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all is calm

HOMES FOR RELAXATION AND REJUVENATION The swimming pool, perfected Summer simplicity in Wanaka & Waiheke Tents and tranquility in Northland Expert design advice in six amazing kitchens

DEC/JAN 2014 $10.90 inc gst

the of living

Art claims you It takes you by surprise A splash of unexpected colour It is a statement of who you are It paints a portrait of you to the world The person you are within the person you will be forever From that moment you realise that great design truly is an artform not fashion Discover the art of design for your home, at Matisse AUCKLAND KITCHENS, BATHROOMS, LIGHTING, FLOORING AND RESIDENTIAL FURNITURE - 99 The Strand, Parnell T 09 302 2284


where design becomes art CHRISTCHURCH - 134 Victoria Street T 03 366 0623 QUEENSTOWN - 179/A Glenda Dr. T 03 409 0855 or

Architect: Davor Mikulcic - Studio MWA

Proud sponsor of the Amanda Levete Lecture Series and Home of the Year 2014












A Waiheke Island holiday home by Andre Hodgskin

A pool pavilion on the Kaipara Harbour by Herbst Architects

Artist Jennifer Bartlett's New York home by David Berridge

A holiday home near Wanaka by Anna-Marie Chin

The Noble family's enchanting Northland encampment




Architect David Berridge's Coromandel holiday house 23. DESIGN FINDS

Objects of desire with a summer flavour



Wellington's bike and coffee store, Bicycle Junction

Christchurch's Festival of Transitional Architecture



Little Bird Unbakery's new Auckland cafĂŠ

Furniture designer Grant Bailey



Drikolor's natural approach to paint 36. DECO DELIGHTS

Mokum Fabrics' new Great Gatsbyinspired range 39. SHELF LIFE

New books we'd like for Christmas


Jakob + MacFarlane's newest French building 50. SEA CHANGE

Inside Ostro, a new Auckland brasserie 56. BACK TO BASICS

Le Corbusier's cabanon in the south of France

Photography / Mary Gaudin

Auckland restaurant Orphan's Kitchen


Entry details for New Zealand's richest architectural prize 123. KITCHEN DESIGN

Six inspiring new kitchen spaces 146. MY FAVOURITE BUILDING

Mark Burke-Damaschke likes an Auckland summer classic

Photographer Florence Noble shot this image at her family’s enchanting Northland encampment, with its off-grid container cabin and Indian tents. For more, see p.114.

Editor Jeremy Hansen

Art Director Arch MacDonnell

Inhouse Design

Senior Designer Sarah Gladwell

Inhouse Design

Senior Stylist/Designer Kendyl Middelbeek Stylist/Designer Juliette Wanty Designer Oliver Worsfold

Inhouse Design

Editorial Assistant Fiona Williams

On our cover, a photo by Emily Andrews at the home and studio of New York artist Jennifer Bartlett, whose work hangs at right. The home and studio were designed by expat New Zealand architect David Berridge. For more, see p.90.

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Contributors Fiona Barber Mary Gaudin Simon Farrell-Green Amelia Holmes Katie Lockhart Zarko Mihic Florence Noble Photographers Simon Devitt Mary Gaudin Russell Kleyn Kallan MacLeod Paul McCredie Jackie Meiring Florence Noble Toaki Okano Patrick Reynolds David Straight Darryl Ward Simon Wilson

Chief Executive Officer Paul Dykzeul Publisher Lisa Ralph Commercial Director Paul Gardiner Group Sales & Marketing Director Amber Ardern Strategic Sales Manager Stuart Dick

Editorial Office Bauer Media Group 90 Wellesley St West Auckland New Zealand Postal address HOME New Zealand Bauer Media Group Private Bag 92512 Wellesley Street Auckland 1141 New Zealand

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Advertising Auckland Stuart Dick +64 9 308 2700 +64 7 578 3646 Brand Manager Ingrid Frisk +64 9 3082844 Events and Sponsorship Manager Jessica Allan Financial Business Analyst Ferozza Patel Group Production Manager Lisa Sloane Production Co-ordinator Clare Pike +64 9 308 2937 Liezl Hipkins-Stear +64 9 308 2700 Sydney Massey Archibald

marchibald@ +61 2 8268 6273 Printer Webstar Distributor Netlink Distribution Company

HOME New Zealand 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 “not for publication”. 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, 12 months to Sept 30 2013: 12,232 copies ISSN 1174-863X



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Left Le Corbusier's tiny cabanon on the Côte d'Azur enchanted New Zealand photographer Mary Gaudin (pictured at bottom). For more, see p.56.



You went to Christchurch at Labour Weekend for the Festival of Transitional Architecture. How did you find it? It was really exciting. It allowed people to get back into the city, claim it as their own and, in a sense, assert ownership. Apart from stumbling across the Picture House mobile cinema in different places every day, the highlight for me was meeting some really great people and having great conversations.

You’ve written about and photographed your own family’s Northland holiday encampment for this issue. What’s it like to be able to get away there? It’s lovely and remote. It’s just the family and friends who choose to visit. We fish, read, talk, swim and eat delicious fish dishes. And get to feel smug because we’re completely self-sufficient, living like fawns in the wilderness. I catch the biggest fish, that's my role. I’m the fish whisperer.

What does the festival say about where Christchurch is at? The city is in transition so the festival is a natural celebration of that shifting landscape. People such as Jessica Halliday from FESTA and the people from Rekindle, Gap Filler, SCAPE Public Art and so on are working toward a city centered around people. That seems utterly positive to me.

How much input did you have into the design and arrangement of the encampment? We discussed where the tents would go, but that’s it really. If I'd had a say in things we would never have left London to live in a house full of poo on the Welsh border, like we did [all is explained in the story – Ed]. You take the good with the bad with my parents. They always create something unbelievably lovely in the end.

The photographer returned home to shoot Christchurch’s FESTA (p.42).

You’re a former Christchurch resident. What’s it like going back? It's an easy city in which to be an interloper, especially if you have a love of empty spaces and the minutiae of cities. It’s another thing to live there of course. Most of us have no idea how challenging and taxing it can be. I am optimistic about its future, as long as the people get out there and make it theirs.


Florence Noble photographed her family’s Northland getaway (p.114).

Are you spending some of this summer there? Definitely. Christmas, and perhaps New Year as well. Mum and Dad probably won’t leave for months. They’ll become unrecognisable – bushmen, living off nuts and twigs. I’ll most likely join them.


The New Zealand-born photographer, now living in the south of France, shot Le Corbusier’s cabanon (p.56). What prompted your curiosity in Le Corbusier’s Cabanon? I’d been reading a biography on Le Corbusier and found the story behind how he came to build his cabin a fascinating one. The story is entwined with the complicated tale of Eileen Gray’s modernist home, E1027, which was built nearby. How do you relate this modest structure to Le Corbusier’s other works, which are often overwhelming? Although he built monumentally, much of his work was actually quite small-scale and accessible. Even his big apartment buildings, such as the Cité Radieuse in Marseille, are human-scale. You live in the south of France. What do you like most about it? The climate is great. It’s mid-November and I haven’t put on a winter coat yet! I also love living on the continent for the first time. There’s always the possibility of travel even if I don’t do as much of it as I’d like. What are you working on now? I’m editing photos I took when I was back in New Zealand in April. It’s for a book of photos on a selection of mid-century New Zealand homes.




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Photography / Jeremy Toth

Get the latest online @homenewzealand, @_jeremyhansen






Right We're gratified by the positive response to our new book, Modern, which features 24 marvellous mid-century New Zealand homes. If you'd like it in your Christmas stocking, tell your relatives it's available for just $70 at (including postage within NZ).

The great architect Le Corbusier liked to work on a grand (many would say grandiose) scale: he dreamed of redesigning entire cityscapes. So it may come as a surprise to visit, in this issue, his own holiday home on the Côte d’Azur (p.56), built in 1952 and photographed by expat New Zealander Mary Gaudin. It is not an overblown display of architectural ego, but a simple wooden cabin just 16 square metres in size. If Le Corbusier wanted to get away from it all in such spectacularly pared-back fashion, then it's understandable that the rest of us might feel that way too. It has become customary for us to indulge escapist urges in this, our annual Summer Issue. Here, you'll find delightful structures that strip notions of summer living back to the bare essentials. The pool pavilion designed by Home of the Year 2012 winners Lance and Nicola Herbst on the shores of the Kaipara Harbour (p.78) offers such pure enjoyment of its splendid site that its owners still haven't got around to building a house there. Further up north, in a bay accessible only by boat, the Noble family have created a blissful encampment from a clutch of Indian tents and an off-grid container/cabin brought in by barge (p.114). They'll spend summer fishing, growing vegetables, reading and cooking. It sounds perfect. This commitment to modesty is something we've been discussing a lot lately, as it is a quality shared by almost all the homes in our new book, Modern: New Zealand Homes from 1938 to 1977, published by Random House. Most of the mid-century marvels in the book were designed and built in a time of material shortages and import restrictions, privations that make their ease and sophistication all the more remarkable. They show the magic that can result when we ignore the cacophony of our internal wish-lists and focus on the things that matter. Which, when you think about it, is what this holiday season should be all about. Jeremy Hansen, Editor

We're delighted to announce, together with our Home of the Year partners Altherm Window Systems, that the excellent London architect Amanda Levete will be visiting New Zealand in early March to be the international member of our Home of the Year jury. Amanda, who for 20 years was one-half of the firm Future Systems with the late Jan Kaplicky, currently has significant projects under construction in Lisbon, Naples and Bangkok and recently won the competition to design a new gallery, courtyard and entrance to London's hallowed V&A Museum. We'll feature more on Amanda and her work in our next issue, which will also contain details of the talks she will give while she's here. Our thanks to Altherm Window Systems for their support in making Amanda's visit possible.



After a career working mostly on renovations in his adopted home of New York, David Berridge's pared-back holiday house, sitting above Otama beach, is the first free-standing house he has designed.

A PLACE TO CALL HOME Expat architect David Berridge designs a Coromandel getaway to feel closer to home. INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Patrick Reynolds

Most people design holiday houses as places to get away from it all, but David Berridge designed his as somewhere to come back to. He grew up in Auckland but has spent most of his adult life in New York. The holiday home he's designed at Otama on the Coromandel Peninsula is his means of retaining a strong connection to the country of his birth. Berridge came to architecture in an unusually roundabout way. He left high school at 15 and spent years touring the globe as a yachtie, eventually captaining racing boats for the American businessman Bill Koch, who was later to mount a successful bid, in 1992, for the America’s Cup. Koch was so pleased with Berridge's

work that, as a thank-you gesture, he set up a trust to put him through university. All the former skipper had to do was pick a course. Architecture, he says, seemed the logical choice: “I was always fascinated by buildings, and my first job was as a draughtsman.” Berridge enrolled at New York’s Parsons design school, graduated in 1986 and has worked as an architect ever since, establishing his New York-based practice in 2000. Around that time, he was travelling around New Zealand with his wife, Cathleen McGuigan, and their daughter, and came across an 800-square-metre site for sale at Otama, which they bought. A decade passed and many iterations of a beach house were discarded


Above left One of the pohutukawa trees on Otama beach has a rope swing and views of Great Mercury Island.


Left Ocean vistas and afternoon sun can be enjoyed from the front deck. The back deck has morning sun.

Above The upper floor overhang provides some shelter for those on the front deck.

Above left Stairs made of Tasmanian oak lead up to more views of the sea, sky and rolling pasture. Above right The long living area connects the beach and the hill behind. The artwork on the wall is by Ian Moore. Left Light floods into the house, but excess heat can escape through windows at the top of the staircase.

before construction began. “Cathleen said, ‘How many times are you going to design this house?’” But for Berridge it was a big deal. His work in the United States consists almost entirely of renovations and this is the first free-standing home he has designed. In his wife, editor-in-chief of Architectural Record magazine, he had the epitome of a well-informed client, a journalist who is on a first-name basis with many of the world’s best architects (and who reports that her husband “was not remotely intimidated” by these professional relationships). Because Berridge trained in America, he had to reacquaint himself with the design vernacular of his native country. “I found I didn’t have a

mental tool kit to design a New Zealand house, so I had to dig deep into my own background,” he says. As Berridge worked through the various versions of the 130-square-metre building, he remembered his mother saying the best bach kitchens had a view of the sea and were located on the cool side of the house. He incorporated these insights into a house designed in a style he describes as “abstracted vernacular for the 21st century – I didn’t want to impose a strong house on the environment”. He hopes it will act as a springboard for more work in New Zealand. The house is simple and direct, a thoughtful blend of modern-day comfort that retains a pared-back


Below Berridge didn't want the house to impose on the land, so he created something simple and direct.

Right Rising about the pohutukawa, the house enjoys views of the Pacific and farmland.

Bottom The house has a pine rainscreen that will grey over time.

The Otama House Available for holiday rentals

sensibility appropriate for a holiday home. It is clad in timber weatherboards and a pine rainscreen that, Berridge says, will “crack and weather and grey” over time. The ground floor is built on a plinth with a long living area with views of the sea and the hill at the back. The rear deck offers morning sun and shelter, while the front deck, partly sheltered by the overhang of the upper storey, has a grand beach vista and afternoon sun. All the time Berridge spent on yachts is evident in the way the temperature can be controlled – warm air can escape out the windows at the top of the stairwell, while heat in the living area is controlled by opening


doors or windows at either end. The solidity of the western elevation prevents over-heating in the late afternoon, but the mullions of the tall windows on the northwesterly face still allow beautiful shadows to trace through the living area at sundown. Behind the house, there’s a free-standing bunkroom with a desk sited to look out to sea – a lot of it, between the islands where Berridge was raised and the continent where he has made his life. Back in New York, the house exists as images on Berridge and McGuigan's computers, but if they are sitting on the port side of the plane when they fly to New Zealand, Otama is the first beach they see.

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Design discoveries to take you into summertime. 3




1 / Dip-dyed wire basket, $65 from Zoo Warehouse, 2 / 'Parisien' T-shirt by KitsunĂŠ, $105 from Fabric,

3 / 'Dots' by Tveit & Tornøe for Muuto, $330 from Douglas and Bec, 4 /

'Saturdays Surf NYC' towel by Saturdays Surf NYC, $109 from Fabric, 5 / Wooden rulers by Hay, $19 each from Corporate Culture, 6 / 'Dot' carpet by Scholten and Baijings for Hay, $996 from Corporate Culture, 7 / Limited edition bike (in partnership with Tokyo Bike), $1200 from Karen Walker, Edited by Amelia Holmes, photography by Bauer Media Studio.







Sit down, relax and enjoy our round-up of design finds. 4





1 / 1950s Electrique Brillie factory clock, $650 from The Vitrine, 2 / 'Michyuki-Tou' LED paper lantern by Rina Ono for Hayashi Kougei, $95 from Everyday Needs, 3 / 'Cruiser' stool by Swedese, $2271 from Simon James Design, 4 / Concrete planter, $119 from Zoo Warehouse, 5 / Cushion, $40 from Zoo Warehouse, 6 / 'Blocco' stool by Naoto Fukusawa for Plank, $895 from Backhouse, 7 / Long matches, $8 a box from Weekend Trader, 8 / 'Boxplay' sofa by Swedese, from $18,131 from Simon James Design, Edited by Amelia Holmes, photography by Bauer Media Studio.


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Homeware and furniture that makes a bold statement.


1 / 'Ernest' watch by I Love Ugly, $115 from I Love Ugly, 2 / Baffi broom by Swedese, from $696 from Simon James Design,

3 / 'Mr Porter' tote by Deadly Ponies, $520 from Deadly Ponies, 4 / Vintage Japanese cushion, $129 from Everyday Needs, 5 / Fog linen house slippers, $69 from Everyday Needs, 6 / 'Gr채shoppa' lamp by Greta M. Grossman for Gubi, $1715 from Corporate Culture, 7 / 'Laminett' chair by Swedese, $2380 from Simon James Design, 8 / 'Madeline' hand-tufted rug in New Zealand wool by Designer Rugs, $3995 from Designer Rugs, Edited by Amelia Holmes, photography by Bauer Media Studo.



Innovation that poses the question “Still or Sparkling?” 8 0 lil trress of st 89 stor orag or age, ag e, in nd divvidua id duaally lllly te temp m er mp erat attur ure e co cont ntro nt ro ollled dra rawe we erss, aan nd a 10 year eaar wa warr r an rr anty ty.. Iff ty th hatt isn sn’t ’tt eno n ug ugh h to whe et yyo ourr appet pp pet etit itte, may aybe be e you u nee ed sso ome m chi hilllllled ed wat ater fro rom om th the e in i -d -doo o r oo diisp d pen ense ser.rr.. How do yo se ou lilike k you ours rs,, st rs s ili l or or spa p rkkliling ng?? See ng Se ee ou ourr fu ulll ran ange nge at S Sa ams ams msun un ng .co co.n .n nz COLENSO0040S


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The judges of the Home of the Year award are looking for excellence and innovation in New Zealand residential architecture. The winning architects will receive a $15,000 cash prize. Entries are due by 5pm, Thursday December 12, 2013.

0 0 0 , 5 $1

HOW TO ENTER Entrants must submit at least 10 colour photographs of their completed project, including interior views, as well as presentation floor plans, elevations, a 150-word description of the aims of the project and the entry form on this page. These should be submitted as hard copy PDF presentations, with PDFs and photographs (in separate folders) also supplied in digital form on disc. Entries must be sent to the postal or courier address below. Email entries will not be accepted. A shortlist of homes will selected by our judging panel and visited in March.

The 2013 Home of the Year, designed by Stevens Lawson Architects. Photo by Mark Smith.


Name/s of designers

FOR OFFICE USE ONLY Clients’ names

Postal address

Clients’ postal address

Email address Phone (daytime) Send your entries to HOME magazine Home of the Year Award Post Bauer Media Private Bag 92512 Wellesley Street Auckland 1141 Courier Bauer Media Shed 12, CityWorks Depot 77 Cook Street Auckland 1010

Address of property entered (if different from above)

Phone (mobile)

I agree to the terms and conditions of this competition

Client’s email address

Designer’s signature

Client’s phone (daytime)

Client’s signature

Client’s phone (mobile)

Entry conditions (1) Instructions on how to enter form part of the terms and conditions of entry. Entry implies acceptance of the terms and conditions. (2) The competition is open to anyone with a project that has been built recently in New Zealand, except the employees of Bauer Media and Altherm Window Systems, their immediate families, dealers and agents. (3) Only fully completed and furnished New Zealand homes or renovations are eligible for entry. Projects must be unpublished and not committed for publication in a mainstream commercial publication during 2013/14. What constitutes a mainstream publication is up to the judges’ discretion. (4) Bauer Media and HOME reserve all first rights to publication of all entries, and also to publicity and/or promotional activity, including television coverage. (5) Bauer Media reserves the right to photograph, film and otherwise record all entries and judging processes, including architects, designers and any associated parties (notwithstanding Condition 6) for promotional purposes and related projects. (6) Homeowners’ names and addresses must be supplied at the time of entry but may be withheld from publication, promotions and publicity at the owners’ request. (7) Collaborative projects must be acknowledged on the entry form by listing all parties involved. (8) It is the responsibility of entrants to seek the consent of all design parties and homeowners involved. (9) Entries must be received by 5pm, Thursday December 12, 2013. (10) The winning designer or designers of the Home of the Year 2014 will receive a $15,000 cash prize. Judging will take place in March 2014. A cheque will be presented at an award function in April 2014. The winner and finalists in the award will feature in the magazine’s April/May 2014 issue. The judges’ decision is final; no correspondence will be entered into.


Far left The restaurant fit-out was a DIY effort for the restaurateurs, who did almost all of the work themselves. Above left Preserving the natural aesthetics of the Ponsonby heritage building was a priority. Left Josh Helm, left, and Tom Hishon at one of the tables they made from macrocarpa they had specially milled.

TASTE OF HOME One of Auckland’s freshest new eateries, Ponsonby’s Orphan's Kitchen, is the realisation of a long-held dream. INTERVIEW / Jeremy Hansen PHOTOGRAPHY / David Straight

Orphan's Kitchen 1  18 Ponsonby Road Ponsonby, Auckland 09 378 7979

HOME How did you choose the name of the restaurant? JOSH HELM We met on our O.E. in London. One Christmas we were both longing for a New Zealand summer and our families, so we decided to get all our mates together for an "orphans’" Christmas. It’s important to immerse yourself with good friends, good food and good wine.

How would you describe the food you serve? JOSH HELM Our underlying philosophy in everything we do is ‘less is more’. If you had to pigeonhole our style of food I would say it’s Tom’s take on New Zealand cuisine. TOM HISHON After travelling and working in the UK and Europe, I immersed myself in many Michelin-starred kitchens to learn and develop my skills as a cook. The food is simply my take on New Zealand-style cuisine: not overly complicated but still challenging in certain areas. I wanted to have an emphasis on utilising secondary cuts of meat. I have a traditional Kiwi boil-up on the menu, using wild boar in different

ways, native kumara, flax seeds and puha. But our menu has something for everyone. What inspired the décor and how did you go about organising the room? JOSH HELM We had no money to spend on a fit-out, so we did everything ourselves or got friends and family to help out. We also wanted to keep the natural aesthetics of the heritage building intact. We went to a mill up north and got them to cut up large pieces of macrocarpa, which we made our tables from. And we’ve been very lucky having builders next door so we could borrow their tools. How does it feel to have your own space? JOSH HELM Tom and I have spoken about owning our own restaurant since we met in London six years ago. It feels bloody good to put our dreams into reality. I’m still pinching myself. TOM HISHON It has been a dream for some time and to finally put it into reality after many a yarn has been quite special.



CYCLING CULTURE Wellington’s Bicycle Junction sells bikes and coffee to a new breed of urban commuter. INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Russell Kleyn

HOME What made you combine a café and bike store? DAN MIKKELSEN It can be a bit of an intimidating experience going into a bike shop for a lot of people – the shops are normally jam-packed with bikes and are very technical. I wanted to make it really accessible for everyone, for people who don’t consider themselves cyclists. We’re all about getting more people to ride bikes.

What is it about your own background that led to this? I’ve worked as a bike messenger around the world, and for the last 15 years I've been a chef. I always thought that coffee and bikes were a good mix. I grew up in New Zealand but all my family is Danish, so I did my chef training there and gained a real appreciation of their cycling culture. There, everyone rides a bike. Are there more cyclists in Wellington nowadays? You just need to look out on the road and there are so many new people who ride. There are 400 commuters who pass our shop each


day. It’s really exciting to watch those numbers grow. We only sell urban styles of bikes and we get a lot of people who haven’t ridden before or haven’t ridden for a long time. They like the upright style of bike that's so easy to ride. One guy learned to ride his bike in the hospital carpark behind us. There are more people riding to work and more riding in normal clothing. There’s definitely a change happening. It’s not as dangerous out there as it is often portrayed to be. How many bikes do you have? When I was younger I had seven or eight bikes but I have toned things down. For the last several years I have only had a sixgear bike and a mountain bike. For me that covers all the bases. And for the last couple of years we've had a Christiania cargo bike for the family. Bicycle Junction 5 Riddiford Street Newtown, Wellington 04 389 3893

Above left Wellington's Bicycle Junction, where you can buy a bike along with your flat white.

Above Mechanic David Connor works on a bike in the one-stop-shop for coffee-loving cyclists.

Far left Bicycle junction owner Dan Mikkelsen combines his skills as chef and former cycle messenger in the Newtown store.

Top The aim was to make the shop-café accessible to everyone, especially those who don't consider themselves cyclists.


Far left The light, airy space in Ponsonby's Summer Street was revamped with minimal interventions.

Above The 'Sidekick' stools are by Timothy John, while the black chairs are by Hay from Corporate Culture. Left The daily raw food menu is posted on clipboards behind the counter.

GROWING UP Auckland’s raw-food sensation Little Bird Unbakery gets a little bigger. INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Patrick Reynolds

Little Bird Unbakery 1A Summer Street Ponsonby, Auckland 09 555 3278



started with a space in the Auckland suburb of Kingsland. What made you want to open a another café in Ponsonby? JEREMY BENNETT, LITTLE BIRD CO-FOUNDER A friend of ours tapped us on the shoulders about the space at the start of the year. It wasn’t next on the to-do list for the business, but it was such an amazing space, it was difficult to turn it down. Plus our little Kingsland spot was getting so overwhelmed we did need to do something about it! What was this space like before you moved in and how did you decide what you were going to do with it? It was just one big empty space. It almost felt like a gallery, with beautiful light from above and high ceilings. We wanted to be true to the space as it was – nothing touching those lovely brick walls, natural materials and lots of space. I've been to raw food outlets in California that have a strong hippie aesthetic. How does the food you

serve influence the way you've chose­n to design your new space, if at all? We may actually be secret hippie­s, but the hippy aesthetic just doesn’t work for us. It belongs to our parents’ generation, and the new crowd emerging has taken the values without necessarily taking the tie-dye. Our food is about health and wellbeing – it requires attention to detail and real skill. In essence we used the same philosophy with the space. As much as possible things are made locally by amazing craftspeople with natural materials. What are you doing for summer? Do you get a holiday? We’re not sure if we'll get a holiday at all yet. It depends on if the cafés remain open over Christmas. A sneaky few days here and there is the most likely scenario. But I’m not sure how many more Christmases my family will put up with packets of Little Bird macaroons as gifts because I haven’t had time to buy proper present­s!

The Fiordland area might be a-buzz with sandflies, but it also hums with renewable electricity generation because, tucked into one small corner of beautiful Lake Manapouri, is New Zealand’s largest hydro power station. Even though Manapouri Power Station was built in the 60’s, it is still regarded as one of New Zealand’s most ambitious engineering projects ever. Today it generates well over 700 megawatts of power thanks to the buckets of rain that fall in these parts and it does all this from deep within a mountain and deep within a World Heritage Site. The people at Meridian do everything possible to protect and nurture this amazing engineering creation in this stunning natural location because, all these years after it was built, Manapouri is still demonstrating that hydro is a vital way of Meridian keeping to their promise of creating a better energy future. You can join Meridian at MER2955-MN

* Let’s get this dam straight: Meridian’s engineers would like to point out that Manapouri is actually a Power Station, not a dam.


Top right Drikolor's naturally derived colours come as vials of dried pigment which customers mix into base paint. Left Drikolor co-founder Rachel Lacy with swatches from the company's range.

EARTH TONES A new paint company uses vivid natural pigments for vibrant results. INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Mark Smith

Drikolor A XIS Building 1 Cleveland Road Parnell, Auckland


HOME There are a lot of paint firms in the market. What’s different about Drikolor? RACHEL LACY, DRIKOLOR CO-FOUNDER It’s to do with raw materials. With our Polychrome range, we wanted to create colour outside the limitations of synthetic pigments, which don’t have the same kind of luminosity as our natural materials. So we create colours, for example, from chalk from the Champagne region in France – a beautiful white with an uneven particle structure that scatters the light in a different way to synthetic pigments. We sell our colours as dried pigment granules in vials that customers stir into base paint. The Polychrome colour range – it currently has 25 colours, and we plan to expand it – is made specifically to stir into the Sto Opticryl Range of matte base paint which we sell online through our website in partnership with Sto AG, a German company. Using good materials is as important when making colour as it is when cooking – almost everyone understands the best raw materials can transform the end result.

I’m wondering about your work with the Le Corbusier Foundation. Yes, we also have exclusive New Zealand and Australia rights for the Les Couleurs Le Corbusier Colour Range by Les Couleurs Suisse AG, exclusive owner of the licensing rights. These were granted by the Fondation Le Corbusier in Paris. Le Corbusier is a great inspiration to us because he was convinced of the importance of colour to human experience. “Man needs colours to live – it is an element as necessary as water and fire,” he wrote. His inspiration came from nature's colours, so it’s appropriate the range uses natural materials. You’re planning to take your range outside New Zealand. It’s about taking something really good and selling it through a much wider sales channel. We have a patent pending in the US and the way we distribute pure pigment instead of paint means it’s cheap and easy to send vials around the world. We have a group of smart and supportive investors. Things are going really well.


Below The release of The Great Gatsby movie helped propel Art Deco style back into the spotlight. 'Metropolis' wallpaper by Catherine Martin for Mokum Textiles.

Right The range mixes bold patterns and colours, including 'Splendour' wallpaper by Catherine Martin for Mokum Textiles, shown here.

Mokum Textiles

DECO DELIGHTS A new range of fabrics and wallpapers is straight from the set of Baz Luhrmann’s The Great Gatsby. INTERVIEW / Jeremy Hansen

You worked on this range with Catherine Martin, production designer for The Great Gatsby. Was Deco already having a moment or did the release of the film seem to kick it off? STEPHANIE MOFFITT, MOKUM TEXTILES It was definitely present in fashion as we were seeing a lot of modern geometric designs, embellishment HOME


and glamour – particularly metallics. However, the hype from The Great Gatsby pushed it even further into the stratosphere. What are the main characteristics of the range? The collection was inspired by the Art Deco design movement and Catherine's intense research of the period for The Great Gatsby – although this shouldn't limit its application as the theme is always just a starting point and we try to ensure our designs are never too literal. 'Metropolis' is very glamorous, with dramatic signature patterns indicative of Catherine's signature style. We also wanted to create a number of mid-scale geometrics to support the larger-scale designs. The collection also features two exquisite trims to coordinate with Catherine’s patterns or add embellishment to any textile. Interiors have been dominated for neutrals for so long. Is that moment passing? I think people are getting

more confident with both pattern and colour. Having said that, our best-sellers for the past decades have been neutrals and I imagine it will be some time before they are knocked off their perch! Neutrals really suit how we live in the southern hemisphere. Our architecture integrates with the outdoors and we tend to choose more subtle textile treatments as our landscape takes precedence. These fabrics and wallpapers have bold patterns and colourways, but you've also created some neutrals to go with the range. How do you suggest people put them together? It's a very flexible collection which can be adapted to suit various schemes. You can play with pattern-on-pattern in either the signature gold or peacock colour stories or with more subtlety in the neutral palettes. Another approach is using the patterns as feature pieces supported with textured plains. The best advice I can give is to choose patterns and pieces that you love!



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Designed by Kia’s award-winning Chief Designer Peter Schreyer, the stylish new seven-seater Kia Carens is breaking the boundaries of the multi-purpose vehicle.

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The Carens has been designed to get you where you need to be in total comfort. Up front, dual-zone auto-climate control can be customised to suit both the driver and front-seat passenger, and a large eight-litre cooling glove box keeps food and drinks cool. In the back, fold-up trays with drink holders add extra comfort for rear passengers.

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SHELF LIFE Just a hint: we’d like these tomes landing on our coffee tables this Christmas.

A Singular Vision: Harry Seidler by Helen O’Neill HarperCollins

Landscape Paintings of New Zealand by Christopher Johnstone Godwit

Every time we visit Sydney we wish we lived in a house or apartment by Harry Seidler, and this handsome book tells the story of most of them. It’s an engaging biography of this seminal Australian modernist, rich with lively details of his encounters with his glamorous international contemporaries such as Oscar Niemeyer, Walter Gropius, and Le Corbusier, and also of battles such as his attacks on post-modernism and with clients objecting to his control-freakishness. The book is rich with photographs and other visual details, but it sometimes feels as if it occupies a slightly awkward position half-way between text-based biography and lavish coffee-table spectacle: there are some houses, for example, that cry out for more extensive photographic coverage. Nevertheless, the book is a fitting way to get to know this great architect better.

This expanded and updated edition of Christopher Johnstone’s six-year-old classic is arranged as a journey from north to south through 135 paintings. There is great diversity here: from John Kinder to Friedensreich Hundertwasser, Petrus Van der Velden to Colin McCahon, John Hoyte to Doris Lusk, there is much to admire and contemplate in both subject and technique. The presentation of the images as a journey through the country provides a helpful type of narrative, and it is marvellously easy to dip into the book in short bursts and still feel enriched. Most of all, the book is an eloquent reminder of the powerful influence of the New Zealand landscape on generations of the country’s finest painters.



Peter McLeavey: The Life and Times of a New Zealand Art Dealer by Jill Trevelyan Te Papa Press

Auckland Art Gallery Toi o Ta¯maki: A Place for Art by Chris Saines Auckland Art Gallery

A marvellous biographer turns her attention to a marvellous subject, and tells a much bigger story about New Zealand art in the process. Peter McLeavey is the Wellington art dealer who has played a major role in shaping New Zealand art from the 1960s. Jill Trevelyan is the writer and curator behind the book Toss Woollaston: A Life in Letters and the author of Rita Angus: An Artist’s Life, winner of the Montana Medal for non-fiction in 2009 (she also co-curated Te Papa’s exhibition of Angus’s work). Engagingly designed (by Area Design), lucidly written and full of anecdotes that make readers feel as if they’re personally observing the action, this is an indispensable volume for anyone with an interest in New Zealand art.

This is the story of how the revamped Auckland Art Gallery – recently honoured with the title of World Building of the Year at the World Architecture Festival – came to be. Former gallery director Chris Saines recounts the history of the building, supported by a section full of archival photographs and illustrations. Artist Fiona Connor contributes drawings from her visits to the site as the gallery was redeveloped, and photographer Jennifer French traces the demolition of the Edmiston Wing. Richard Francis-Jones, the architect behind the gallery’s refurbishment and extension, talks to former Architecture NZ editor John Walsh, and photographer Patrick Reynolds contributes his sumptuous photographs of the new structure. Designed by Inhouse (who also design this magazine), the book is a terrific guide to a complex project that turned out better than almost anyone dared to dream.



BEST OF THE FEST Christchurch’s Festival of Transitional Architecture points the city towards a positive future. Above left Artist Julia Morison's 'Treehouses for Swamp Dwellers', created as part of Christchurch's SCAPE public art biennale.

INTERVIEW / Jeremy Hansen PHOTOGRAPHY / David Straight

HOME What is FESTA and how did it go this year? JESSICA HALLIDAY, FESTA DIRECTOR The Festival of Transitional Architecture is an annual event held in Christchurch every Labour Weekend. This year’s event was terrific – there was a real festival atmosphere in the city for the whole weekend. The 48 events ensured there were shoals of people in the central city, weaving their way through town to bring life, movement and energy to the otherwise desolate and empty spaces.

What were the highlights for you? Canterbury Tales, conceived and led by Free Theatre Christchurch, was joyous, satirical, reflective, slightly madcap and transformative. It was a production that brought together a mammoth procession of giant puppets, professional and amateur performers, large-scale student architectural fabrications, local hospitality businesses and a night market. It was held on the streets and vacant sites between the Bridge of Remembrance and Cathedral Square. There were many


other events and projects, all fantastic. I don’t know where to start. What kind of international attention is Christchurch’s transitional architecture getting? There is increasing international awareness of what’s happening through blogs and press overseas. Visitors and new residents are coming to Christchurch because of its growing reputation for creativ­e, transitional urbanism – whether it’s architectural, cultural, artistic or performance-based. What difference do you think transitional architectural projects will make to the way Christchurch people perceive the city? This is the big question, really. We know it is changing the way people perceive the city as it gives them a reason to be in the city. Yes, I do think it will have an effect on the shape of the city – even if it’s only to acknowledge the transitional urbanism flourishing here will always be a part of Christchurch. But I think it will go deeper

Above The Picture House, a mobile cinema for two that roamed Christchurch during FESTA.

and influence the "permanent" fabric – it already has with Gap Filler’s Lyttelton Petanque Club. The redevelopment of the city is happening much more slowly than many hoped. How do you feel about the pace of it? What’s going to be good about Christchurch in 10 or 20 years and what could go wrong? I never thought it would be swift. By mid-2011 I believed it would take the rest of my lifetime – 40 to 50 years. I swing between optimism and pessimism, which is fairly typical in Christchurch. The attitude to built heritage exposed the fact that architecture isn’t widely valued as a part of our culture, and that’s depressing. What could go wrong? That the city is solely designed and built to the demands and imperatives of economic growth. The desire of so many is for this to be a place relevant to the demands and challenges of the 21st century. I just hope through events like FESTA that those voices and desires are expressed and heard.

'Illuminate', an installation created by the Unitec architecture department as part of the 'Canterbury Tales' event created by Free Theatre at FESTA.





D:12 Below A sleek cabinet and shelf Bailey designed with Katie Lockhart for The French Kitchen, the new space in Auckland's French Café. The pots are by Bruce Martin.

IN GOOD HANDS Film and TV production designer Grant Bailey finds a satisfying sideline creating beautiful hand-crafted furniture. TEXT / Katie Lockhart PHOTOGRAPHY / Darryl Ward

In the New Zealand film and television industry, designer Grant Bailey is known as the go-to guy who can bring the most difficult set builds and intricate props to life. The Grant Bailey I know also designs and crafts beautiful furniture and cabinetry for the likes of Auckland emporium Wunderkammer, The French Café (featured in HOME’s February/March 2013 issue) and many private houses. I sat down with Grant to see what he’s doing now. There is a movement back to the hand-crafted. Is this influencing the work you are doing? GRANT BAILEY Yes, definitely. It has meant


there is more of an immediate appreciation for what I do and that what I do has been defined a bit better. We worked together recently creating much of the furniture for The French Kitchen, the new space at Auckland’s French Café. Why was it hard to persuade you to take that job on? You had to talk me into it, as it was a big project for a one-man band. However, once I got started I found it really invigorating to go through the process of making furniture again. To be recognised for it added another layer of satisfaction as I’m usually so behind-the-scenes.


What was it in this process that gave you such enjoyment? In a lot of ways it was going back to basics. All of the pieces are traditionally crafted. There are no hinges in the pieces at all – they all have proper joints. I'd strayed a long way from this in my other work and it was really satisfying to be able to do such crafted work and have the time to do it really well. Would it interest you to make more of each of the pieces or does the process lose something for you if it becomes repetitive? I might make one or two more of each. In essence, I would be happy to go back there as long as it travelled a bit. I usually find that the second or third rendition of a piece is the best. How would you describe your practice? If I have a pretty clear idea in my head, I just start cutting! With other more complex pieces I will keep drawing until I can see how it will all work. If you were to launch your own range of furniture what would it look like? I have always been inspired by architecture so I imagine that it would be a study of all the architecture that I admire, with the end result being any object that passed through that filter. Lots of what I love comes from architecture, not really interiors but architecture and sculpture.

Above Bailey is enjoying the recognition and appreciation his handcrafted pieces of furniture are now garnering.


Above right A cabinet with intricately detailed doors designed for the French Café's French Kitchen space.

Can you reference any particular architect or building that would be of influence? The works of Carlo Scarpa, Rudolf Schindler and Paulo Mendes da Rocha are all influences, but more often than not it’s not actually a whole building but tiny details from within it. It’s the little coved polished concrete inset that Studio Mumbai have created within a hallway. It’s the feeling of the building rather than the actual building that pulls me in. If I can craft a piece of furniture that has the feel I want, the lightness and integrity or whatever it might be, then I feel like I have found resolution. Are there any designers or furniture makers that you look to for inspiration? Jean Prouvé for sure – in my opinion he was the consummate creative. Self-taught as both an architect and a designer, his work is always a benchmark for me. His interest in engineering an item – whether a building, a piece of furniture or an object – meant the aesthetic quality was never lost. I also like the directness of Ron Arad’s pieces and how material-driven they are. And Tom Dixon. I met him 10 years ago and I liked that he started playing around with welding when he was attempting to fix his motorbike after an accident. From there he started making welded furniture. I can relate to this experimental process.

Right Tiny details within buildings are often the inspiration for a piece, but at other times Bailey "just starts cutting".




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Everyday magic


Below Jakob + MacFarlane won a competition to design the structure in Orléans.

Bottom The striking building erupts from a courtyard bordering old military buildings.

SOME KIND OF UTOPIA Paris-based New Zealand architect Brendan MacFarlane’s latest project is the FRAC Centre in Orléans, France. INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Nicolas Borel

Jakob + MacFarlane


Left The centre is dedicated to experimental architecture from the 1950s onward.

You came to this project by winning a competition. What was the competition asking for architects to come up with? BRENDAN MACFARLANE They asked us [Brendan and his partner, Dominique Jakob of Jakob + MacFarlane] to create a centre for the exhibition and diffusion of experimental architecture created from the 1950s onwards. The centre boasts one of the three most important collections of architectural drawings and models in the world, featuring work by people like Bernard Tschumi, Peter Eisenman and Rem Koolhaas, along with many others. The challenge was to open this collection up to public viewing for the first time and create a new entry into the complex of old military buildings in Orléans that houses it. HOME

What was the building like beforehand, and how did it help you generate your design? The old buildings were built around a courtyard. We decided to destroy one of them to open up the site to get the public into the

Below The project also involved refurbishing the old military buildings that house the museum.

project and, at the same time, signal that this was the entry. The structural grids of the old buildings intersecting and confronting became a conceptual idea and from this we created 'Les Turbulences', which we named the structure. Symbolically we wanted it to be like much of the unbuilt Utopian and experimental work on display in the museum. It looks outlandish, exciting and confronting. Was it difficult to get approval for it? It wasn’t difficult as the city, region and Ministry of Culture gave terrific support to the project. We did have one moment where the equivalent of the Historic Places Trust put a block on the demolition of one of the buildings until we could prove the benefits outweighed other issues. What function does it perform? It's like one big tent, holding under its three skylights a small conference space, temporary­gallery space, entry ticket counter and bookshop.

Bottom left The artistic duo Electronic Shadow incorporated LED lights into the building exterior.

Bottom right The new structure occupies a courtyard between the old buildings.

How has the project been received? Really well. We had an amazing opening and so far public admissions to the centre are above expectations. What’s the town like – what would you recommend visitors see? I go back there a lot. The town is an old port centre along the Loire River, so it is in the centre of the Loire Valley, one of the most visited places on Earth. The town’s buildings are connected with this history. Visit the port and the cathedral, which is amazing. But I think one of the best things to do is just "flaneur" [stroll]! What else are you and Dominique working on at the moment? We're working on a green cube building in Lyon that will be the headquarters for Euronews and is opening in the midd­le of 2014 ['Le Cube Orange', also in Lyon, was published in this magazine in Aug/ Sep 2011]. We are also working on a private house in Paris – a very rare thing in France and a first for us – and a large, interesting urban project in Belgium.


sea change A new restaurant overlooking Auckland’s docks aims to be a high-water mark in the city’s dining scene. TEXT /

Simon Farrell-Green PHOTOGRAPHY / Patrick Reynolds

The view from Ostro takes in the docks and a sweep of the Waitemata Harbour. The chairs are by Charles and Ray Eames for Herman Miller, while the 'Tio' chairs on the deck (and stool at far left) are by Massproductions from Simon James Design.

For the better part of 40 years, the building in which you’ll find Ostro represented everything that was wrong with Auckland. The slab-sided concrete monolith, two floors of plinth with five storeys rising above, was slammed into the city's waterfront district paying no heed to the old warehouses around it. It was built in 1972 by the Auckland Harbour Board as a replacement for the rather glorious “stone frigate­” – an 1887 building on a corner site near what is now the Viaduct, all cornices and classical detailing demolished to make way for a four-lane road, hotel and the Downtown Shopping Centre. Somehow, it seems fitting that instead of demolishing the old girl, Britomart developers Cooper and Company – more used to conserving brick and timber warehouses – and the restaurant group Pondarosa (Ebisu, Tyler Street Garage) found themselves rehabbing the one building most people would have been happy to see go. Now it’s called Seafarers and it’s painted black. And where once there was the sailors’ rec room, you’ll find the city’s smartest new brasserie, Ostro, designed by

Fearon Hay and the first stage in a major redevelopment that will eventually occupy the whole building. (The International Seafarers’ Centre will remain on level one). Ostro is open for breakfast, lunch and dinner. Chef Josh Emmett's menu features freshly shucked oysters, steak and beautifully treated seafood. It is simpl­e yet comforting, which is exactly what you want in a brasserie. “Food that you just want to keep eating,” says Pondarosa’s Brendan Turner. “Beautiful ingredients, cooked and prepared and presented simply.” Architects Jeff Fearon and Tim Hay joke they’ve been involved with the site for rather a long time – though at first it was with a view to building a new multi-storey hotel there. When that plan was quashed, they were brought in to find a viable use for what was already there. “There was the shell,” says Fearon, “and the opportunity provided by the shell. And the ugliness is part of that.” The first step was to gut the place. The building might not be pretty, but it was beautifully engineered – solid concrete, with steel-framed windows and ceilings lined with solid terracotta tiles. The plinth could

happily have supported a tower twice as tall, which made life interesting for the architects. “How do you get people up, and how do you make that sort of invitation within a building that is solid concrete?” says Fearon. “There was no easy carve-out.” Moreover, the building’s narrow floorplate was far too small. The first challenge: circulation. Entry to the building is through what used to be a service entry on Tyler St – a narrow, pretty lane of warehouses. Here, Pondarosa teamed up with Wellington roaster Coffee Supreme to build the brand’s first downtown Auckland brewbar. So, instead of walking through a dead lobby, you walk into an active space, all white tiles, brass and blond timber, then up a utilitarian flight of stairs into the main restaurant. Here, you can still see the raw concrete walls and those fabulous tiles and original steel-framed windows. There's a bar built from blackened steel and recycled parquet and glass brick walls shield the kitchen from the dining area. Service pipes are left exposed and there is a timber floor, but the sleek furniture tempers the gritty effect.

Below left Fearon Hay Architects designed the interior to make the most of the original structure.

Below Glass brick inserts in the wall between the kitchen and the dining area.

Above The brasserie occupies new terraces added to both sides of the 1972 building.

Photos: Dean Foster

But this was more than a fit-out. Outside, the architects designed two new fully enclosed spaces that extend right to the edge of the building. They’re built of steel and rise up like wings – on the seaside, the deck steps up from the level of the bar, out to a view up and down the Waitemata Harbour. That extra height is just enough to lift your eye out over Captain Cook Wharf and over to Devonport. And, thanks to sliding glass bi-folds, the place can be completely closed in. It is the perfect Auckland deck – outside yet enclosed – which has a happy side-effect. “Everything steps right up to the edge,” says Turner. “People can see all that activity happening up there.” But it’s the rear deck – the City Terrace – that really makes the place. It offers a new perspective on downtown Auckland, a slice through Britomart’s jumble of brick warehouses and modern insertions, up to the towers of the city centre. Sitting there, you’re reminded of how, finally, the city is doing a few things right.


Above left Chef Josh Emmett in Ostro's kitchen (top), and a view of the City Terrace (middle).

Left The view over Britomart towards downtown Auckland from the City Terrace.

Above The bar is made of blackened steel and recycled parquet, while original terracotta tiles line the ceiling.

Left Le Corbusier decorated his tiny holiday home on the Côte d'Azur with colourful, bold murals.

Right The cabanon is reminiscent of the alpine log cabins from his childhood growing up in the Swiss Alps.

back to basics He liked thinking big, but the great architect Le Corbusier’s favourite getaway was marvellously petite: a tiny cabin in the south of France, nowadays open to the public. TEXT + PHOTOGRAPHY /

Mary Gaudin


Right The famed architect died at his beloved holiday spot on the Côte d'Azur in 1965. He was thought to have suffered a heart attack while swimming.

Below The cabanon's tiny windows and shutters keep the interior dark, which is the Mediterranean way of keeping the indoors cool.

Below right The dark interior is punctuated with Le Corbusier's trademark splashes of colour, such as the canary yellow floorboards.

It’s an inauspicious start. The train stops at Roquebrune-Cap-Martin where I get off and begin to follow a dirt track marked ‘Promenade Le Corbusier’ which runs alongside the train tracks. I pass a few dog walkers and catch glimpses of the sea through the trees and backs of properties. Then there it is, the cabanon, looking more like an alpine log cabin than an architect’s holiday house on the Côte d’Azur. At less than 16 square metres, it's minute in scale, a one-room cottage stripped back to basics. On first appearances the interior resembles a tramping hut, but the space is carefully thought through. It is designed along the architect's "Modulor" principles, based on human proportions. The walls are 2.26 metres high, the height of a six-foot man with one arm above his head, the basic Modulor unit. The sides of the cabin are 3.66 metres apart, twice the length of a six-foot man. From 1952, Le Corbusier spent most Augusts here working, sketching and making notes. He also died nearby, of a suspected heart attack while taking a swim in 1965. While staying here he designed some of his most famous buildings, including the chapel of Notre Dame du Haut in Ronchamp and the government buildings at Chandigarh in India. It seems Le Corbusier’s inspiration for the cabin was partly the alpine huts from his childhood growing up in the Swiss Alps and partly from his travels on Mt Athos where he witnessed monks living in crude cells for eating, sleeping and praying. Le Corbusier liked the idea of a holiday house as a retreat. He also built the cabin as a birthday present for his wife, Yvonne Gallis, who had become fed up with life in Paris and longed for a bolt-hole close to her roots on the Côte d’Azur. I became interested in the cabanon after seeing a replica exhibited at the Royal Institute of British Architects in London. The cabanon had been reconstructed in its entirety. It was an interesting but ultimately pretty empty experience, devoid of any feeling of place. I wanted to see the real thing in situ, not just as an architectural exercise. I was interested to see how the building looked in the Mediterranean light and how it related to its surroundings. My visit to the cabanon was part of a tour, perhaps not the easiest ways of photographing the tiny space. However, the


Below far right There is no sense of luxury here – the stools were made from whisky crates.

Bottom Le Corbusier painted little murals to jazz up his modest 16square-metre cabin.


Below right The oneroom cottage, stripped back to the basics, is where Le Corbusier spent almost every August after it was built in 1952.


Below far right The furniture, save the whisky crate stools, is built in. There was no need for a kitchen or table – he and his wife ate at their friend's restaurant next door.

Bottom Le Corbusier liked the idea of a holiday house as a retreat but the modest cottage was also built for his wife, who longed for a bolthole away from Paris.

Right A view of the studi­o near the cabanon.

fact that I was not able to 'set up’ photos or use a tripod, that I needed to work around people and had limited time, meant I was obliged to look at the space in a different way. I focused on details which caught my eye. The built-in wooden furniture complete with a pair of stools made from whisky crates. The tiny washbasin, with a loo behind a red curtain. The canary yellow floor. The little murals Le Corbusier painted to jazz up the place. The shutters are hinged vertically – one half is a mirror for extra light, the other a painting. The mirror also cleverly introduces an extra view into the room. It’s a tiny detail but satisfying and clever. The inside of the cabanon is quite dark, giving a strong contrast between inside and out. In the south of France it’s standard practice to keep shutters closed during the heat of the day, only for them to be opened again in the evenings. It’s the Mediterranean way of keeping interiors cool. Here, though, the cabanon’s windows are tiny, with mostly dappled light entering the interior. After a few scorching summers living in the south of France I have become accustomed to dim daytime interiors. It’s actually a relief to escape from the light for a few hours and then so good to open the shutters again when things have cooled down. In any case I’d imagine that Le Corbusier and his wife spent a good deal of their time outside, only venturing indoors for an after-lunch siesta or for sleeping at night. There was also no need for a kitchen as the couple ate most of their meals in the adjoining restaurant run by his friend. Often Le Corbusier’s architecture seems removed from its surroundings, with little evidence of an attempt to incorporate the landscape into his thinking; the modernist idea was that "structure" and "landscape" are reinforced in their positive contrast. In this case though, his cabin sits discreetly and harmoniously in its Mediterranean environment of lemon trees, cacti, and mimosa. The cabanon was the only building Le Corbusier designed for himself. It was built the same year that the Cité Radieuse was completed in Marseille, and despite differences in scale, both are based on similar principles. It’s just here it seems he was able to leave his ego at the door.


Toi Aotearoa presenting sponsor

Edward Fristrテカm Pohutukawa c1905 oil on card Auckland Art Gallery Toi o Tト[aki Purchased 1967 See this work in Toi Aotearoa

New Zealand art: A summer showcase of new exhibitions and special events


the summer 覺ssue


A Waiheke Island holiday home by Andre Hodgskin


A Kaipara swimming pool and pavilion by Herbst Architects


Jennifer Bartlett's New York home by David Berridge


A simple Wanaka holiday home by Anna-Marie Chin


The Noble family's enchanting Northland encampment

The house squats low on its site, making the most of sea views while providing shelter for its north-facing courtyard from prevailing southwest winds.

a low profile A new holiday home on Waiheke Island by Andre Hodgskin caters for a couple or a crowd. Simon Farrell-Green PHOTOGRAPHY / Simon Devitt TEXT /

Passersby can be forgiven for not realising this Waiheke Island house by architect Andre Hodgskin even exists, because it is invisible from the road. Screened by thick native planting and with a circuitous approach down a rutted gravel driveway, the first thing you see is a rock retaining wall which leads you around the corner to the house: two boxes perpendicular to each other sited around a large, flat lawn. Then what you notice is the view – out over the Hauraki Gulf to Rangitoto and Motutapu Islands and Auckland’s central city in the distance. “The owners didn’t want a monument,” says Hodgskin. “It just had to be something which was very casual, very loose and


certainly very understated.” When they contacted him in 2009, Hodgskin’s clients – a semi-retired couple with a large Victorian house in Auckland – had owned the property for almost six years without doing anything. But with four grandchildren under five, they realised it was time to build. To an extent, the major architectural moves were already determined: the previous owners had camped on the site for many years – their basic, utterly charming whare is still tucked away near the house under the trees – before flattening the building platform and building large stone retaining walls and a garage. Not that he’d have done much differently. “I can

Above Wide concrete stairs connect the outdoor living areas to the lower level of the site.

Above The house has views of the Hauraki Gulf behind a stand of beautiful pohutukawa.

Above far right Stones beside the concrete baton front path act as soak holes in the rain.

“It just had to be something which was very casual, very loose and certainly very understated.�


Right Hodgskin designed a “see-through” house with glass sliding doors on either side of the main living area. The house provides shelter for the north-facing courtyard.

clearly remember arriving at the site the first day,” Hodgskin says of the approach to the house. “The impact of that was what I wanted to retain. The difficulty was, how do you put the house there but retain that?” His response was to create a see-through house: the main pavilion has sliding doors that disappear into the wall on either side, transforming the main living area into a sort of glorified breezeway. As you approach the place, you look straight through it at the view behind. “It’s framing it,” he says. “That was the main driver of the project.” Despite being this close to a particularly windy stretch of the Hauraki Gulf, the home is well-sheltered. The owners reckon the wind hits a ridge in front of them and flies over the top most of the time. The house sits delicately behind a particularly beautiful stand of very large pohutukawa trees – the main bedroom’s windows look out through the boughs at the sea. As Hodgskin notes, it is “quite a large building in terms of its brief” – six bedrooms, five bathrooms, a large garage – and fitting all that in has been a delicate process. Breaking the house in two achieves that beautifully: it allows the house to respond to what Hodgskin calls “the majesty of the site” without taking away from it. The main living box has the master bedroom at one end connected to the open-plan living area by large pivot doors, while at the other end there’s a snug. When the owners come here on their own, they can live in just this box; when the family descends they open up the other box, consisting of “a carriageway” of four bedrooms and three bathrooms. Downstairs, dug into the hill, is the garage as well as a self-contained suite, intended for an office or extra accommodation. The building’s discreet presence is largely due to its materials. The black-stained plywood cladding and bronzed aluminium joinery draw their colours from the ancient dark boughs of the pohutukawa, while the odd splash of green, orange and a particularly vivid yellow are drawn from the colours of the leaves


Left Floor-to-ceiling windows and doors in the long corridor connecting the bedrooms in the guest wing.

Below Hodgskin’s thoughtful incorporation of the pool means its fencing never feels like it imposes on the terrace.


The home’s courtyard is elegantly framed by strong structural elements that also provide welcome shade. The ‘Cabo’ outdoor suite is from Design Warehouse.

Above There’s plenty of space for the owners and they can open up a separate wing to accommodate family.


Right The open-plan living area connects to the master bedroom at one end and a snug at the other.

Far right Hodgskin’s challenge was to do justice to the “majesty of the site”.

through the seasons – think of a dropped pohutukawa leaf and you start to get the idea. The pergola outside is made from treated pine, rather than from something more salubrious such as cedar, and the front path is made up of unadorned concrete batons surrounded by river stones. In winter, this acts as a soak hole for the gutters. The house can expand out to cope with a party for as many as 70 people, all the while taking knocks from ebullient grandchildren. “It was to be a playful house at the same time, or a playful canvas,” says Hodgskin, and its see-through-ness means the adults can keep an eye on the kids most of the time.

This modernity is new territory for the owners compared to the Victorian villa they usually inhabit. “We’re not minimalists,” one admits, slightly bashfully. “We’re squashy sofa people.” And to an extent, the house does that too. It might be modern but it’s comfortable, rather than stark or hard – with clay tiles, timber floors. “I really like using things just as they are, not having to refine them or cover them,” says Hodgskin. “Just buy something off the shelf and use it in a way that would give you an interesting or unexpected result.”


01 / Existing garage 02 / Entry steps

03 / Guest apartment 04 / Entry/gallery 05 / Pebble pool


06 / Pergola terrace 07 / Deck

08 / Sunken pit 09 / Pool

10 / Snug 11


/ Kitchen

12 / Dining 13 / Living



14 / Master bedroom


15 / Children’s bathroom

16 / Children’s bedrooms 17 / Guest suites

12 13



4 18



10 13


Level one

DESIGN NOTEBOOK Q&A with Andre Hodgskin

The founder of Architex on designing a holiday home that does justice to its site. Above River stones frame the entry to the home. Above right The view from the main bedroom. Above far right A view towards the kitchen.






04 15




17 03

Lower level

The southwesterly side of Waiheke Island is quite exposed to strong winds. How did your design create shelter? Both the form and layout of the house provide a multitude of options for the occupants. The two main pavilions are linked by a walkway which can be either open or completely enclosed when inclement weather requires it. We’ve created a series of outdoor rooms and a series of slatted pergola structures for shade and further protection. So even though the house opens up in all directions, there is always somewhere to shelter from the elements. The way the land is shaped makes a handsome platform for the house. What are the benefits of shaping a site before building commences? The platform was formed by a previous owner for a very different design. We inherited a well-informed footprint which included the lower-level garagin­g and some rather beautiful


stone retaining walls. The majestic old pohutukawa and other mature planting that surrounds the platform seem to embrace and shelter the building. An established context within which to place a new building can both inspire and inform the result – in this instance it softens the impact of an extensive accommodation brief. You’ve incorporated a swimmin­g pool without it feeling like it encroaches on the site. What’s the best way to deal with pool fencing? Fence lines were planned as hedges which disguise the fencing and extend as fingers from the building. These break down as the landscaping becomes more natural and random further away. A short wall of glass provides security, visual amenity and surveillance of the little ones at the same time. The pool feels connected despite the obligatory fencing yet it doesn’t impose during those times of the year when it is not often used.

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Photograph: Patrick Reynolds

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the bare essentials Overlooking the mangroves of the Kaipara Harbour, a pool pavilion by Herbst Architects caters to every holiday need. Jeremy Hansen PHOTOGRAPHY / Jackie Meiring TEXT /

From the pool and its simple, charming pavilion, the owners can take in sweeping views of the Kaipara Harbour and the surrounding countryside.

What constitutes the bare essentials of summer? It’s a question Lance and Nicola Herbst of Herbst Architects have been contemplating ever since they arrived in New Zealand from South Africa 15 years ago. They have designed everything from ethereal, rather glamorous beachside homes (such as the home at Piha that won this magazine’s Home of the Year award in 2012) to structures that strip notions of shelter right back to basics, such as their own off-grid bach on Great Barrier Island. The building on these pages, a pool pavilion on the shores of the Kaipara Harbour, achieves the unusual feat of simultaneously feeling like a pure indulgence and a pared-back holiday essential. Sure, its owners don’t yet have a proper house on the site (another building project in the city has delayed further development here on the Kaipara), but they’ve found that in the meantime, the pool pavilion allows them to enjoy their extraordinarily private site more than any bach could. This part of the Kaipara is mostly mud flats and mangroves, rendering swimming nearly impossible except at high tide. Thanks to the Herbsts, it’s now possible to take a dip in the pool, sit around the table and cook over an open fire as the sun goes down. If that’s not essential holiday living, what is? Owners David and Lynette Serjeant bought the property about seven years ago and quickly established


The Herbsts established a strong gabion-wall backbone to shelter the pool from prevailing southwesterly winds. Then they worked to “tease the building out into the landscape as much as possible so it had a bit of stature.” Above The pavilion was designed with an elevated northern side to eliminate the need for pool fencing.

Right The pool is sheltered from the wind by a gabion wall. The ‘Butt’ stools are by Established & Sons from Simon James Design.

Left The pavilion’s dining and kitchen area features a wok-based fire. The ‘Tio’ chairs by Massproductions are from Simon James Design, while the cushions and fruit basket are from Douglas + Bec. The ceramics are from Corporate Culture. Right Sliding cedar screens provide shade and shelter for the kitchen and dining area. Below The gabion wall provides a strong, protective backbone for the pool pavilion. Below right The whimsical wooden building was simple and costeffective to build. Below far right Weekend meals and even Christmas lunches for family and friends are served up here in the ktichen, with its gas cooker and basic sink.

“So many concerns were swept away. It could become whimsical on so many levels. It’s a pure good-time experience.”


Right The post-andbeam enclosure in rough-cut pine features cedar screens to shelter the dining and cooking spaces.

Far left The pavilion has views of the Kaipara and provides shade and shelter from prevailing southwesterly winds. Left A steel wok operates as a barbecue, while a tap, sink and shelves make up the basic kitchen. The rug is from Collected. Right Swimming is nearly impossible, except at high tide, which makes the pool a particularly good addition to the property on hot days.

what they intended to be temporary quarters, a rudimentary bedroom attached to a kitset garage a short walk from the pool. They asked the Herbsts to design a structure that would allow them to fully enjoy the property, and where they could entertain visitors and family members who came to visit for the day (the site is just over an hour’s drive from central Auckland). “We wanted to be able to sit here and watch the sun set,” David says. They host family lunches there every Christmas and at other times, and have found the structure is usable about eight months of the year. The couple’s visits are not restricted to weekends, as a wireless internet connection allows them to work from their laptops here. David calls it “the best office in the region”. The Herbsts began work with a minimal budget and the pool dimensions already set. They established a strong gabion-wall backbone to shelter the pool from prevailing southwesterly winds. Then they worked to “tease the building out into the landscape as much as possible so it had a bit of stature,” Nicola says. The pool and the deck surrounding it occupy one end of the structure. At the other end, a post-and-beam enclosure in rough-cut pine with a gently pitched roof shelters a table and chairs, a sink with a tap, kitchen cabinetry, a steel wok that operates as a barbecue and sliding screens of cedar slats that minimise the wind.


A “solar copse” with six solar panels on three posts heats the pool and powers the pump. The water in the pool comes from tanks on site. Anyone with a pool knows that the wrong fencing solution can fatally compromise it. Here, the Herbsts have deftly navigated these obstacles. You enter the pavilion through a lockable gate between the gabion wall and the shelter. Because the structure is cleverly located at a point where the terrain drops away, the front can be left open because it is just high enough off the ground to comply with regulations. A wall at the end of the kitchen enclosure prevents access from the eastern side. At sunset, the warm evening light floods the enclosure and the green hills behind it. What bliss for David and Lynette now – and for Lance and Nicola when they were designing it – to be free of any concerns about weather-tightness, services and other mundane practicalities. “So many concerns were swept away. It could become whimsical on so many levels,” Lance says. “It’s a pure good-time experience.” “It’s there for delight and enjoying life,” Nicola adds. “I think any architect would find that a rather pleasant challenge.”


Below left The pool is sheltered on three sides but still allows the clients to take in a great sweep of the sea, mangroves and rural land views.

01 / Deck 02 / Pool

03 / Kitchen and dining 04 / Fireplace

05 / Sliding screens 06 / Solar panels

Below centre When the wind blows from the north and west, sliding screens provide protection. Below right A lockable gate between the gabion wall and the shelter ensures the pool’s fencing is compliant.

06 05






Why did your clients decide to build a pool pavilion before a house? NICOLA HERBST They wanted to use the land in a recreational way. They had a kitset garage with an attached bedroom on the property and wanted to enjoy the site before getting into the business of building a house.

Q&A with Lance and Nicola Herbst

The Herbst Architects team on stripping this building back to its bare essentials.


How was this project different to designing a home? LANCE HERBST So many concerns are swept away. It could become so whimsical with so many levels. There are no enclosure problems and waterproofing issues. It’s only there for when the weather is good. It’s a pure good-time experience. NICOLA HERBST It has a purity and a lack of clutter. It borders on being a folly.

Nevertheless, you had to have a design strategy. How did you decide what the building would be like? NICOLA HERBST We created shelter to the southwest to enable the building to look out over the water and the swamps and hills beyond. With such large sweeps of view you want to tease the building out into the landscape as much as possible so it has a bit of stature. We liked the idea of using very rough materials as the palette to work with, so the building has a strong natural agrarian feel to it. With pools you also have to solve the fencing and safety issues, so we worked with the site and elevated the structure so no fencing was required at the front.

Expat New Zealand architect David Berridge designed the kitchen in the Brooklyn building to occupy one long wall in the open-plan living area.

Artist Jennifer Bartlett lives and works in an airy, tranquil New York studio designed by New Zealand architect David Berridge.

home work Sam Eichblatt PHOTOGRAPHY / Emily Andrews TEXT /

Left Berridge designed the windows to capture the view down Vanderbilt Avenue towards Manhattan and the Empire State Building.

To wake up surrounded by your own work would be, for many, the surprise twist in the plot of a particularly bad dream. But for artist Jennifer Bartlett – famous for her monumental installations of painted square steel plates – it’s simply a way of life. The general assumption is that the corollary of success is a separation of home and studio; that artists will inevitably leave the loft spaces they’ve cobbled together inside unused commercial buildings in favour of comfort – think a detached house with a front door and garden. The home and studio New Zealand-born, New Yorkbased architect David Berridge designed for Bartlett in the Brooklyn neighbourhood of Clinton Hill certainly has the garden and the front door (though with a height of three metres, it’s hardly your average entryway), but the rest of the former warehouse thrums to the daily rhythm of the artistic process. Berridge – who also worked on Bartlett’s previous five-storey apartment in the West Village, her houses in the seaside town of Amagansett, Long Island, and on the Caribbean island of Nevis – says in contrast to her detailed work, built in intricate sequences of brush


Right The building's brick walls were left exposed in some areas. Bartlett's furniture was custom-designed for an earlier residence, but fits in perfectly here.

strokes and dabs, her home aesthetic is fairly simple. “An artist doesn’t get to work at 9am and stop working at 5pm. There’s a constant involvement with the work,” he says. “And because the building wasn’t spectacular, there wasn’t much desire on either of our parts to make it anything more than a box for the art. For me, it was more about playing off what she brought to the project, rather than trying to impose a style. Just let the building be what it is, as simply as possible, and let her art be the thing that really makes it.” Vanderbilt Avenue, the street on which the house stands, is a mix of residential buildings and small warehouses with the sprawling Brooklyn Navy Yard port on the East River at its terminal point. The area contained many sugar and candy manufacturers, who eventually made it their trade union hall. By the time Bartlett purchased the building it had become a kindergarten and been divided up into playrooms and child-sized bathrooms. “The ceilings had been dropped down to eight foot, with acoustic tiles and fluorescent lights,” Berridge says. “But she loved it, because of the blacktop [parking lot] that came with the property. It had three exposures,

Left Berridge was asked to make the home a box for Bartlett's art. One of her works hangs on the wall at left. Right The bedroom is one step up from the studio and overlooks the garden. Below right The studio is more than a place to work. It is also a room for relaxation and contemplation of the garden.



The home and studio has a garden and front door, but the rest of the former warehouse thrums to the daily rhythm of the artistic process.

The garden was once a parking lot, but now features abundant greenery and large alluvial boulders that were brought in from Long Island. The boulders had to be moved with a fork lift and almost crushed a car when they were being hoisted off the truck.


Opposite page, top The studio and bedroom are adjacent and connected. There are few divisions between living and working spaces.

Opposite page, bottom A heavy bookshelf on rollers can slide across to separate the bedroom from the downstairs studio.

Above A ground floor addition, built about 50 years ago, is now Bartlett's bedroom. One of her artworks hangs at right.


Below This bathroom is part of the main bedroom space and features stainless steel hardware that was chosen to be as utilitarian as possible.

Right The bathroom tiles were a bone of contention. Bartlett wanted Mexican tiles while Berridge favoured a bare-bones look. The compromise was plain tiles in a palette of five yellows, blues and whites derived from Bartlett's work.

which is very unusual, so she figured it would be okay.” What the original building lacked in the sense of period detailing or ambitious architectural draftsmanship, it made up for with massive interior spaces, natural light and a hardy utilitarian palette of wood and raw brick. Working with these loft signatures, Berridge made the hall liveable, adding under-floor heating, a lift between the floors, bedrooms and a kitchen on the upper floor with a long bench running the entire width of the building. “With renovations on buildings like these,” says Berridge, “you never know what you’ve got until you start doing demolition. Once we started, none of us could figure out what was holding the building up, because there were no posts.” They eventually discovered an enormous steel beam that runs the length of the building, supported only by the front and rear walls. “It was quite something,” says Berridge. “But that’s what allowed us to have this huge open space on the ground floor.” That space is essential, because Bartlett’s works are on the generous side. One of her most famous installations, 'Rhapsody', is made up of 987 metal tiles that wrapped


around three walls of the Museum of Modern Art's atrium when last exhibited in 2001. Today, a few of her works hang in the upstairs studio, each on a scale that demands the viewer back up a good few metres to see them properly. The upper level is bordered by the kitchen at one end and lit by skylights Berridge punched through the roof. Downstairs, Bartlett's bedroom is in a ground-floor addition that was built onto the back of the building about 50 years ago. It is adjacent and open to her painting studio, though it can be closed off with a heavy sliding bookshelf on rollers worthy of a Gothic murder mystery. When each artwork is ready it goes upstairs for further work and viewing through an ingenious feature Berridge created when he realised the industrial staircase was too steep to move paintings easily between floors. He sliced out a three-and-a-half-metre section of floor between the joists so the oversized works can be “posted” up or down. In the artist’s West Village apartment, she moved her bed into the swimming pool area on an upper floor, but here in Brooklyn she sleeps where she works.

"It's the architecture of the everyday. It's not a frilly frock – it's the blue jeans and white shirt of architecture."

There are no boundaries between spaces and no living areas that are traditionally designated. Whether working alone or entertaining a crowd, the art is the focus of Bartlett’s house. It’s a salon, in the original sense of the word. “A lot of architecture is about making a statement with space, but this is exactly the opposite,” says Berridge. “It’s the architecture of the everyday. It’s not a frilly frock – it’s the blue jeans and white shirt of architecture.”

Above Architect David Berridge outside the house, a former trade union hall in the Clinton Hill neighbourhood, which was a centre of sugar and candy manufacturing. “There was no temptation to gussy it up,” he says.


01 / Office

02 / Studio

03 / Bedroom 04 / Bath

05 / Bathroom

06 / Workroom


07 / Kitchen 08 / Garden

01 03



05 06

First floor



Above left The garden wraps around two sides of the simple two-bedroom building, a former trade union hall.

02 05


Second floor

DESIGN NOTEBOOK Q&A with New York-based architect David Berridge

The New Zealand architect's unlikely path to a new profession. You're a sailor who became an architect. What made you make the change? It wasn’t that I thought “I’m going to be an architect!” It was a way to get away from the boats. I got a portfolio together and got into Parsons [School of Design in New York]. Then I looked at myself and said, I know how to keep the water out of buildings, because


I’ve spent more time in boat yards building boats and fixing them. I didn't need the practical side of it, I needed the emotional side of it. [Architecture school] was the best thing I ever did. It has showed me all this other stuff. I was 35, and it just opened up a whole world for me. New Zealand has a great education system but I was the guy sitting in the back of the class being told I could only do shop. So architecture was a new thing to be exposed to, a bigger part of life. What did Jennifer bring to it that a more traditional client might not? Jennifer had a really strong idea of where she wanted to go. The challenge was taking that idea of wanting to take something conceptual and intellectual into three dimensions and pull it off with all the practical requirements of a building. Working with creative people is really inspiring. It pushes you to really think about what it all means. Growing up, I didn't think I was an arty person, but you realise it is life.

Above The building's large interiors are perfect for viewing Bartlett's big artworks.

Photography / Paul McCredie

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The holiday home’s simple form was inspired by the vernacular sheds of the Central Otago region.

the getaway Tucked beside Wanaka’s Mt Iron, a holiday home by Anna-Marie Chin keeps things simple in all seasons. Jeremy Hansen PHOTOGRAPHY / Patrick Reynolds TEXT /


The holiday home beside Wanaka’s Mt Iron that architect Anna-Marie Chin designed for her cousin Michael, his wife Michele and their three children is the continuation of a long family tradition. Anna-Marie, the Arrowtown-based principal of Crosson Clarke Carnachan Chin Architects, grew up in Invercargill and fondly remembers her family’s annual summer pilgrimages to a crib near Queenstown. Michael and Michele, who live in Dunedin, had been camping in the Wanaka area almost every summer for more than 20 years. And while those summers had their share of magical experiences, Michael and Michele also loved the region for its winter activities, when they would rent holiday homes. They eventually decided, with their children growing up, that they would build a holiday home the whole family could use year-round. Inspired by their camping experiences, they asked Anna-Marie to design something simple and modest that would be comfortable in winter and summer, and would accommodate two people as easily as 20. They found a site just a few kilometres from Wanaka beside Mt Iron, in a new subdivision sparsely populated enough to still feel like a genuine getaway, and Anna-Marie got to work. The home’s design is not only inspired by family tradition, but by tradition of another sort: the vernacula­r sheds of the Central Otago region. Many new buildings


claim a lineage connecting them with these simple structures, claims that are often egregiously farfetched. This, however, is a holiday home that makes a genuine attempt at humility. Clad in low-maintenance Colorsteel, the three-bedroom house is a single linear form topped by a gabled roof with a 30-degree pitch, like many of the buildings that inspired it. “When you look at some of the older vernacular buildings, they have a real sense of simplicity and quietness to their forms,” Anna-Marie says. “We felt the simple gable was representative of the area and sat really well on the site.” The home’s open-plan living room, kitchen and dining area is grouped with the main bedroom and bathroom at the eastern end of the building, while two other bedrooms and a bathroom are separated from this zone by a generously proportioned covered deck. So far, so simple. The main difference between this 140-square-metre building (almost a quarter of this floor area is taken up by the deck) and the humble structures that inspired it is insulation. With Pink Batts and polystyrene in the walls and ceiling, two layers of extruded polystyrene underfloor and aluminium doors and windows with thermally broken frames, the house has almost double the recommended insulation minimum for the area, which means the living areas are still warm the morning after the fire goes out. A wetback system in the fireplace heats water that warms the floor

Above left A covered deck – a popular gathering spot in summer – separates guest quarters from the living area.

Above Anna-Marie Chin, her colleague Delia Bellaby, and Delia’s daughter Boudica in the kitchen.

Below left The interior was clad in ply for its low-maintenance practicality, but also for its softness and warmth.

Below The home is raised 50 cm off the ground so its front verandah becomes a seating area.


In the main living room, the ceiling soars past exposed trusses to a peak of five metres. Simple built-in shelving copes with any holiday clutter. The wood burner is connected to a wetback that heats water for the underfloor heating system.

Left Anna-Marie and Delia enjoy the sun while they watch Deiia’s son Cassius play on the lawn.

Right Low-maintenance Colorsteel was chosen for its connection to the vernacular sheds of the Central Otago region.

The home’s design is not only inspired by family tradition, but by tradition of another sort: the vernacular sheds of the Central Otago region.

slab, while guest rooms have heat pumps. Concrete floors retain heat from the low winter sun. The Chins’ holidays are action-packed – kayaking, skiing, mountain biking, boating, golf, fishing and a plethora of other outdoor activities – and the home’s easy-going practicality begins at its entrance. A southfacing wall sports lockable cupboards where ski gear and other equipment can be easily shucked off and stored (a garage behind bushes at the periphery of the property holds the kayaks and other larger items). The interior, including the covered deck, is clad in ply, which Anna-Marie selected not only for its practicality but for the warmth and softness it lent the building. In the living area, the ceiling soars past exposed trusses to a peak of five metres. Anna-Marie says the idea for the home’s design came quickly, informed by the request for simplicity and the desire to separate the guest quarters from the main living area. This means the kids in the bunkroom (which can sleep more than eight) can be rowdy without disturbing the older generation at the other end. Or, if Michael and Michele are in residence, there’s no need to utilise (or heat) the other bedrooms. In summer, the home’s heart is the large covered deck between the living and guest bedroom zones, which serves as a shady sitting area where the family lounges on large bean bags. Again, Anna-Marie

referred to vernacular buildings in the design. “It was about creating shelter as you do with barns sometimes, where the sheep sit outside or you take them into the shed,” she says. (Her relatives don’t seem bothered about being compared to livestock). Because it is raised a half-metre above the ground, the deck edges form a natural seating area. The extra elevation also improves the view. “In the early stages I took a stepladder to the site and noticed that if you were raised up half a metre you got a better view of the hills above the neighbouring properties,” Anna-Marie says. Raising the house also makes it appear to rest more lightly on the site, even though most of the house sits on a concrete slab (the posts under the deck assist in creating the illusion that the entire house is on piles). The deck extends to hug the northern and western sides of the house, meaning there’s always somewhere to retreat to. “We had about 20 family members down a while ago,” Anna-Marie remembers, “and everyone was everywhere. The doors were open, the kids were on the grass playing and the adults were sitting on the edge of the verandah. You could see everyone but not have to be with everyone. It was a very relaxed feeling.” It’s also a sign of a successful design, one that means the family tradition of holidaying in Central Otago is likely continue for a few more generations at least.


01 / Living

02 / Dining

03 / Kitchen

04 / Bedroom 05 / Ensuite

06 / Laundry

07 / Bunk room 08 / WC


09 / Shower 10 / Deck 11

/ Lawn

12 / Store







05 06 08

12 08

09 10


Q&A with architect Anna-Marie Chin

The Arrowtown-based principal of Crosson Clarke Carnachan Chin Architects on creating a successful holiday home.


Below left The bunkroom is far enough away from the living area for the kids to be as rowdy as they like without disturbing the adults.

Lots of homes claim to be inspired by sheds. How can you use them as inspiration without getting too cheesy? We explored a monopitch roof, but there’s a lot of clumsy monopitch spec houses around and we felt that simple gable was representative of the area and sat really well on the site. The building is totally practical. We wanted it to feel robust. The corrugated cladding can just be washed down with water. Plus the insides of a lot of woolsheds and shearing sheds have a chunky kind

Below centre There is always shelter, shade and space to hang out on the deck that wraps around the house.

Below right Long and low on the land, the simple house snuggles into its rural setting.

of timber aesthetic which is what the inside of this house was about. The ply walls don’t need repainting. The shower boxes are stainless steel. We didn’t want it to feel that you couldn’t knock it about. Is the deck separating the living space and guest rooms a pain on a cold winter’s night? I’m slightly oldschool – that’s what you used to do in old baches. I like the idea that you feel you’re going somewhere else, to a separate space. Nobody seems worried about it.



Below left The Merivale House by Matz Architects recently won an NZ Institute of Architects award.

Architect Phil Matz on big ideas, Christchurch and getting the details right.

You’re based in Auckland, but you’re currently winning awards with your South Island work. What’s your mainland connection? PHIL MATZ Christchurch is my home town, although I haven’t lived there for 13 years – we spent some time in Nelson when we left Christchurch so know the South Island very well. We’re delighted to have received two NZ Institute of Architects awards for housing this year – it makes us proud to be contributing good architecture to the landscape. HOME

How would you describe your architectural approach? We love the big idea, the power of the sketch and detail in design – however our approach from the outset is one of teamwork, enjoyment and communication. It’s very important to me and our team that the client enjoys and feels a part their project from inception through to completion. What is the home like that this bathroom is part of? This house is

very special indeed – our clients fully embraced the big idea and were committed to creating a modern, elegant, well-proportioned home. Why did you choose Corian benchtops? Bathroom designer Davinia Sutton and I worked together and agreed we wanted a sophisticated and elegant master ensuite with seamless vanities that looked like they had been sculpted out of a single piece of material. Corian meant we could design any shape and have any thickness and basin size we liked, which was perfect. The white Corian is striking in the space, as it sets off the timber joinery and the moody dark tiles and shines nicely under the concealed lighting.

Evolution of Surfaces 0800 CORIAN (0800 276 746) Matz Architects 021 361 423 Detail by Davinia Sutton 021 612 425

Below The home’s main ensuite features Corian benchtops against a palette of dark timber and tiles.

the great escape With Indian tents, an off-grid container and glorious isolation, the Noble family have shaped an enchanting Northland encampment. TEXT + PHOTOGRAPHY /

Florence Noble

Georgie and Herc Noble enjoy the deck, which doubles the containercabin's living space. It was barged into its Northland bay, then manoeuvred 30 metres uphill on log rollers to its resting place.

When it comes to designing their own homes, my parents are far from traditional. My father Greg Noble is a New Zealander who trained as an architect in Scotland and my mother Georgie Noble is an interior designer. I grew up in the UK and when we left London for Shropshire, it was to a derelict stone house with no windows and no doors. We slept on straw mattresses and lifted at least a metre of cow poo from the floors. After the building was restored we named it Pooh Hall. When we came to New Zealand it was to storage sheds on Great Barrier Island, where we lived through three months of mud while we built an off-grid home made of steel and tensioned membrane. My parents sold that Great Barrier house some years ago. This year, they set a customised storage container on land only accessible by sea, just north of the Bay of Islands. The land is isolated and incredibly well-sheltered in a small bay and estuary. In July last year Greg found the property advertised for sale in a tiny blurb in a local paper. That weekend, Georgie left me a message saying they had gone up north on a "wild goose chase". Six months later my parents would enjoy one of their longest-ever holidays


there, with friends coming and going by boat. The container on the site was bought in Christchurch. It is just over six metres long and opens out completely on one side. My parents then customised it, lining it with raw macrocarpa boards, shelves and a washing-up bench. The doors, when opened, fold around at each end, forming an enclosure where they are attached to a deck with a brass showerhead, which shares the same plumbing as the sink. Most people would shy away from locating a twoand-a-half tonne container 30 metres uphill from the high-tide mark in a place where no vehicles – let alone cranes – can travel. But Greg saw it as a challenge. The fit-out had to be prefabricated and everything packed into it, as it couldn’t be transported with the deck down or the roof on. My parents planned ahead, so that all the fittings were prepared for transportation and assembly at the site. Then we waited. The bargemen needed a threeday uninterrupted run of fine weather and to land in daylight, at high tide. When the day finally came, the container was dropped onto log rollers and manoeuvred, pushed and pulled by six men using only hand winches and jacks.

Above left Greg and Georgie Noble customised their container with raw macrocarpa boards, shelves and a washingup bench. The fridge runs off two photovoltaic panels. Above right The doors, when open, fold around each other forming an enclosure that has a brass shower head. Above far right Indian tents accommodate guests. "They add to the landscape rather than spoil it," Georgie says.

The low-impact approach is entirely deliberate. "We keep building these homes because the world's resources are not inexhaustible and must inevitably run thin," Greg says.

The container doubles in size by virtue of the deck which, when folded down, opens flush off the front. The roof was constructed (after the container came on site) with a large overhang so it doesn’t overheat and the deck never gets wet when it rains. Then came the water tanks. We rolled an empty one up to the container. Then we pumped water from a full one up to the empty one, then rolled the second one up. We unpacked the furniture and supplies that had been stored in the container before it was moved on site and by the end of the day we had made ourselves a home. In addition to the container, my parents bought some pretty handmade Indian tents for accommodating guests – “proper, long-lasting canvas, with cotton ropes,” Georgie says. She spent some of her childhood in Africa, where she says “we always had canvas tents with pretty decorative, cotton linings. They have a feeling of deliciousness. They add to the landscape rather than spoil it, like most tents do.” Adds Greg: “They have height and a wonderful sense of decoration and space. They have all the beauty and loveliness of traditional architecture. This is what we love to make, and what we love to live in.” The container is completely self-sustaining. It collects water


Below The Nobles have luxuries such as clean sheets and hot water, but can still live outside with the elements.

Right A "wild goose chase" led the family to this remote Northland bay, which is only accessible by water.

Top Greg and Georgie's simple, low-impact vision for their beautiful coastal site was a reaction to "overdosing on concrete and glass and heavy stuff" .


Above The Nobles catch fish and grow their own herbs and vegetables. They have tomatoes and potatoes right through the long months of summer.

Above right The whole family, including Roley the labrador, revels in the back-to-basics life afforded by the container-cabin and its environment.

Right Relaxation is compulsory. From left, Florence's partner Edward, Georgie, Greg and Herc enjoy the laidback, open-air lifestyle.

from the iron roof into the tanks. And the power, generated from two photovoltaic panels, is enough to run hot water, a Nespresso machine, radio and fridge and charge mobile phones. We catch fish and grow our own herbs and vegetables. And if we plant seeds in October and November we have fresh tomatoes and potatoes ready for the long months of summer. The low-impact approach is entirely deliberate. “We keep building these types of homes because the world's resources are not inexhaustible and must ultimately run thin,” Greg says. “If you have children then you understand what is precious to the future – everything that we have enjoyed ourselves, and more. Therefore one naturally doesn't want to waste natural resources, but to conserve them for the benefit of future generations.” Georgie believes their vision for the site was a result of “over-dosing on concrete and glass and heavy stuff in the ground – it was so lovely to go back to camping,” she says. “We have the luxury of a deck, clean sheets and hot water, but you still have the notion of being outside with the elements. It’s the loveliest way to enjoy a piece of land without intruding on it by pouring concrete into it.”

The pair still has some luxuries. “You have to have a good fridge to enjoy a cold beer or cold wine,” Georgie says. “And we made a proper loo [flushed with buckets of sea water], because that’s what people loathe about camping: long drops. This one is just like sitting on the loo – in fact, it’s better, as you can sit there and look at the sea from the most beautifully decorated tent!” As a New Zealander, Greg is no stranger to beach living. Georgie was brought up in Africa with what she calls “no feet on”. So after many years in England, they welcomed a return to that kind of lifestyle. “Living on Great Barrier was good training for that. Learning to survive without mobile phones, internet and an endless supply of electricity and water,” Georgie says. “It’s nice having a phone to keep in touch with the world, but when you’re on holiday you don’t need a television,” says Greg. “You don’t need lights – you can have candles. You don’t need shops nearby. It makes you do all the things you did when you were a kid: spend all day on the beach, gather food, prepare it together, eat together and talk. So long as you're prepare­d, you make the most of it and it works very well.”


The Nobles packed everything they'd need into their holiday-hometo-be and barged it into their well-sheltered Northland bay. Indian tents provide extra space for visitors. "It's the loveliest way to enjoy a piece of land without intruding on it by pouring concrete onto it," says Georgie, (pictured below).

DESIGN NOTEBOOK Q&A with designer Greg Noble

The Scottish-trained architect discusses his conception of this Northland encampment. When you bought this piece of land, inaccessible by road, how did you decide you were going to inhabit it? It wasn't really a decision as such, it was more a matter of opening yourself to the place and to what it was saying. Once you understand it physically, climatically and historically then you begin to understand


what is required of your interaction. For example, the place is relatively untouched and isolated in modern-day terms. It has an intimacy and strong sense of enclosure and shelter; it has a long history and meaning to Maori and this will always take precedence over the needs of any current day custodian. These are the priorities that inform one's feelings of where and how to interact – obviously this means with respect, with a lightness of touch and with a long-term commitment to the regeneration and health of the native flora and fauna. This is what makes the place the beauty spot it is. If our presence can remain humble but our contribution to its future strong, then for us it becomes another episode that makes life worth living. How was your experience of creating this off-grid structure? The people involved in alternative energy systems are enthusiastic and

committed. We used S4 Solar who made it economical and almost instant to make your own free electricity from the sun. The components are compact, really good looking and a nice feature – it is current, relevant and exciting. What do you like about being there? It's our link to the real things in life; to the things that matter and which we don't give time to in the city. We catch and grow our own food, we garden, we enjoy living barefoot. We are trying to give and share rather than take and this feels nice.


six kitchens you'll want to cook in I N A S S O C I AT I O N W I T H






Stables kitchen

Richard Naish, RTA Studio

Newton, Auckland

To fit a modern kitchen into an old building


Photography / Patrick Reynolds

Blending old and new in a stables refurbishment.

Appliances Fisher & Paykel fridge, oven, dishwasher and extractor. Tapware Methven. French industrial stools The Vitrine. Tiles Green crackle-glazed butchers tiles from Middle Earth Tiles. Benchtops Kings Fourth Generation Woodworking Co Ltd, Carterton. Lighting Fluoro battens with a custom-made baffle.

This was part of a redevelopment of a centuryold building. How difficult was it to carve out space for a contemporary kitchen? RICHARD NAISH The existing building did provide some challenges. It had very low stud height at the wall roof junction so we utilised this space for pantry storage and shelving.

How do you go about making kitchens sociable places? Placing the kitchen and dining area together almost as one space enables the boundaries to blur between cooking and eating. A scullery/pantry allows a second sink and work surface to be easily closed off while entertaining.

What kind of kitchen were you asked to create, and how did you go about doing it? We were asked to design a large, sociable family kitchen. We created a large timber island unit to become a focal hub of the space with an overhanging edge to sit at.

What are you most pleased with about this kitchen space? What works best for the people who live here? Well, I love the feedback that the family is really enjoying the space, so I believe it is working as intended – as a great social kitchen!



WIDE OPEN SPACES An easy-living holiday kitchen that caters for four generations. Where is this kitchen and what were you asked to design? MORGAN CRONIN It’s at Omaha. I was asked to design the kitchen and outdoor bench. How difficult was the indoor/outdoor bench to achieve? It was reasonably simple, once the material was chosen. How did you choose the material palette for this seaside location? The home has very strong architectural features with exposed concrete walls inside and out. It also has horizontal cedar slats that shroud its exterior. The client had already purchased the French oak flooring. Based on these factors I was keen to minimise the material palette. I suggested using a solid surface acrylic for the bench tops. This also offered a low-maintenance solution for the outdoor table base and gave me the opportunity to continue the slatted detailing to the outside. How difficult was it to conceal the appliances and how do you think this helps the overall feel? The kitchen is part of a large living space so being able to keep this area tidy easily is important. Appliances are concealed behind on-bench bi-fold doors.

Appliances Gaggenau oven and induction hob; Miele semi-integrated XXL dishwasher, integrated fridge, fridge/freezer and microwave; ISE EVO 100 waste disposal unit, all from Kouzina Appliances. Tapware Dornbracht ‘Elio’. Hardware Blum. Slatted kitchen doors Whitewashed American oak. Bar stools ‘Spoon’ bar stools by Antonio Citterio for Kartell.


Photography / Kallan Macleod

People in holiday homes often tend to cook or clean up in groups. Did you have to keep this in mind when designing this kitchen? Yes, this kitchen caters for four generations so there is lots of bench space, lots of large drawers and easy-care surfaces.





Beach kitchen

Morgan Cronin, Cronin Kitchens

Omaha Beach

To create a roomy kitchen for a seafront haven






Wellington kitchen

Architecture Robinson Crimp


To breathe new life into a tired, dated kitchen



ISLAND TIME A bold kitchen makeover by Architecture Robinson Crimp makes new stars of old features.

What was this space like before? GREGG CRIMP It was a kitchen space with adjacent laundry (which housed the fridge) and a guest bathroom which was never used. The dining table struggled to have elbow room and there was cork flooring and an off-white and smudgy wall colour. The cabinetry, drawers and cupboard fronts were battered and tired. How did you decide on the combination of closed and open cabinetry? The existing orange cabinetry received an internal makeover including new adjustable shelves. I opted to clash the underside with a beefy 28mm keruing plywood open shelving unit which anchors the cabinetry. The client has a wonderful collection of recipe books and objects that needed displaying. What made you decide to concentrate the working space entirely on the island? This was inherited. While most clients want to remove all kitchen cabinetry and start again, we felt it prudent to work with the existing countertop and side panel and refurbish from within.

Photography / Paul McCredie

Bar stools have become so customary, it’s bracing to see a kitchen without them. How is it working out? Very well. The island continues to be a gathering point to stand at.

Appliances Smeg rangehood, Bosch fridge, integrated Asko dishwasher, Ilve oven and hob. Cabinetry Peter Young from Waikanae Kitchen & Joinery; satin paint finish in Resene eighth ‘Oilskin.’ Hardware ‘Onda’ handles from Katalog. Artwork Work by Elizabeth Thomson (on high wall).






Seaview kitchen

Parsonson Architects

Northland, Wellington

To create a central kitchen with breathtaking vistas

Photography / Paul McCredie


TAKING A LONG VIEW A truly open-plan kitchen makes the most of its perch above Wellington Harbour.

This kitchen is part of a long, combined livin­g and dining area. How did you integrate the kitchen into the overall space? SAM DONALD We tried to treat the cabinetry as pieces of furniture fitted into the space and matched it to the hardwood floor. The lowered ceiling extends through from the dining area then opens up above the breakfast table and towards the view. It rises even further above the family living area at the opposite end to help create the sense of different zones within the overall space. Part of making it work must have been coming up with strategies to hide the mess. How did you achieve this? A small sink beside the hob allows prep away from the island bench and a compact scullery, accessed through a sliding door, allows clutter to be moved out of sight. There’s also another sink, extra benches and storage. The kitchen is in the centre of a long space. How did you ensure it was well-lit? LED lights were discreetly integrated into the vertical cedar wall linings above the island to ensure that the space was adequately lit, while minimising downlights in the skillion fibrous plaster ceiling.


Appliances Gaggenau oven, steam oven, warming drawer and combi oven; Sub-Zero fridge and Miele dishwashers from Kouzina Appliances. Tapware ‘Quadro’ from Shipwright Agencies and Plumbing World. Bar stools ‘Lem’ by Shin and Tomoko Azumi for Lapalma from ECC. Benchtops Atlantic granite benchtop from PSP Stonecraft; stainless steel benchtop from 2K Design & Manufacturing. Cabinetry Victorian ash, fabricated by Rennalls Joinery. Furniture ‘Mabel’ American white oak table with white laminate top by Simon James Design. Artwork Elizabeth Thomson, left, and ‘Jardin de Fleurs’ by Emily Siddell, right.






North Shore kitchen

Athfield Architects

Takapuna, Auckland

To design a kitchen in tune with its beach setting


Photography / Simon Devitt

Simple clean lines star in this seaside home’s kitchen.

Appliances Asko rangehood and dishwasher; Bosch induction cooktop and double oven; Smeg gas hob; Mitsubishi fridge/freezer; InSinkErator waste disposal unit. Flooring Regupol Everroll Classic rubber flooring in ‘Mons’. Lighting ‘System 71’ extruded aluminium fluorescent system from Concept Lighting Architecture. Cabinetry Designed by Athfield Architects, crafted by De Bruin-Judge. Benchtops Stainless steel and laminated European ash.

How did you choose the location for the kitchen in this beachside home? NICK STRACHAN The client was always interested in having the kitchen near the beach and an east-facing deck. The upper level cantilevers over the kitchen, so even with floor-to-ceiling glazed sliding doors, you don’t feel exposed. It isn’t a large space, but it feels like it is an efficient one. The layout wasn’t typical, with the kitchen/dining/lounge all in close proximity to one another. The fireplace forms a zone to the edge of the dining room, so we were fortunate to be able to utilise space behind it as a pantry.

You’ve used rubber on the floor – what benefits does it bring? The rubber, made from recycled car tyres, gives a softer feeling underfoot and is easy to clean and mop. It has a tactile quality compared to the rest of the concrete ground floor. Did you create the stainless steel element above the oven and fridge to unify that area? When we were designing the kitchen we always knew there would be a large volume of stainless steel appliances between the island and the wall bench, so we worked with De Bruin-Judge Furniture to wrap stainless steel faces around these drawers and cupboards.



ENTERTAINING CENTRAL This sleek kitchen is designed for home-coming get-togethers. What was your brief for this space? MORGAN CRONIN A young Kiwi based in New York wanted a kitchen for his new architecturally designed base in New Zealand. It not only had to look stunning, it had to be practical. His brief requested an island that seated four adults, a large gas hob, a 60cm oven preferably at eye level, a steam oven, microwave, decent-size fridge/ freezer with icemaker and an extra bar fridge just for drinks. The kitchen is on the corner of a large living space with large floor-to-ceiling sliding windows opening up on two sides to an enclosed deck and pool area. With the gas hob at the end of the 1800mm-wide island and the main sink centralised, interaction with guests is effortless. How do you strike a balance between a sleek, uncluttered feeling and plenty of easy-to-use working space? It depends on the available space, the clients’ requirements and the look they want. In this large kitchen there is plenty of wall space without windows to give flexibility to the design. Also, the client wanted to cook on the island. This means plenty of storage behind doors to keep it uncluttered. How did you decide on the shape of the rangehood surround? And what are the pros and cons of having the rangehood over the island? The simple rectangular shape of the rangehood is in keeping with the shape of the room and the island. The advantage of cooking on an island is you get to interact with your surroundings while working rather than looking at the wall and having your back to everything.

Appliances Fisher & Paykel fridge/freezer with icemaker; Liebherr under-bench integrated bar fridge; Bosch steam oven, warming drawer, oven; Panasonic microwave; Miele semi-integrated dishwasher; InSinkErator waste disposal units; Foster gas inline cooktop.


Benchtops Black granite honed by Linea Stone; Corian in ‘Glacier White'. Sinks Silgranit from Hafele. Hardware Blum. Lighting LED strip from Hafele. Taps ‘Axor’ by Philippe Starck for Hansgrohe. Bar Stools ‘Giro’ barstools by Fabio Bortolani for Lapalma from ECC.

Photography / Kallan Macleod

How do you strike a balance between a kitchen looking good and being hard-wearing? A new kitchen has to look good! How hard-wearing it is may limit your material options a little. But there is no excuse for it not looking stunning.





City kitchen

Morgan Cronin, Cronin Kitchens


To create a stunning yet practical kitchen




THE SOCIAL KITCHEN Thanks to Fisher & Paykel, this seaside kitchen easily caters for a big holiday crowd.





Matarangi kitchen

Matarangi, Coromandel

To create a seaside kitchen for casual eating and dining

What makes a great kitchen for you? A space that’s easy for many people to use at the same time. It’s also a social space where you can prepare food while catching up about the day. HOME


What works well about your kitchen space? This is our beach place, so we designed the kitchen so it would cater for a very full house. We moved in two days before Christmas and had three cooks all doing different dishes and no-one was in anyone’s way. And I love where we positioned the cooktop, so you can gaze at the sea while stirring the sauce. How did you select your appliances? I’ve always loved Fisher & Paykel appliances. The DishDrawers™ are brilliant – no matter how many people are there, we can always put the dirty dishes away. I love the CoolDrawer™ because it keeps fruit and vegetables so much longer and can be used as extra freezer or pantry space. And the 76cm-wide Double Oven was a no-brainer – I needed to be able to have side-by-side casserole dishes in the oven, and one warming while the other was cooking.

Appliances Fisher & Paykel Frost-free 451L Vertical Fridge and 389L Vertical Freezer Pigeon Pair. Fisher & Paykel 90cm Touch Control Induction Cooktop. Fisher & Paykel CoolDrawer™. Fisher & Paykel twin 600mm DishDrawer™ (in bar area) and twin 900mm DishDrawer™ Wide (in kitchen area). Fisher & Paykel Large Capacity Pyrolytic Built-In Double Oven. Fisher & Paykel 1200mm Wall Canopy Rangehood. Tapware ‘Zento’ coil sink mixers from Aquatica. Benchtops Silestone 'Blanco Maple' engineered stone. Cabinetry Melteca 'Silver Strata Naturale' cupboard fronts.


BETTER BY DESIGN Fisher & Paykel's kitchen essentials blend innovation and contemporary design. 1 2 1/

1200mm Wall Canopy Rangehood Fisher & Paykel's ventilation products are built to perform, and are the perfect partners to Fisher & Paykel Cooktops. They feature intuitive controls that capture and eliminate odours, vapour and steam. 2/

900mm DishDrawer™ Wide Fisher & Paykel DishDrawer™ dishwashers can be concealed behind cabinetry to seamlessly blend into your kitchen. This model provides space for nine place settings.



Touch Control Induction Cooktop Fisher & Paykel Induction Cooktops produce electromagnetic vibrations which induce the pot or pan to generate its own heat, resulting in shorter heat-up times, greater precision and a safer cooking surface. 4 / CoolDrawer™



Fisher & Paykel's CoolDrawer™ is the perfect merger of intelligence and convenience. It can change from refrigerator to freezer at the touch of a button and can be placed anywhere in the home. 5 / 76cm Large Capacity

Pyrolytic Built-in Double Oven Fisher & Paykel's large-capacity ovens look beautiful and deliver outstanding performance, with 10 cooking modes including selfclean and the AeroTech cooking system. For more information, visit



Resene colour Resene’s Karen Walker Paints range has modern summers in mind.

The Karen Walker Paints range for Resene looks right at home in the model modernist houses used to showcase the range. The Karen Walker Paints range is available at all Resene ColorShops. You can order a free colour chart at ordercharts


Karen Walker Paints for Resene are inspired by an architectural revolution: the artists and architects of the Bauhaus movement whose experiments with colour and form continue to be a major influence on our culture today. These are not brassy shades screaming for attention, but a palette of shades with quiet authority and sophisticated modesty. They have a softness to them reminiscent of a well-worn garment that only gets better with age. To promote the range, Resene hired interior designer Katie Lockhart, who worked with artist Gidon Bing to create a series of modernist model houses to showcase each of the colour palettes. It’s easy to see in them how apparently disparate shades actually work beautifully together, and how it only takes strategic insertions of colour to transform a room. Right now, the colours look spectacularly summery – the kind of fresh New Year breeze any New Zealand home would welcome.






The Donner House, Auckland, is one of the 24 homes in Modern: New Zealand Homes from 1938 to 1977, an elegant 350-page hardback volume produced by HOME and Random House. The book features mid-century homes from Auckland, Thames, Hawke’s Bay, Whanganui, Wellington, Christchurch, Hokitika, Alexandra and Dunedin. Edited by HOME editor Jeremy Hansen, the book highlights the remarkable creations of New Zealand’s finest modernist architects, almost all of them as relevant today as when they were first constructed.





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Photography / Mark Smith Styling / Katie Lockhart


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STYLE SAFARI Our day of expert design briefings. PHOTOGRAPHY / Sarah Grace


For 50 HOME readers, October 18 was a day of great design. Our Style Safari visited five of Auckland’s best design stores, where each of the store’s owners gave briefings on the latest arrivals and developing interior trends. The day began at the Newmarket showroom of Coutts Mercedes-Benz, our Style Safari partner, before visits to Studio Italia, Corporate Culture and Backhouse Interiors. Lunch was a marvellous feast on a perfect spring day (accompanied by Q wines from the Waitaki Valley) on the terrace at Cibo, a venue many of our guests were reluctant to leave.

But leave we did, for engrossing briefings at Matisse and Simon James Design. All in all, it was a fantastic day-long download of the most important interior design developments. We’re looking forward to inviting you on our next Style Safari in May 2014 – look out for details in the magazine or on our Facebook page, In October, HOME editor Jeremy Hansen and the team took our 50 Style Safari participants on a tour of Auckland’s best design stores featuring expert interiors briefings at each destination.


La Maison France When only the best will do, bespoke built Lacanche cookers will realise your dream. The kitchen is the heart of the home and Lacanche Ranges will keep your house alive with style. 027 640 4422

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Nicola Manning Design


Great design can enhance your life. Whether you are looking to make small changes, a substantial renovation or a new build, Nicola Manning Design can work with you to create a space that reflects you and is a pleasure to live or work in. Using an interior designer can save you time and money and will help you "get it right the first time". Nicola Manning Design provides a complete interior design service including kitchen, laundry and bathroom design, CAD drawings, colours, soft furnishings, product sourcing and project management if required.

Fitflex is a modular, expandable wooden cutlery tray insert system. It will fit most common drawer systems. The European-made cutlery insert trays are made of solid beech with a plywood bottom, assembled ready to use. Buy online.

To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: Email: Phone: 09 523 0108 / 027 440 5091

b e s p o k e

o n

k h y b e r

Creating your ultimate kitchen, bathroom and living space

Bespoke on Khyber So, what sets us apart from the rest? • At Bespoke on Khyber, we love to push the boundaries of design, using the finest cabinet makers and sourcing products both locally and abroad. • We are a small team with experience, enthusiasm and dedication. • We create bespoke pieces that reflect you, your lifestyle, your personality and the architecture of your home. • We consider the kitchen space in its entirety.

Von Sturmer's

• We achieve this by collaborating with you and your family, every step of the way.

A new lifestyle kitchen showroom in Ponsonby.

Visit our boutique showroom in Newmarket to experience firsthand what sets us apart.

The vision of established leading designer Leonie von Sturmer.

371 Khyber Pass Rd, Newmarket Joanne: (09) 966 2903 Hayley: (09) 966 2906

Whether you are looking for a bespoke custom made kitchen or a unique piece of furniture to enhance your existing space, be inspired by a visit to this showroom. 15 Williamson Avenue, Ponsonby (parking on site) Showroom open 20 January 2014, 10am to 3pm weekdays or by appointment Ph 09 376 3745 or 021 759 019

Kitchen Showcase Directory

Flutter Chair

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PO Box 28-700, Remuera Phone (09) 813 6192

155 The Strand, Parnell.

T 09 524 9663 339 remuera road, remuera

MY FAVOURITE BUILDING Mark Burke-Damaschke from Opus Architecture admires a low-key Auckland coastal icon. “Along the densely populated shoreline between Auckland’s Milford and Takapuna beaches lies this discreet and understated gem of modernist architecture. It was designed by architect Mike Austin in the 1960s and it’s refreshing to see such a restrained solution to this wonderful coastal site – it’s a welcome contrast to some of the bulky, over-the-top responses of the neighbours. I love the careful use of locally sourced volcanic rock – stonemason Sven Hansen used rocks collected by the owners’ family. The deconstructed nature of the building remains in scale and responds to the pohutukawa trees and contour of the site. It’s great to walk along this coastline and chance upon such an important, yet modest, example of a New Zealand modernist beach home.”


/ Simon Wilson

Your new kitchen companion Taste magazine is now online! • Delicious recipes • How-to advice from the experts • Prizes to win • Plus updates on people and places of interest to lovers of all things edible.

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Profile for HOME Magazine

HOME NZ Dec 2013 / Jan 2014  

Our summer issue features beautiful New Zealand beach homes.

HOME NZ Dec 2013 / Jan 2014  

Our summer issue features beautiful New Zealand beach homes.

Profile for home_nz

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