COME TO EXPECT, DYSON HAS PERFECTED CORDLESS INNOVATION
Hauling bulky vacuum cleaners around the home is a thing of the past because the Dyson V6 Absolute cordless vacuum is free to go anywhere in your house. It’s small, impressively powerful and expertly balanced for lightweight ﬂoor-to-ceiling cleaning. If you have carpet, hard ﬂoors, or both, it comes complete with two Dyson-engineered cleaner heads. The soft-roller cleaner head gives hard ﬂoors the ideal clean, lifting large debris and ﬁne dust simultaneously as you vacuum. To get deep into the carpet pile for an efﬁcient clean, attach the direct-drive cleaner head. And pets – not a problem. Utilise the direct-drive cleaner head for removing cat or dog hair from your carpets, or that hard-to-shift pet hair is easily lifted by a mini-motorised tool that attaches directly to the body,
converting the Dyson V6 Absolute into a powerful hand-held vacuum. Storage is made easy. The Dyson V6 Absolute comes with a docking station that stores and charges the vacuum so it’s always ready to use. The docking station also holds the two included accessories, a crevice tool and a combination accessory tool. Simply attach either tool to the end of the wand for that easy up-top cleaning. If you’re looking for a highperformance clean for your home, you’ll recognise Dyson engineering means advanced technology that delivers an exceptional user experience and results. As well as superior performance, quality and assurance are also synonymous with the Dyson brand.
Approved by the National Asthma Council Australia and Asthma Foundation (NZ)’s Sensitive Choice programme, the Dyson V6 Absolute is a completely sealed and efﬁcient machine – it captures allergens and, with its ﬁltration system, expels clean air.
It converts into a powerful hand-held vacuum to lift dirt, dust and pet hair, making the Dyson V6 Absolute perfect for upholstery, the stairs or the car. And there’s no messy bin emptying, just press the button to dispose of dirt quickly and hygienically.
Boasting two specialist cleaner heads, the direct-drive head gets deep into the carpet pile to remove dust, dirt and pet hair, while the soft-roller cleaner head lifts ﬁne dust and large debris simultaneously from hard ﬂoors.
Expertly balanced for lightweight ﬂoor-to-ceiling cleaning, the Dyson V6 Absolute can get to those hard-to-reach places – that means cleaning up top, down below and in between is easy.
Find out more at dysonv6.com
NEW & NOTEWORTHY
THE GLASS FLOW Lava Glass, glass blowing studio, gallery and café offers the opportunity to watch the captivating process of glass blowing. Watch award-winning master glass artists, and peruse the shop and gallery. Staff can even package your glassware for travel or arrange to have it posted home. Visit lavaglass.co.nz.
A SMART BIRD Want to know that everything is ok when you’re not at home? Spark has launched Morepork, a new smart-security product that lets you to keep an eye on your home from an app on your smartphone. Know if the alarm’s been triggered, doors or windows have been left open or “peek-in” via a discrete video camera to see what’s happening. morepork.nz
A SPORTY RESPONSE Mazda CX-5 gives you sporty and nimble handling with amazing fuel economy. Cleverly integrated online connectivity adds to driving enjoyment and conﬁdence. It has ﬁve-star ANCAP safety rating and a reversing camera, as well as Dynamic Stability and Traction Control Systems. And, at no extra cost, the mazdacare 5-year/unlimited km warranty, roadside assistance and a three-year servicing plan. From $39,745. Visit cx-5.co.nz for full terms and conditions.
PICK YOUR STYLE Style it your way with the new Pixie Clips machine from Nespresso. It features interchangeable side panels so you can adapt your machine to suit your style or the latest design trends. RRP $439. Visit nespresso.com.
CS6611 10/15 ADV2015
Just-released homeware to brighten up your home
GENUINE MID-CENTURY INDUSTRIAL LIGHTING Ph 06 878 0166 www.boudi.co.nz
WINNER 2015 CREATIVE EXCELLENCE AWARD FOR THE MOST INNOVATIVE KITCHEN
New Zealand realist painter www.richardshanksart.com
Ola & Marie Höglund glass artists and creators of New Zealand art glass since 1982 Visitors welcome Höglund Glassblowing Studio 52 Lansdowne Road, Richmond, Nelson
Visit our display kitchen at:
www.hoglundartglass.com Ph: 03 544 6500
155 The Strand, Parnell. PO Box 28-700, Remuera Phone (09) 813 6192 www.croninkitchens.co.nz
With more than 15 years of building experience and an established reputation with an excellent team of qualiﬁed subcontractors, Bungalow & Villa Renovation Specialists have the expert knowledge to turn your building dream into reality.
www.bungalowvilla.co.nz Phone (09) 629 0366/ 021 270 1388
To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: email@example.com
Pet toileting made easy at home or travelling
indoor/outdoor pet toilet HOME, APARTMENTS, BALCONIES, BOATS
Readership: 98,000* Circulation: 10,795** * Nielsen CMI Apr 14-Mar 15 ** NZ Audit Bureau of Circulations Apr 14-Mar 15
To advertise your product in the Urban Living Directory
contact: Kim Chapman Ph: 07 578 3646 | Mob: 021 673 133 Email: classiﬁeds@xtra.co.nz
Easy to use Easy to clean Anti-bacterial free-draining grass 2 sizes for all dogs NZ MADE
www.furrkids.co.nz T 021 669 280 firstname.lastname@example.org
Phone 07 856 5430 Mobile 027 474 8501 www.habberleys.co.nz
Outdoor obsessions showcase Louvretec 09 415 4949 email@example.com www.louvretec.co.nz Achieve an upmarket, fully adjustable outdoor room with Louvretec. The combination of our opening roof with either mesh or PVC blinds, sliders or shutters means you can control your environment. Add style to your home and more room to relax and entertain. Create the ultimate outdoor room with Louvretec. Available nationwide.
URBAN + BEACH Lujo 0800 426 6625 www.lujo.co.nz
We have an exclusive outdoor range - The Rio Outdoor Dining Set which is both modern and stylish. A combination of two materials, white aluminium and teak, create a stunning, lightweight and extremely durable outdoor set. Visit our website or showrooms for the full range. Open 7 days, 10am-5pm. Buy direct from the importer.
Lujo’s ever-expanding range of relaxation-inspired outdoor furniture is poised to be a hot favourite this Christmas. For those who appreciate a little luxury, Lujo’s curvaceous Kwila sun loungers will be a popular "stocking-stuffer". Lujo’s range of outdoor bean bags are still a ﬁrm favourite for summer. Made with Sunbrella® marine fabrics and waterproof inner liners the bean bags are designed to endure the elements – sun, rain, hot, cold, mildew and even corrosive salt air. Purchase online with free delivery New Zealand-wide.
Fires by Design
77 The Strand, Parnell, Auckland 0800 266 206 www.outdoorconcepts.co.nz
47 Sir William Ave, East Tamaki 09 273 9227 www.warmington.co.nz
Extend your outdoor living with Infratech.
Outdoor heating can turn patio areas into a welcoming and relaxing space. On a cool night nothing beats sitting around an outdoor ﬁreplace socialising with friends or unwinding after a long day.
Infratech radiant heaters add comfort and functionality to outdoor living areas without racking up energy costs. With a wide range of mounting options, Infratech heaters are at home in any indoor-outdoor space. They can be ﬂush mounted, or mounted to a wall or ceiling, making them ideal for use in outdoor rooms, decks and poolside gazebos. Infrared heating elements transfer radiant warmth and emit an ambient glow with no harsh glare or harmful emissions.
Warmington’s Nouveau range of outdoor ﬁres are made to suit any situation, available in wood or gas, and a stainless steel ﬂueless option. The ﬁres are ﬁtted with bbq hot plate and grill, and optional pizza oven. Available from authorised dealers nationwide, or visit our Auckland showroom.
To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: firstname.lastname@example.org
LIFESTYLE FURNITURE 31 Constellation Drive, Mairangi Bay. 09 479 9577 372-376 Broadway, Newmarket. 09 372 376 www.urban-beach.co.nz
Outdoor obsessions showcase Sundance Spas
50 Lunn Ave, Mt Wellington, Auckland 09 215 8736 email@example.com www.sundancespas.co.nz
Unit 3A, 79 St Georges Bay Road Parnell, Auckland 09 379 5582 www.sagelifestyle.co.nz
Designed for luxury. Engineered for efﬁciency. Established in California in 1979, Sundance Spas has been recognised internationally with more awards than any other spa company. Visit us to ﬁnd out why.
021 234 2094
027 206 8175 firstname.lastname@example.org www.lisasarah.com
www.urbanelementz.co.nz The ultimate accessory for your pool or beach house.Designed and made in Italy, our outdoor showers are available in a traditional hot and cold model or the popular solar heated model. There are four styles to choose from and a variety of colours. Easy to install – connect to your garden hose or get it plumbed in.
To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: email@example.com
Strikingly unique, the Astro chair is made from a continuous ﬂow of allweather synthetic cord handwoven onto a powder coated aluminium frame. This bold and intricate design is extremely comfortable and looks amazing matched with one of our outdoor dining tables.
New SUMMER 2016 collection of premium New Zealand-made steel artwork with LED backlighting. Designed by Lisa Turley. Suitable for indoor and outdoor use. 1m tall stainless “Home” RRP $185 or $205 with LED backlight.
Broil King www.broilking.co.nz. People are talking about Broil King barbecues and labelling them as “Quite possibly the best barbecue on earth”. It’s easy to see why, when you experience what can be achieved on a Broil King.
With more than 20 models in the line-up, from portable to large oven styles, there’s a size and price range to suit everyone. Broil King barbecues and accessories are available nationwide. To ﬁnd your nearest dealer visit www.broilking.co.nz. Broil King – great barbecues every time!
This stunning example of New Zealand architecture by Warren and Mahoney sits on an elevated site overlooking Lake Wanaka and Mt Alta. The generous outdoor room features a LOCARNO RL200 louvre system in a black anodised ﬁnish, complementing the home’s linear form and dark material palette. The result is the ultimate outdoor room; a comfortable and adaptable living space which optimises light, sun, shade and outlook.
09 525 2525 info@LOCARNO.co.nz www.LOCARNO.co.nz
Bathroom design showcase
Mobile Ceramics NZ Ltd 0800 002 005 Albany Showroom: Tawa Trade Centre, Shop 5, 2 Tawa Drive, Albany, Auckland Howick Showroom: 198 Moore Street Howick, Auckland www.mobileceramics.co.nz
Carbon black tapware from Waterware. Do you remember avocado-coloured toilets, apricot and gold tapware and even brown shower mixers? Will black be another passing fad? We think not, in fact, we think it could stick around as a long-term colour option for the simple reason that just about anything with some shape and form looks good in black. We have kept the Carbon range simple with loads of room for you to be creative. The shower divert mixer is an inexpensive solution allowing for an overhead rain shower and a body spray function at the push of a button. Complete the look with our Cubic bathroom accessories and iStone range of basins, tops and cabinets. Waterware 54 Stonedon Drive, East Tamaki 09 273 9191 firstname.lastname@example.org www.waterware.co.nz
Choose your own interior design package. Melanie's fun and professional team is ready for you and your project. Our forward-thinking approach to interior architecture will energise your project, and collectively infuse all elements to connect, surprise, intrigue and importantly function superbly for you. Melanie Craig - National Supreme NKBA Bathroom, Kitchen & Interiors design winner 2014. We love coffee and talking design, we look forward to meeting you! Melanie Craig Design Partners email@example.com www.melaniecraigdesign.co.nz
Do you hate scrubbing your shower glass? Do you want to keep your shower showroom-new like the day it was installed? Now you can. Protecting shower glass against mineral deposits that damage the surface is not hard. With the application of Diamond Fusion easyCLEAN onto new glass, you can reduce your cleaning time dramatically and ensure your shower will keep its sparkling clean glass for years to come – and backed by the manufacturer’s lifetime warranty. Diamond Fusion 0800 666 785 www.diamondfusion.co.nz
Mobile Ceramics are pleased to introduce Inedito Nero 200x1700 to their spring collection. Inspired by the memories of a timeless timber ﬂoor, Inedito Nero combines the distressed shimmers of worn varnish and moody tones with the technology of timber-look porcelain stoneware. View in one of their Auckland outlets, or phone to ﬁnd your nearest stockist.
Stay a while... Luxury hot spots showcase
Grand Mercure Nelson Monaco
Waiheke Island’s exclusive Delamore Lodge is recognised internationally for its breathtaking location and luxury accommodation. Just a 35 minute ferry ride or a ﬁve minute helicopter ﬂight from downtown Auckland, Waiheke is a stunning location and a favourite destination for lovers of luxury travel. Delamore offers a spacious guest lounge, central courtyard, cave-like jacuzzi, sauna, an award winning inﬁnity swimming pool and spa treatment suites. Delamore also offers a dedicated wedding and conference pavilion along with its own heli-pad.
Grand Mercure Nelson Monaco has one and two bedroom cottages that are quaint in character and luxurious to stay in. You'll ﬁnd an award-winning restaurant, a boutique jewellery shop (where the jewellery is made on-site by a craftsman jeweller), and a luxurious health and beauty salon. Surrounded by picturesque cottage gardens with buildings overlooking a grassy village green, this is a multimillion dollar luxury resort with heart! Get away and relax, spoil yourself – indulge in a little luxury!
83 Delamore Drive, Waiheke Island, Auckland, New Zealand. www.delamorelodge.com I firstname.lastname@example.org Ph (09) 372 7372
www.monacoresort.co.nz I email@example.com Ph (03) 547 8233
The Beach House The Beach House provides luxury accommodation in New Zealand’s beautiful Bay of Islands. The house is blessed with spectacular views of Hauai Bay and Oke Bay, making it the perfect holiday retreat, wedding venue or luxury family holiday hideaway. There is access to two fantastic beaches, (Hauai Bay, 3 minutes walk and Oke Bay, 5 minutes), that are sheltered, great for swimming, ﬁshing and rock hopping! The Beach House welcomes visitors to our country and fellow New Zealanders keen on immersing themselves in our incredible natural surrounds. For holiday lettings, romantic wedding venues or as a conference venue consider the Beach House, Bay of Islands.
The Boathouse Absolute over the water luxury in the Bay of Islands. Located at Opua, the marine centre of the Bay, The Boathouse consists of two luxury apartments each with a spacious deck and views over the Veronica Channel to Paihia and beyond. The apartments are fully self-contained, each with a large living area, modern kitchen, separate laundry room and climate control. There is free wiﬁ, Sky TV and a private telephone. The fully furnished balconies are both equipped with a gas barbecue.
125 Rawhiti Rd, Rawhiti I www.beachhousebayoﬁslands.com Beechy Street, Opua I Ph (09) 402 6800
160 / HOME NEW ZEALAND
1 YEAR 6 ISSUES $50 SAVE 24% 2 YEARS 12 ISSUES $90 SAVE 31% OFFER ENDS 6 DECEMBER 2015
Subscribe to and be in to win a set of two Isla chairs and an Isla ottoman by COAST, worth $4100 The Isla collection from COAST is made in New Zealand from marine-grade Sunbrella and offers unparalleled outdoor performance, durability and a ﬁve-year outdoor guarantee. Visit coastnewzealand.com and the store at 77 Ponsonby Rd, Auckland.
Subscribe securely online at www.magshop.co.nz/home/M1510HAE Phone 0800 MAGSHOP (0800 624 746) and quote M1510HAE This offer is valid for delivery in New Zealand before 6 December to subscribers quoting M1510HAE by phone or online at www.magshop.co.nz/home/M1510HAE. This subscription offer cannot be used in conjunction with any other offer. Once processed, all subscriptions are non-refundable. Rates include GST and postage. Please allow 6 weeks for delivery of your ﬁrst magazine. For overseas subscription rates and full terms and conditions, refer to www.magshop.co.nz.
HOME NEW ZEALAND / 161
FLASHBACK / RAU HOSKINS The director of designTRIBE and lecturer in architecture at Auckland’s Unitec is involved in the restoration of an abandoned whare puni on the Whanganui River. “Te Po¯ti Marae began to be abandoned after the flu epidemic of 1919. In the 1930s, a road was built along the opposite bank of the river, further isolating this location. Since then, only a few descendants have come to stay at the marae – hermit types. The restoration involves myself and other Unitec staff and students, local wha¯nau and Heritage New Zealand. This whare, known as Kohanga Rehua, is a hybrid house: it has a European-style timber frame, oil paintings instead of carvings, but an earth
floor, and bundled raupo in the walls. European settlers had no concept of insulation but Maori would pack raupo tightly, exactly like Pink Batts. When this building was abandoned, wha¯nau moved across the river to Pipiriki. Wha¯nau member Adrian Pucher says an elder called Matenga Keepa or ‘Digger’, who’d been in the Pioneer Maori Battalion in WWI, would often be found sitting on a seat by the road, gazing across the river to his deserted old home and pa¯.”
01—Members of the Nga¯ti Kurawhatia hapu, including Ihaka Hawira Rerekura (far left), great grandfather to Don Robinson who is coordinating the
restoration with other wha¯nau members. The black arm band indicates the photo was taken during or after a tangi. The camera used would have been enormous and brought up by paddle steamer or waka. 02—From left are Don Robinson, Adrian Pucher, Rau Hoskins, Dean Whiting and Brent Withers. 03—The building doesn’t have carvings, but paintings on the poupou (wall panels), such as this river scene. The wharepuni is the last in the country to have an earth floor.
162 / HOME NEW ZEALAND
— Emily Simpson
DULUX 2016 COLOUR FORECAST RET RO REMIX Retro Remix celebrates the lighter aspects of the new retro movement where experimentation in colour combinations leads to acid brights clashing with faded muddied colours such as browns and olive greens. To view more from the Dulux 2016 Colour Forecast visit dulux.co.nz/colour
Dulux, Dulux Colours of New Zealand and Worth doing, worth Dulux are registered trade marks of DuluxGroup (Australia) Pty Ltd.
Maia collection designed by Patricia Urquiola
25 Nugent St, Grafton, AKL firstname.lastname@example.org - www.studioitalia.co.nz phone +64 9 523 2105
Published on Dec 6, 2015