HOME NZ Dec 2014 / Jan 2015

HOME NEW ZEALAND The Summer Issue.

Clarity.

Eleven New Zealand homes that understand summer.

DESIGNS ON ENTERTAINING Kitchens that cater for a crowd SUN SEEKERS The best new outdoor furniture

The Bach SMALL, SMART + ECO-FRIENDLY 32 pages of expert design advice

DECEMBER 2014/JANUARY 2015

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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

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SUMMER HOMES 82.

96.

108.

118.

130.

A beachside home at Omaha by Fearon Hay

A home by Mitchell & Stout on the shores of Lake Pupuke

John Irving designs a holiday home north of Auckland

Guy Tarrant’s family home in Auckland’s Point Chevalier

A Sumner home by Jack Manning for living, working and playing

contents HOME NEW ZEALAND / 09

The new Auckland flagship store for Lonely by interior designer Rufus Knight, photographed by Simon Wilson. For more, see p. 76.

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BOOKS

Read up on the latest design writing

ART & DESIGN 21.

CITY SLICKERS

Odette’s Eatery at Auckland’s CityWorks Depot 25.

DESIGN FINDS

Our favourite new design items and gift ideas

69.

THE GREAT OUTDOORS

The best new outdoor furniture 74.

WE HEART LONELY

Lonely’s new Auckland flagship 76.

THE MORE THINGS CHANGE

Fisher & Paykel’s history of design

THE BACH 37.

TAKE THE PRESSURE DOWN

A Great Barrier Island bach by David Loughlin 42.

POLES APART

An Andrew Meiring design at Ti Point 46.

A CLEAR VIEW

A bach at Langs Beach by Richie Pearce

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A NEW CONNECTION

Herbst Architects rework a Waiheke Island bach 56.

THREE’S COMPANY

A Waiheke getaway

by Bonnifait + Giesen 60.

WELCOME HOME

A design by Scarlet Architects in Kaipara

EXTRAS 107.

HOME OF THE YEAR ENTRIES

Enter our annual search for New Zealand’s best home 143.

KITCHEN DESIGN

Seven designs that cater for a crowd 160 SUBSCRIBE TO HOME

Subscribe and save 162.

MY FAVOURITE BUILDING

Courtney Johnston loves a Lower Hutt icon 10 / HOME NEW ZEALAND

I want soft sunlight

I want UV screening

I want to look 10 years younger

If you’d like your friends and family to see you through a soft focus lens, we suggest you take ®

I WANT

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a long, hard look at Luxaflex Duette honeycomb shades. By filtering summer’s harsh light, they make everything more alluring – including you. Duettes also reduce the risk of UV fading your furniture and furnishings. And in winter their cellular construction insulates your windows, reducing heat loss. Options include 20mm or 10mm pleat size and a wide range of fabrics and operating systems. For more information visit www.luxaflex.co.nz

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The Lifescape Collection from Minotti allows interior elegance, comfort and style to extend to the outdoors with the same level of sophistication.

The Alison “Dark Brown” Outdoor collection uses iroko heartwood for its exposed frame with stainless steel tips on the feet to safeguard against damage from direct contact with the ground. Pair it with the new Aston “Cord” Outdoor armchairs

and pouf and a selection of Minotti outdoor tables and you have a truly coherent style.

Come in and see it in our Auckland showroom.

Mike Thorburn Managing Director, ECC

Since 1909

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Auckland Wellington Christchurch Sydney Melbourne Brisbane Milano

Visit our brand-new website and our Facebook, Instagram and Twitter feeds for daily design inspiration.

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Photography / Emily Andrews. Architect/ William Tozer

See more of HOME online.

Visit our new website homemagazine.co.nz @homenewzealand, @_jeremyhansen facebook.com/home.nz.mag @homenewzealand

Photography / Mark Smith

EDITOR’S LETTER

Top left A holiday home by John Irving near Mangawhai, p.108.

Top right Inside a home by Jack Manning above Christchurch’s Sumner Beach, p.130. Above left A home by Fearon Hay overlooking Omaha Beach, p.82.

Above right A home beside Lake Pupuke by Mitchell & Stout, p.96.

For the last 15 years or so, some New Zealand beach communities have begun to look uncomfortably similar to the suburbs everyone is supposed to be escaping for the holidays. Charming, tiny homes have been replaced by buildings on steroids that sit empty for most of the year. Many people still call these big homes baches, but they bear little relation to the modesty inherent in the term. It’s enough to make you wonder if we have forgotten what the bach really stands for: the joy of a life lived simply, with less emphasis on property and possessions, and more on being outside near the ocean or a lake, sharing time with family and friends.

The good news in this issue of the magazine is that the bach is not dead. In fact, it is being reinvented by a new generation of architects and homeowners, all of them determined that their holiday getaways should offer nothing more than they need. Our special bach design section (which starts on p.35) features six such dwellings. All of them are small, smart and eco-friendly.

Importantly, economy doesn’t have to mean austerity: each of these baches is amazingly seductive, suffused with just the right amount of architectural magic to add delight to everyday rituals.

Almost every home-design project begins with a wish-list that costs far more than the home’s prospective owners would like to spend. A tough editing process follows. Some wish-list items are easily discarded, others feel essential. The owners of all the baches in this issue have been through a rigorous process of elimination, paring things back as far as they can without ever making these buildings feel mean.

One of the most interesting outcomes of this process is how it has, in most cases, permanently shifted the views of the homes’ owners on what they need for a good life. The baches in our design guide aren’t just for holidays: two of them will become permanent homes in the near-future. Their owners have discovered a pleasure in subtraction that brings them great joy all year.

Jeremy Hansen, Editor

It’s obvious you love summer homes from the reception you’ve been giving our favourite getaways on our website, homemagazine.co.nz. The most popular post so far shouldn’t be surprising: architect Ken Crosson’s own Coromandel holiday home, an irresistible container-like timber structure that won our Home of the Decade award in 2005. But there are plenty more summer gems on there if you care to take a look, including a roundup of some of the best holiday homes available to rent. A new post goes up on the site most weekday afternoons – if you like us on Facebook (facebook. com/HOME.NZ.mag) or follow us on Twitter, you’ll be alerted every time a new post goes up online. Our site is also a great place to catch up with the previous winners of our Home of the Year award.

Next year is the award’s 20th birthday, and we’re planning a special celebration in April with our award partners, Altherm Window Systems. The call for entries to the award is in this issue, and judging will commence in February. Our social media channels will keep you up to date with all the action.

HOME NEW ZEALAND / 15

CONTRIBUTORS 1/ YVETTE JAY Interior designer and stylist 1

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You created our cover with photographer Patrick Reynolds. What was the shoot (also on p.108) like?

We had the quintessential Northland day, arriving to find a sky that was moody and heavy with dark, humid clouds. Within a few hours it had blown clear and left us to a scorchingly hot afternoon. The house is perfectly designed to capture these dramatic changes – the seaward deck looks directly into the morning clouds hanging heavily on the horizon and the west-orientated deck looks across the land and rolling hills. The setting was already perfect and only needed a few things that tune its location. I used an old-school enamel milk jug, solid timber stools that look like they could have been carved from logs on the land, and some timeless, enduring, aged linen.

As an interior designer, what have you been working on lately?

I’ve worked with great architects this year on key residential projects – the attention to detail and scale is deeply rewarding. The design process allows the interiors to sit seamlessly with the architecture surrounding them.

What’s your dream summer holiday? And what’s your reality this holiday season?

I’m dreaming of a long, lingering holiday in the south of France, Spain and Morocco – the timeless elegance and flavours of the European lifestyle, with a textile-gathering frenzy in the bazaars of Morocco. My reality will be lying on the white sands of Coromandel beaches – which is heavenly really!

2/ JACKIE MEIRING Photographer You’ve shot work by your twin sister, Nicola Herbst (p.50), and brother, Andrew Meiring, (p.42) in this issue. What made you the sibling who broke out on a path of your own?

With hindsight it was smart of me to choose a compatible career! It was important for Nicky and I to have separate career paths – being twins, we were quite competitive and people felt compelled to compare us – and fine art was my major interest.

What are they both like to work with on shoots?

They are both very helpful, exacting, prefer the shots understyled, and don’t mind if I ask them to be the ‘human element’ in the shots.

Your shoots are in our special section on baches – and you have your own Herbstdesigned creation on Great Barrier Island, which has featured in our pages before.

What makes a good bach?

I live in the perfect bach. It meets all my needs, works well in any weather, has apertures that allow beautiful light-play on interior spaces. It’s social in layout, has a plan that creates experience, and it’s easy on the eye.

What are you doing for your summer holidays?

A Barrier summer is a family tradition, as we all have baches on the one beach, so it’s a great time to catch up and relax.

3/ CLAIRE MCCALL Writer You’ve just published a book, Green Modern. Tell us a bit more about it.

There are two reasons I wrote the book. Firstly, I thought it was necessary because, across their life cycles, from construction to occupation and demolition, our buildings use up 40 percent of New Zealand’s raw material, are responsible for 40 percent of energy use and 40 percent of waste generated. Plus, I wanted to make the point that sustainability is not a

OUTDOOR GARDEN ALL-WEATHER COLLECTION

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compromise when it comes to aesthetics. The houses can be cutting-edge modern, not rustic-looking or built of recycled tyres and plastic bottles filled with sand.

You’ve also contributed a story (p.42) to our section on bach design. It feels like baches in the true sense – small, eco-friendly and back-to-basics – are making a bit of a comeback. Why? The idealised bach is a blueprint for what sustainable design is all about – except the old ones need more insulation! I dream of living more simply in an ‘urban’ bach – along the lines of the Tiny House Movement where you have the freedom to spend money on experiences rather than a mortgage. I’ve just been to the Rota Vicentina, a nature trail strung between villages in the Alentejo region of Portugal.

The houses there were petite, pretty, all uniform in material and colour scheme. And the villagers came out every evening into the central square for a catch up.

That’s sustainable community and seemed like the way to go for me.

What are you planning for your summer holidays?

I’m hoping to do the Tora Coastal Walk in the Wairarapa with a group of friends.

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The glass screen surrounding a home at Omaha by Fearon Hay. Photograph by Patrick Reynolds. For more, see p.82.

Editor Jeremy Hansen Art Director Arch MacDonnell Inhouse Design Senior Designer Sarah Gladwell Inhouse Design Designer Oliver Worsfold Inhouse Design On our cover, a photograph by Patrick Reynolds of the view from a holiday home north of Auckland designed by architect John Irving.

Styled by Yvette Jay. For more, see p.108.

Chief Executive Officer Paul Dykzeul Commercial Director Paul Gardiner Group Sales & Marketing Manager Amber Ardern Commercial Sales Manager Liezl Hipkins-Stear lhipkins@bauermedia.co.nz +64 9 308 2873 Advertising Account Manager Nicola Saunders nsaunders@bauermedia.co.nz +64 9 366 5345 Classified Advertising Kim Chapman classifieds@xtra.co.nz +64 7 578 3646 Brand Manager Ingrid Frisk ifrisk@bauermedia.co.nz +64 9 308 2844 Events Manager Ashleigh Webb Financial Business Analyst Ferozza Patel Group Production Manager Lisa Sloane Production Co-ordinator Clare Pike

Senior Stylist/Designer Kendyl Middelbeek Stylist/Designer Samantha Totty Editorial Assistant Fiona Williams

Editorial Office Bauer Media Group Shed 12, City Works Depot 90 Wellesley St Auckland New Zealand homenewzealand@ bauermedia.co.nz +64 9 308 2739 Postal address HOME New Zealand Bauer Media Group Private Bag 92512 Wellesley Street Auckland 1141 New Zealand Subscription Enquiries magshop.co.nz/home 0800 MAGSHOP or 0800 624 746 magshop@magshop.co.nz +64 9 308 2721 (tel) +64 9 308 2769 (fax) Bulk/Corporate Subscriptions corporates@magshop.co.nz +64 9 308 2700

Contributors Jo Bates Simon Farrell-Green Amelia Holmes Yvette Jay Geraldine Johns Andy Kenworthy Claire McCall Henry Oliver Adrienne Rewi Photographers Simon Devitt Duncan Innes Russell Kleyn Kallan Macleod Jackie Meiring Toaki Okano Patrick Reynolds David Straight Simon Wilson Advertising Auckland Liezl Hipkins-Stear lhipkins@bauermedia.co.nz +64 9 308 2873 Sydney Massey Archibald marchibald@ bauer-media.com.au +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.

This publication is subject to the Press Council principles. Complaints must first be directed in writing to the editor. If you are not satisfied with the response, the complaint may be referred to the Press Council PO Box 10-879, The Terrace, Wellington 6143, presscouncil.org.nz.

ABC average net circulation, April 2013 to March 2014: 11,286 copies.

ISSN 1178-4148

HOME NEW ZEALAND / 18

Spot the difference between our house insurance and yours.

Before

After

With all the changes to house insurance, you may be wondering whether you’re properly covered.

But if you look closely at a TOWER sum insured house policy you’ll spot a new benefit: Full replacement for fire.

That means if your house is destroyed by fire, you’ll be able to build a new house that’s like your old house.

So take a close look at your house insurance, then call TOWER on 0800 808 808 for peace of mind.

Call TOWER on 0800 808 808 or visit tower.co.nz Excludes Present Day Value policies and fires following natural disasters. And by the way, there are seven differences between the before and after photographs.

On sale now!

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CITY SLICKERS

Auckland’s brand-new Odette’s Eatery brings fresh flavours to CityWorks Depot.

INTERVIEW

Jeremy Hansen /

You and your husband Joost previously owned Zus & Zo in Herne Bay and you still own Zomer in Takapuna. What prompted the move to open Odette’s Eatery at CityWorks Depot?

Clare van Den Berg: We always wanted to open something in town but just wanted to find the right spot.

Joost was determined and looked for a space for three years. CityWorks appealed because we really love the creativity of it, how they’re forming the precinct.

And we love the space. With the eatery, we wanted to do something different that was going to challenge us, to create a real city place where people can come

PHOTOGRAPHY

Simon Wilson

for breakfast, lunch and dinner and treat it like their communal space. Our breakfast menu is a little like what we’ve done before, but we also have a wood fire as the centrepiece of what our chef, Josh Kucharick, is cooking, which includes dishes such as slow-braised merino lamb shoulder, wild mushrooms with donuts made out of mushroom flour, and an ancient grain bircher for breakfast of quinoa, wild rice, oats and other gluten-free grains. Josh has lived in many places and we’ve developed the menu around his journey.

There’s lots of variety – world flavours that pick up on where he has lived.

HOME NEW ZEALAND / 21

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How did you decide what to do with the interiors?

We spoke to Nat Cheshire and his team quite early on and they mentored me along the way – I’ve known him for a long time. We love the industrial feel of CityWorks but we wanted it to be able to feel a bit softer. We wanted the space to feel really calm, homely and understated, with cooling colours and lots of texture in the timber, tiles and cushions. We have Cheshire Architects’ ‘Parison’ pendant lights and chairs

by Simon James – working with New Zealand designers was important for us. The ceilings are really high, and the room is big, but I didn’t want it to feel huge, like you walk into the space and see a sea of tables. We wanted it to feel intimate and cosy, like everyone has their own little nook. The acoustics are great, too. I think people feel comfortable here.

Odette’s Eatery Shed 5, CityWorks Depot 90 Wellesley Street, Auckland 09 309 0304 odettes.co.nz

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Previous page “We wanted the space to feel really calm, homely and understated,” says co-owner Clare van den Berg of the new eatery.

Right Odette’s is situated in Auckland’s CityWorks Depot, a group of late-1960s maintenance sheds.

Below ‘Parison’ pendants by Cheshire Architects hang over the space. The artwork on the rear wall is a print

by Slim Aarons.

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Left Timber walls were introduced to soften the industrial space, along with an antique cabinet at the entrance. ‘Pick Up Sticks’ chairs by Simon James are upholstered in blue.

Below The bar is backed by blue tiles and lined with ‘Tangerine’ stools by Simon James.

Below left A view across the dining space.

HOME NEW ZEALAND / 23

Be in to WIN

A luxury two-night stay at Matakauri Lodge in Queenstown

HOME IS GIVING ONE LUCKY READER AND A FRIEND A LUXURY TWO-NIGHT STAY AT QUEENSTOWN'S MATAKAURI LODGE. The prize includes breakfast, pre-dinner drinks, dinner for two and return flights and will be valid from March 1, 2015 until November 30, 2015.

Matakauri Lodge is magnificently positioned on Lake Wakatipu, just seven kilometres from the heart of Queenstown. The stylish lodge offers 12 suites and a four-bedroom Owner’s Cottage with stunning mountain views, making it the lodge of choice for every discerning traveller.

See more at matakaurilodge.com

HOW TO ENTER To be in with a chance to win, go to homemagazine.co.nz/win-matakauri-2014.

Entries close February 2, 2015.

For full Terms & Conditions, visit homemagazine.co.nz/win-matakauri-2014.

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DESIGN

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GIVING IS LIVING Gift inspiration large and small.

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1 / Acacia bowl, $39.90 from Indie Collective, indiehomecollective.com 2 / ‘Andie’ duffel bag by Benah for Karen Walker, $592 from Simon James Concept Store, store. simonjamesdesign.com 3 / French 19th-century duck confit pots, $300 from The Vitrine, inthevitrine.com 4 / Pillowslip by Society, $345 a pair from Siena, sienahome.co.nz 5 / ‘Plateau’ table by IMO, from $4350 from IMO, imo.co.nz 6 / ‘The Foster’ sunglasses by Lewis Fredericks, $435 from Fabric, thisisfabric.com 7 / ‘Tube’ clock by Piet Hein Eek for Leff Amsterdam, $265 from Seletti Boutique, facebook.com /selettiboutique 8 / ‘Boutique Coco’ sofa by Marcel Wanders for Moooi, from $12,000 from ECC, ecc.co.nz 9 / ‘Love’ tea

by Louise Garland, $19 from Simon James Concept store, store.simonjamesdesign.com. Edited by Amelia Holmes.

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SUBTLE HINTS

Subdued hues make for striking acquisitions.

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1 / 19-century Japanese indigo sheet, $350 from Asia Gallery Vintage Fabric Emporium, ph (09) 634 7231 2 / Brass book end by Futagami, $120 from Douglas and Bec, douglasandbec.com 3 / ‘Accordion’ linen document holder set by Monocle, $149 from Crane Brothers, crane-brothers.com 4 / ‘Dream’ chair by Tadao Ando for Carl Hansen & Son, from $7977 from Cult, cultdesign.co.nz 5 / Wall hanging by Marta Katarzyna Buda, $360 from Penny Sage, pennysage.com 6 / ‘Joy’ side table by Rodolfo Dordoni for Minotti, $3035 from ECC, ecc.co.nz 7 / Glass scent diffuser by Tom Dixon, $201.90 from Simon James Concept Store, store.simonjamesdesign.com 8 / European grain sack, $75 from Flotsam & Jetsam, flotsamandjetsam.co.nz 9 / Smashing Plates by Maria Elia, $55 from Flotsam & Jetsam, flotsamandjetsam.co.nz. Edited by Amelia Holmes.

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: NZIA Conference 2015 : 10—13 February 2015 : Viaduct Events Centre Auckland : Register at www.insitu.co.nz

: Sou Fujimoto (Japan) O’Donnell+Tuomey (Ireland) Vo Trong Nghia (Vietnam) Troppo Architects (Australia) Sam Jacob (UK) Sarah Whiting (USA) Andrew Maynard (Australia) Ana Elvira Vélez (Columbia) Shelley Penn (Australia) : Public lectures There are limited numbers of public tickets to the presentations by Sou Fujimoto (6pm, Tues 10 Feb) and Sam Jacob (6pm, Wed 11 Feb).

Price: $20 per session.

Book at www.insitu.co.nz.

: In:situ – the 2015 NZIA Conference – is about architecture and the many contexts in which it occurs – physical and intellectual, geographical and typological, social and historical.

The conference presenters traverse much of the contemporary architectural terrain. They work on a wide range of projects of varying scales in very different places, and have built diverse and accomplished careers. In doing so they have responded to the changing nature of practice and proved the continuing relevance and importance of the role of the architect. @NZIArchitects NewZealandInstituteofArchitects

Sou Fujimoto Architects Serpentine Pavilion Hyde Park, London Photo by Iwan Baan

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FRESH & FRUITY

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Bold design finds to welcome a colourful new year.

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1 / Anglepoise ‘X’ lamp by Paul Smith, $470 from Cult Design, cultdesign.co.nz 2 / ‘< 3’ side table by Jonathan Sabine, $299 from Let Liv, letliv.co.nz 3 / Tea ceremony bowl, $120 from Asia Gallery Vintage Fabric Emporium, ph (09) 634 7231 4 / Penhaligon’s scent library, $95 from Crane Brothers, crane-brothers.com 5 / Caran d’Ache pen by Monocle, $75 from Crane Brothers, crane-brothers.com 6 / Vintage industrial light with fluoro cable, $135 from Flotsam & Jetsam, flotsamandjetsam.co.nz 7 / ‘Pin’ table by Jamie McLellan for Dialog, $1500 from Backhouse, backhousenz.com 8 / Limited-edition print by Loren Marks, $590 from Indie Collective, indiehomecollective.com 9 / ‘Tree Trunk’ vase by Richard Woods for Wrong for Hay, from $120.75 from Cult Design, cultdesign.co.nz. Edited by Amelia Holmes.

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W A R M , W A R M E R , H OT There are occasions when it’s good to take your time. Getting to the hot sauce in the fridge shouldn’t be one of them. That’s why the Food Showcase refrigerator has two doors – for easy access to the things you want most.

Life moves fast. Your home should keep up.

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BOOKS ABOUT HOMES

Tomes about homes that make ideal additions to every design fiend’s Christmas gift wish-list.

TEXT

Jeremy Hansen and Jo Bates

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Down the long driveway, you’ll see it Mary Gaudin and Matthew Arnold $65 (inc. shipping) from downthelongdriveway.com HOME contributor Mary Gaudin (who is based in Montpellier, France) is a photographer with a special gift: her images make you look at things in a different way.

Last December, we featured her photographs of Le Corbusier’s Cabanon in on the Cote d’Azur; they showed a fresh perspective on that much-photographed building.

She achieves the same effect here, in a book of her photographs of 14 modernist New Zealand homes built from the 1940s to the early 1970s. Some of these homes are familiar, but Gaudin’s beautifully fragmentary, quietly poised images make you notice a myriad of touching minor details. The book contains an introduction to each house

by Matthew Arnold, but otherwise the design by Auckland-based The International Office goes heavy on white space, a suitable stage for Gaudin’s ethereal work.–JH

Green Modern Claire McCall Penguin, $65 In her opening chapter, ‘Substance, Style and Sustainability’, author Claire McCall states her case for Green Modern – that the ‘greening’ of homes needn’t come at the expense of contemporary aesthetic values. To this end, McCall (a previous editor of this magazine), finds examples of cutting-edge design being combined with ecowise solutions. And then it’s straight into 15 profiled New Zealand homes that fit her brief. Each brings different ecological practices to the fore – from an exclusive enclave in Wanaka built to strict eco-covenants (and with profits from land sales committed to conservation projects), through to a new build based on Sthapatya Veda, an ancient architectural discipline mentioned in Sanskrit writings.

Each home concludes with a Q&A based on its green credentials with the owner or designer/architect.

McCall dedicates the remaining 30-odd pages of the 253-page book to eco-design principles, practices and concepts.–JB

Bungalow Nicole Stock and Patrick Reynolds Random House Godwit, $80 Housing thousands of New Zealanders since the 1940s, the bungalow is instantly recognisable through its solid, steadfast architecture. It has become an enduring part of the New Zealand suburban streetscape – iconic even, which makes a book lavishly devoted to the subject seem overdue. A considered step away from compartmentalised villa living, the bungalow was an early step towards a modernist approach. Part one of the book explores design origins, from the early and exquisite Arts and Crafts detailing, to the later and more utilitarian Californian influences. Part two – the bulk of the 380-page book – is dedicated to profiling 20 bungalows from the tip to the toe of New Zealand. Editor Nicole Stock delves into the story of each home and how it has been renovated, restored or, simply left in its original state, while meanwhile, Patrick Reynolds’ eloquent photographs breathe generous life into every page.–JB

W A L L TO W A L L The Waterwall dishwasher’s ground-breaking vertical jets move back and forth, creating a wall of high pressure water so it gets to every corner.

That means it can clean every inch of “We’ll just drop in for a drink”, right across three and a half courses to “More dessert anyone?” with no loss of pressure – and very little effort from you.

Life moves fast. Your home should keep up.

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BOOKS ABOUT CULTURE

A breathtaking book about marae, and two marvellous art books that warrant more than a second look.

TEXT

Jeremy Hansen and Jo Bates

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Marae Muru, Robin and Sam Walters Godwit, $80

Robert Ellis Hamish Keith with Elizabeth, Hana & Ngarino Ellis Ron Sang Publications, $135

This terrific book feels like a gift.

It was created by Bishop Muru Walters, his son Robin Walters and Robin’s wife, Sam Walters, who visited and photographed 21 marae from Ahipara in the north to Bluff in the south, and grant readers the privilege of seeing and learning more about these remarkable buildings. Robin and Sam Walters are both photographers, and their images convey not only the rich variety of approaches to building and decorating wharenui, but also the communities for whom these buildings form a heart. Just as important, their way of writing about the buildings is warm and informal, the requisite historical information peppered with details of who they met, how they negotiated access, and what it felt like to be in these places. It is generous and warm-hearted but never saccharine, deserving of a place on everyone’s shelves.–JH

The great painter Robert Ellis now has a great book that celebrates his work. Born in the United Kingdom, Ellis graduated from London’s Royal College of Art and, after a stint as a Royal Air Force photographer, moved to New Zealand and became a lecturer at Auckland’s Elam School of Art in the late 1950s. “In the Britain he left everything had seemed determined,” writes Hamish Keith in the book’s introduction. “In Auckland in the late 1950s anything seemed possible.” Many of Ellis’s paintings, lavishly reproduced here, contain the feverish energy of an expanding city, as well as his embrace of a new land and its culture. His wife Elizabeth and their daughters Hana and Ngarino are co-authors of the book, and write about their husband and father’s deep engagement with their culture and its effect on his work. “I was just fortunate,” Ellis himself writes, “in being in New Zealand and being part of a Maori family.”–JH

Mervyn Williams Edward Hanfling Ron Sang Publications, $135 As with other Ron Sang publications, Mervyn Williams takes the reader on a personal journey into the artist’s life, which rounds out the retrospective of his work.

Author Edward Hanfling leads with the question as to how and why a teenager who grew up on a Bay of Plenty sheep farm instigated a “systematic and sophisticated investigation of modernist abstraction”. Given his circumstances – Williams left school at 15 to support his family, following the untimely death of his father at the age of 48 – an enduring career as an artist seemed utterly unlikely.

Couple this with the fact that ‘Optic Merv’ received a limited audience, dismissive of his modernist and socialist leanings, the odds stacked up. But Williams was the only artist of his time to work in the abstract style from the outset and he moved determinedly to make his art egalitarian. Entire works fill many of the 330-plus pages of the book, which also explores Williams’ influences and the artists who supported him.–JB

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THE GREAT OUTDOORS The best outdoor furniture.

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1 / ‘C317’ chair by Yuzuru Yamakawa for FeelGood Designs, from $1643 from Backhouse, backhousenz.com 2 / ‘Brisa’ chair by Lievore Altherr Molina for Andreu World, $875 from UFL, ufl.co.nz 3 / ‘Pop’ chair by Kartell, $3322 from Backhouse, backhousenz.com 4 / ‘Brasilia’ lounge chair and ottoman by Ross Lovegrove for Zanotta, $8875 from Studio Italia, studioitalia.co.nz 5 / ‘Siesta’ chaise by Lievore Altherr Molina for Andreu World, from $3779 from UFL, ufl.co.nz 6 / ‘Heaven’ chair by Jean-Marie Massaud for Emu, $765 from ECC, ecc.co.nz 7 / ‘Masters’ barstool by Philippe Starck for Kartell, from $798 from Backhouse, backhousenz.com 8 / ‘New Walrus’ sofa by Dirk Wynants for Extremis, POA from Cult Design, cultdesign.co.nz 9 / ‘FollowMe’ portable lamp by Inma Bermúdez for Marset, $435 from ECC, ecc.co.nz. Edited by Kendyl Middelbeek.

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1 / ‘Lloyd’ table by Cristoph Seyferth for Functionals, $4490 from ECC, ecc.co.nz 2 / ‘Fiord’ table by IMO, from $4404 from IMO, imo.co.nz

3 / ‘Leaf’ chair, $606, and table, $969, by Lievore Altherr Molina for Arper from UFL, ufl.co.nz 4 / Aston ‘Cord’ armchair by Rodolfo Dordoni for Minotti,

$9390 from ECC, ecc.co.nz 5 / ‘Maia’ chair by Patricia Urquiola for Kettal, $4924 from Studio Italia, studioitalia.co.nz 6 / ‘Pavo Real’ chair by Patricia Urquiola for Driade, $4425 from Indice, indice.co.nz 7 / ‘Uncle Jim’ chair by Philippe Starck for Kartell, $1392 from Backhouse, backhousenz.com 8 / ‘Club 1009’ chair by Prospero Rasulo for Zanotta, $4995 from Studio Italia, studioitalia.co.nz. Edited by Kendyl Middelbeek.

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1 / ‘Panier’ stool by Helen Kontouris, $509 from UFL, ufl.co.nz 2 / ‘Miura’ table by Konstantin Grcic for Plank, from $2532 from Backhouse, backhousenz.com 3 / ‘Lizz’ chair by Piero Lissoni with Carlo Tamborini for Kartell, $538 from Backhouse, backhousenz.com 4 / ‘Plano’ table by Paola Lenti, $16,055 from ECC, ecc.co.nz 5 / ‘Pantagruel’ table by Dirk Wynants for Extremis, POA from Cult Design, cultdesign.co.nz 6 / ‘A2’ stool by IMO, $334 from IMO, imo.co.nz 7 / ‘Tio’ table, $1639, and chair, $859, by Mass Productions from Simon James Design, simonjamesdesign.com 8 / ‘Hanging Egg Chair’ by Nanna Ditzel for FeelGood Designs, from $2124 from Backhouse, backhousenz.com 9 / ‘Urban’ chairs, $553 each, and table, $2167, by Jakob Berg for FeelGood Designs from Backhouse, backhousenz.com. Edited by Kendyl Middelbeek.

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WE HEART LONELY

Fashion brand Lonely’s new Auckland store has us wanting to move in.

INTERVIEW

Jeremy Hansen Simon Wilson

What were you asked to create here, and how did you go about doing so?

Rufus Knight, Interior Designer: Steve and Helene [Steve Ferguson and Helene Morris, Lonely founders and directors] approached me about creating a flagship for Lonely with a design direction that reflected the brand’s global outlook. I was interested in an idea of ‘soft industrial’: a dichotomy between robust materials that had a tactile or unexpected finish – salvaged timber parquetry, sandblasted marble or finely perforated mesh, for instance. It was critical for me that the store felt sophisticated without feeling unapproachable – I wanted the space to say something romantic but in a modern vocabulary.

PHOTOGRAPHY

It feels like the kind of material palette that could also work well in a residential context. Was this a conscious choice?

RK: The Lonely brand spoke to me quite strongly about different layers of intimacy so the idea of creating a retail space that had some sense of domesticity was really important. The process of buying lingerie is also extremely personal – confidence, privacy, and warmth were essential.

Lonely Shop 7, Lot 3 130 Ponsonby Rd, Auckland 09 376 1566 lonelylabel.com

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Steve, what do you want the space to communicate about the brand?

Steve Ferguson, Director, Lonely: We wanted to inject the same deliberate care we take with our product into our interior space. We believe architecture is irrelevant without humanity, and that it is only when people interact with architecture that it can come to life.

It’s this sort of respect for our customer that continually drives us to create beautiful things for them.

Fashion changes seasonally, yet interiors last a lot longer. How do you ensure the store interiors stay relevant as seasons change?

SF: It’s very difficult to design an interior space based around the life cycle of clothing and fashion. This challenge required us to create a space that we feel has a definition of longevity. For this reason we used classic building materials – marble, timber and plaster – and intermixed modern materials like stainless steel, aluminium and brass to ensure special care was taken with every surface finish to give all elements a certain approachability. The small tonal nuances we have created between the materials and our product have a very neutral relationship.

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Top far left The entrance to the new boutique.

Left and far left A continuous brass tube forms a free-standing clothes rack. The screens behind are finely perforated aluminium mesh in a powdercoated steel frame.

Brushed aluminium display plinths with mixed stone inlays stand before a sandblasted marble wall.

The copper and stainless steel hangers are by Hay.

Top right Rufus Knight.

Above The dressing rooms have curtains in fabric by Dominique Kieffer. The salvaged oak parquet floors have a fine white wash.

Above right A ‘523 Tabouret Méribel’ stool

by Charlotte Perriand for Cassina.

Right A ‘Modo’ desk lamp by Jason Miller for Roll & Hill and a brass bowl by Tom Dixon sit atop the stainless-steel cabinet.

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Far left One of the early wringer washing machines, which Fisher & Paykel began to manufacture in 1939.

Left The world-first SmartDrive technology is re-engineered for Fisher & Paykel’s front loader range.

Below Gifford Jackson.

THE MORE THINGS CHANGE As Fisher & Paykel celebrates its 80th year, one of the company’s first industrial designers discusses his career.

TEXT

Jo Bates / PHOTOGRAPHS Nic Staveley (portrait) and Toaki Okano

New Zealand’s most enduring industrial designer, Gifford Jackson, launched an international career from the foundation of his early days as a design draughtsman at Fisher & Paykel. Jackson, who started out at the company in 1945, has designed everything from refrigerators to boats – a career that has afforded him numerous opportunities to demonstrate the deeper thinking his work can offer.

“We had the chance to really introduce a lot of improvements,” says Jackson, who remembers when Woolf Fisher imported the first automatic washing machine into New Zealand, marking a revolutionary change to the household. “The laundry has very much changed because of automatic washing machines and automatic dryers. Incidentally, in my house we still have the old washhouse from the late 19th century, where they had a copper originally, and washing was a terrible chore for women.”

It was the moment when industry and design merged that gave Jackson the career opportunities he was striving for. In 1949, he moved to New York where, over 17 years, he established himself as a gifted industrial designer.

“Joseph Sinel, a New Zealand designer in America, was really the first industrial designer, and one of the

first to use the term ‘industrial design’, although he claims he didn’t invent it,” explains Jackson.

“Industrial designers were brought on by ad agencies and we now owe a great debt to them because they were finding that engineered products in post-war World War I America just weren’t up to the standards of appearance. Companies went to almost any designer who had a bit of artistic flair to see if they could design products. I think that straight engineers are not capable of lifting a design out of the ordinary. Before that, products largely looked terribly ugly,” he recalls.

During his time in New York, Jackson worked with a number of pioneering designers, including Donald Deskey, Walter Dorwin Teague and Norman Geddes.

“They transformed the look of products in America – things started to really look different,” Jackson says.

Returning to New Zealand in the late 1960s, he became a consultant to Fisher & Paykel and initially designed an upgrade of exterior fridge door styling and a new generation of control knobs to the Shacklock range of ovens. “We tried to follow trends if they were very strong, but sometimes we made them,” he says.

Through his own practice in New Zealand, Jackson – who is now in his nineties – contributed 37 years as a design consultant.

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Appraisal No.853 [2014]

HOME What

was your inspiration for this shoot? wanted to work with a really sundrenched palette that spoke of the season. I was specifically inspired by ideas of surrealism, as well as a sense of sitting in a sun-filled courtyard in the low summer sun.

AMELIA HOLMES I

HOME How

did you choose the colours?

I wanted to experiment with the use of subtle gradations of colour instead of bright, high-contrast feature walls. I like how using two similar tones next to one another allows the colours to almost seamlessly blend together and play tricks with the eye. The way the colours influence each other by being in such close proximity is fascinating.

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PRESENTS

Summer Homes 82. A HOME BY FEARON HAY AT OMAHA 96. A HOME BY MITCHELL & STOUT BESIDE LAKE 108. A HOLIDAY HOME BY JOHN PUPUKE 118. ARCHITECT IRVING NEAR MANGAWHAI GUY TARRANT’S OWN AUCKLAND HOME 130. A SUMNER HOME BY JACK MANNING

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Looking from the kitchen to the homeâ&#x20AC;&#x2122;s rear courtyard, which is surrounded by a glass screen to ensure privacy from neighbouring homes.

The art of hiding in plain sight A new home at Omaha by Fearon Hay conceals itself behind an ethereal veil. / Henry Oliver PHOTOGRAPHY / Patrick Reynolds PRODUCTION / Amelia Holmes TEXT

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Below “You want to know what’s behind it because it’s not telling you everything,” says architect Tim Hay of the home’s glass exterior screen.

Omaha is a small beach town an easy hour’s drive north from Auckland. It is one of a number of northern holiday destinations that, in the last decade or so, has been developed to an almost suburban density. The streets on the south of the sandy peninsula are lined with two-storey holiday homes, weatherboard boxes that conform to a particular early-2000s approach to New Zealand modernism. Each rises to its maximum allowed height, trying to catch a glimpse of the water, but most have better views of their neighbours’ properties than of the bay.

Tucked in the corner of a beachfront cul-de-sac is a mysterious wall of opaque glass, held up by a repetition of thin steel beams. Behind the glass and steel, hidden from public view, is Dune House by Jeff Fearon and Tim Hay of Fearon Hay Architects, a luxurious yet modest home that recently won the ‘Villa’ category at the 2014 World Architecture Festival.

Dune House is an exercise in balance, between privacy and openness, beach and neighbourhood, luxury and simplicity. For Fearon Hay, the challenge was to design a home with a sense of light and openness while being acutely aware that in a neighbourhood where everyone is trying to see the water, everyone behind is looking at you if you’re closest to the view.

“When you drive through the streets, a lot of what you

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Right In the kitchen, a concrete island with brass insert is backed by a custom unit with brass and blackened edge detailing by Fearon Hay.

see are people’s attempts, or compositions, to create a sense of security from the street on the boundary,” Fearon explains. “We came from the point of view that if we just did it once with the building, and left the boundaries open and landscaped, it becomes the privacy and security and layering all at the building line – you get this one singular element that sits on site and that’s it. But that element is not impenetrable.”

The singular element is a semi-opaque glass wall that wraps around three sides of the property, containing and sheltering the house, courtyard and swimming pool. “We wanted the compound not to be this heavy, closed-in perimeter,” says Hay. “We tried to invert that and said, ‘What if the compound was translucent? What if it was light and let in late afternoon sun, that it wasn’t shadowing?’ The other version of that, at the height you need, is just a big black shadow, which means you don’t have any afternoon amenities. The idea of a veil that is light-permeable but private was something we were really excited by, so we started very early on with this idea of a wrap.”

The level of opacity of the glass was crucial. It needed to be opaque enough to provide privacy, yet transparent enough to allow light and ensure the compound didn’t feel like a fortress. It also had to be

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Interior architect and furniture designer Penny Hay worked with the owners and architects to achieve a sense of pared-back luxury. The custom concrete kitchen island with brass insert is by Fearon Hay. The ‘Groundpiece’ sofa is by Antonio Citterio for Flexform from Studio Italia and the ‘MFL-1’ standing lamp is by Serge Mouille from Cult. The rug is a custom design by Penny Hay.

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Left Architect Tim Hay’s silhouette is visible behind the home’s exterior screen, which shelters the home’s west-facing courtyard.

Below A bowl by Tom Dixon sits on the custom dining table by Penny Hay. The ‘Jak’ chairs are by Tait from Simon James.

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The home is an exercise in balance, between privacy and openness, beach and neighbourhood, luxury and simplicity.

The home opens completely on its eastern side to face the sand dunes of Omaha Beach.

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Top Curtains in fabric by Dominique Kieffer surround a bed designed by Penny Hay. The â&#x20AC;&#x2DC;Amorosoâ&#x20AC;&#x2122; chair is

by Tomoko Mizu for Vittorio Bonacina.

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Above left The courtyard holds an outdoor fireplace and swimming pool. The custom-made granite-slab table on a steel frame is by Penny Hay, with customised Tolix stools.

Above right The simple shower area features a marble floor.

Above right Long drapes soften the concrete and improve acoustics in the living area. The floor lamp is

by Serge Mouille.

strong enough to withstand the sometimes volatile weather that comes in from the Hauraki Gulf. After numerous tests, the perfect glass was found. It reveals little, but lets in the afternoon sun and glows softly from the home’s light at night. It hints, but reveals almost nothing. “You want to know what’s behind it because it’s not telling you everything,” says Hay. “There’s a nice play on wonder.”

While shielded from the street and neighbours, the house opens to the sand dunes and beach. As much as a retreat from the neighbourhood, it’s a response to the dunes, which dictate its levels and the way it frames the view. “The view is obvious. But often we have views of just horizon, because there’s not much out there, you always need a sense of foreground,” says Hay. “We were interested in this idea of the dunes and the house not being so high that if you’re on the upper level you actually lose all foreground.”

The focus on framing and foreground is present throughout, the view foregrounded by the dunes or framed by the house itself. Even in the farthest corner of the courtyard you can see the bay through the lens of the kitchen, living space and dunes.

The home is owned by an Auckland-based couple who wanted a getaway home near the ocean.

Dividing their time between the city and beach,

the 400-square-metre house (including garage and courtyard) functions as a genuine second home, not a holiday home. This distinction weighed heavily on the design process. Hay explains: “You need to have more of your lifestyle available to you in a second home than the real retreat nature of a beach house, which works in small intermittent bursts.” The openness of the living space, facilitating movement from the courtyard to the house to the terrace to the beach, provides a sense of relaxation. But by minimising the number of rooms and facilities (there are two bedrooms in a house easily big enough for four), the house has a casual, restrained luxuriousness, remaining simple, yet catering for all the comforts of home.

The interior is a collaboration between Fearon Hay and interior architect Penny Hay (Tim is her brother).

Full of concrete, linen and metallic highlights, the home is heavy but soft, luxe but not excessive. Among the most polished details are some of the most practical: tiles on the terrace remove sand from your feet as you return from the beach. Linen curtains soften the concrete, improve acoustics and enclose the living space as the nights cool.

A single vintage chandelier is the only flamboyant gesture. A jewel in the middle of a compound. Hidden from view, but open to the dunes.

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Below left Tim Hay (left) and Jeff Fearon.

Below right A view back towards the home from the dunes.

Right The plan of the home’s main floor. An additional bedroom and the garage are on a lower floor.

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01. Pool

02. Pool room

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03. Bathroom

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07. Main bedroom 08. Ensuite

Second floor

DESIGN NOTEBOOK Tim Hay on Fearon Hay’s award-winning beachside design.

What lead to the assertive emphasis on privacy for this house?

The street is very built up, residential. There’s the water and everyone in Omaha is trying to look that way. So if you’re front row, that’s great, but every neighbour behind you is trying to do the same thing.

So that vulnerability of being overlooked is something that we were mindful of.

Other than the view, what are your concerns when designing for the beachfront?

In New Zealand it doesn’t get really warm so you need to be aware of that. In the middle of summer, with a bit of breeze and the wrong temperature, that outdoor lifestyle you come to the beach for might force you inside. Things like courtyards, outdoor fireplaces and protection from the wind are important. There

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are these layers in our buildings that don’t remove the view that are really important to having a good lifestyle in these environments.

The house is luxurious, yet simple and modest in some respects. How did you balance those factors?

The building has been set up for [the owners’] lifestyle. Often, people set up spaces for requirements that might not be their own in anticipation of resale and other factors. This house has definitely been set up for how they want to utilise it, which didn’t require four or five bedrooms, but required multiple spaces for different things to happen. That’s the nicest thing about designing a home – you should design it for what you want rather than other expected outcomes.

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This photo “A lot of gymnastics goes on to try and particularise the rooms,” says architect David Mitchell. Here, a ‘Beat’ floor vase by Tom Dixon stands sentinel at the door to the music and TV room.

Inside is a ‘Tolomeo Mega Parete’ wall light by Michele De Lucchi and Giancarlo Fassina for Artemide, from ECC, and a ‘110’ chair by Poul M Volther for Hay, from Cult.

The artwork is by Stanley Palmer.

Right A pohutukawa leans over the lawn, which leads to a gracious sitting area before tumbling down to the lake’s edge.

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A little dance beside the lake A home by Mitchell & Stout Architects sashays down to the quiet shores of Aucklandâ&#x20AC;&#x2122;s picturesque Lake Pupuke. / Jeremy Hansen PHOTOGRAPHY / Toaki Okano PRODUCTION / Amelia Holmes TEXT

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Very few homes have the confidence to do a little dance. Architecture is, after all, a serious business, and getting a groove on rarely seems a sufficiently sober response to the constraints that inevitably loom on a building site. Yet when David Mitchell, Julie Stout and Julian Mitchell of Mitchell & Stout Architects designed the home on these pages on the shores of Auckland’s Lake Pupuke, getting loose is exactly what they did. “Julie kept drawing a sashay in the plan,” David remembers. “I was drawing zigs and zags and she was drawing curves. Being older, I was suspicious of the hard work involved in the curves.” But Julie’s sashay stayed, imparting a loose-limbed ease that inflects the entire home.

The home’s owners were friends for whom the Mitchell & Stout team had previously worked on a couple of commercial projects. They had admired Julie and David’s own North Shore home, a multistorey concrete confection near Narrow Neck Beach that was a finalist in this magazine’s 2010 Home of the Year award (you can see the home on our website, homemagazine.co.nz), and asked for something that worked in a similar palette.

The home here in Takapuna is a little more self-consciously neighbourly than Julie and David’s gloriously uncompromising pad: David calls it “a concrete

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house with an overcoat”, with a concrete lower level containing the living areas, and warm cedar boards and battens wrapping the upper floor. (On the home’s eastern elevation, the cedar cladding drops all the way to ground level, a gesture that felt a little less Brutalist to the neighbours who look at it from their timber home.)

The site slopes in a northeasterly direction down to the lake’s edge, but is too narrow to have ever allowed all the home’s living areas to enjoy wide­screen water views. The architecture therefore becomes as much about the journey as the destination.

Visitors pass through a gap between the garage and studio and follow a path that offers a glimpse of the courtyard before arriving at the home’s front door.

Once inside, the view of the lake is momentarily withheld by the sashay: the twin curves of a concrete wall and adjacent staircase, while daylight cascades from windows overhead (“the light that comes from above always blesses you somewhat,” David says). It isn’t until you round this bend that the lake – bestknown in many minds as the centrepiece of Maurice Gee’s novel Under the Mountain – comes into focus.

Water views, of course, can be the curse of many a home-design project, and the Mitchell & Stout team expended a lot of energy waltzing around them.

Left Looking from the sunken living room across the dining area to the kitchen. The concrete ribs and ply panels of the ceiling mark out a syncopated rhythm overhead.

Right David describes the design as â&#x20AC;&#x153;a concrete house with an overcoatâ&#x20AC;? of cedar board and batten on its top floor. Here, the groundfloor living spaces open into a north-facing courtyard.

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This page The generously sweeping staircase possesses a ballroom-like elegance, while skylights bring light deep into the space.

Right Reluctant to squander the views in one hit, the architects debated over how much lake to expose and which points it should punctuate. The â&#x20AC;&#x2DC;Venturaâ&#x20AC;&#x2122; dining chairs are

by Jean-Marie Massaud for Poliform from Studio Italia.

Once inside, the view of the lake is momentarily withheld by the sashay: the twin curves of a concrete wall and adjacent staircase.

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This page After following a narrow path between the garage and the studio, visitors arrive at the home’s front door.

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Right The sunken living room features a ‘PK25’ armchair by Poul Kjærholm for Fritz Hansen, from Cult.

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Left Large, lake-facing windows on the top floor offer generous views from the bedroom.

Right A small patio off the dining area faces the lake and features a ‘Tio’ table by Mass Productions from Simon James Design, and ‘Heaven’ chairs by JeanMarie Massaud for Emu from ECC.

“There was a lot of to-ing and fro-ing about how much view to expose,” David says. “Aucklanders are very prone to thinking if you’re paying a lot for a view you don’t want to waste it. But I was very keen to limit and focus views. In the end we squared it away with a good panorama from the bedroom and a little control from the sitting room.”

To achieve this sense of control, the living spaces – the kitchen and neighbouring dining area, a sunken living room and a separate TV and music retreat – are arranged in an artful pirouette. The TV room is tucked back towards the home’s entrance, while the dining and living rooms open onto the lawn that sweeps down to the lake in one direction, and out the back into a sunny, sheltered north-facing courtyard bookended by the separate studio in the other. Inside, the concrete ribs and ply panels of the ceiling mark out a syncopated rhythm overhead, pointing towards the lake from the living room, running transversely in the dining space and, in the TV room, radiating confidently into the curve that forms the back wall.

“A lot of gymnastics goes on to try and particularise the rooms,” David says.

Despite all this movement, there is a restful quality to these areas. Neighbouring homes are carefully edited out of sight, so all that remains visible is

the sunny courtyard and, out the front, a lovely pohutukawa draped over the lawn as it tumbles down to the shore. A generous living room window seat allows as much of a view of the lake as you could ever want. A timber step out to the courtyard doubles as a casual seat, while a little patio off the dining area offers another vantage point from which to pause and view the water. It feels completely relaxed, and more like a holiday home than any suburban residence has a right to.

Back in the entry hall, the staircase’s generous upwards sweep leads upwards with the kind of elegance you might find in an old-fashioned ballroom.

There are two guest rooms on the home’s northern elevation, both of them delicately craning their necks for the view. (The owners’ children have left home now, but were still coming to and fro when the home was being constructed).

At the front, the large windows of the main bedroom offer a more generous lake vista. But the journey through the home has a surprising conclusion: take a couple of delicate steps outside the main bedroom and you’ll find yourself on a green roof, a place where the architecture’s control of the view ebbs away, a spot in which to pause, breathe, and appreciate the unmediated marvel of the crater lake.

HOME NEW ZEALAND / 105

Below Ginny Pedlow, Claire Natusch, Julian Mitchell, Julie Stout and David Mitchell of Mitchell & Stout Architects.

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DESIGN NOTEBOOK Julie Stout of Mitchell & Stout Architects on designing for views.

The lake views from this site are lovely, but the site also offered challenges. What were they?

The site is narrow and constrained by a large public drainage easement to the south. However, the charm of the site, sloping gently to peaceful Lake Pupuke, completely enchanted us.

David talks about how you kept drawing a “sashay” in the plan. Why was this, and what do you think it adds to the house?

Well, a ‘sashay’ is always more gracious and interesting than a direct line, and what it does is form a protected space on the northern side for reflection.

The long site meant the sequence of spatial experiences had to be choreographed so that the house unfolds as you move through towards the view. So the entry court is contained, with a timber gate between two buildings. You peep over the wall at the garden court before entering the double-height hall. The

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curved concrete wall obscures the view but leads you down into the dining area where the lake can finally be seen. You can double back to the music/TV room overlooking the garden court or move up to the studio in the upper garden.

What do your clients – and you – like most about the house now it’s complete?

I know the clients love the peace of the house, much of which could be attributed to the lake, of course!

It is a very contained house. The views are focused.

That said, I like going out on the roof garden of the living room, which extends off the main bedroom. You can look back at the guest bedroom windows straining to see the view.

See Julie Stout and David Mitchell’s own North Shore home on our website, homemagazine.co.nz

Bathroom Bedroom Bedroom Bathroom Bedroom Roof garden

HOME OF THE YEAR 2015 — CALL FOR ENTRIES —

1s t P R IZE

$15,000

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 11, 2014.

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 2014 Home of the Year, designed by Nat Cheshire of Cheshire Architects. Photo by Darryl Ward.

ENTRY FORM

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 2014/15. 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 11, 2014. (10) The winning designer or designers of the Home of the Year 2015 will receive a $15,000 cash prize. Judging will take place in Feb/March 2015. A cheque will be presented at an award function in April 2015. The winner and finalists in the award will feature in the magazine’s April/May 2015 issue. The judges’ decision is final; no correspondence will be entered into.

HOME NEW ZEALAND / 107

With spectacular views in every direction, architect John Irving says he was spoilt for choice in terms of where to site the home on the 20-hectare section near Mangawhai, north of Auckland. Positioned between two established pohutukawa, the home looks out to the Hen and Chicken Islands, and has pastoral views aplenty.

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Sometimes it seems possible to see forever Architect John Irving designs a holiday home from which every summer looks perfect. / Simon Farrell-Green PHOTOGRAPHY / Patrick Reynolds PRODUCTION / Yvette Jay TEXT

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Left The views, changing light and reflections have something to offer at every time of the day.

A ‘Mater’ bar stool by Space Copenhagen from Cult is tucked beneath the stainless steel bench.

Right With a low-slung roof between three cedar-clad boxes, the home is discreet within its environment.

It’s the sort of dream location that, until quite recently, was out of reach for normal humans: a hilltop site near Mangawhai, north of Auckland, with what are surely some of the most spectacular vistas in the country. That was until the 2008 global financial crisis, which coincided with an oversupply of coastal property north of Auckland. The drop in prices allowed a pair of Auckland couples to pool their resources and build a holiday home to share on this ridgeline between two ancient pohutukawa, looking out to the Hen and Chicken Islands.

Sandi Piggin and Brent Varley had been looking for a coastal property for two years, but were coming to the conclusion that they couldn’t afford what they really wanted. Just as they began to give up, longtime friends Blair Stewart and Lisa Hamilton-Gibbs came on board. “We didn’t want to do something basic,” says Brent, a builder. “We wanted to do something special and we were looking for a special bit of land to do it on.”

They certainly got that. You arrive here along a narrow, rutted driveway that twists and turns, dives steeply, passes through patches of dense native forest and open pasture with sheep running ahead of you.

The house flits into view – a long, low-slung roof

between three cedar-clad pods. Then it disappears from view entirely until you reach the top of the driveway. Out the front, the sea rolls in to the beach far below. In the other direction is a farmland view to the Brynderwyn Hills. There is the wash of the sea, the whump of tui overhead and the baa-ing of sheep. You cannot see another house. “We got out of the truck,” says architect John Irving of his first site visit, before the owners had even made an offer, “and I’m like, ‘Holy shit. You’ve got to get this piece of land.’”

Irving’s design consists of the aforementioned cedar-clad boxes, which house two main bedrooms, each with ocean views, and two more bedrooms and a bathroom at the back of the house for the kids.

In between is a large, open space with a generous kitchen, living areas and a big open fire.

Varley – who owns Evolution Builders in Auckland – took two months off to build the house, as did Stewart, who “works with numbers” for a living but just felt he needed to help build and spent two months on the drop saw. The first step was to work out where to put the house. “It was one of the most relaxing sitings I’ve ever done in my life because there are 20 hectares around you,” says Varley.

All in all, it’s not an usual bach arrangement: the couples made it work by coming up with house rules

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Below The 220-squaremetre house boasts half its size again in decking.

Bottom Oak flooring, stainless steel benches and harmonious dark and light cabinetry offer a restrained interior that doesnâ&#x20AC;&#x2122;t detract from the wrap-around views.

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The architect’s desire for “infinity decks” certainly enhance the outlook. A ‘Dama’ solid cedar side table by CR&S Poliform from Studio Italia takes its place by the sofa, which is decorated with linen cushions from Atelier Textiles. Outdoors, a Becara silk and linen throw from Seneca is draped on the chair.

HOME NEW ZEALAND / 113

over rather a lot of red wine. Each couple gets one week on, one week off, then they share it for a week together and it’s in almost constant use. That’s made even more unusual by an architect with a vested interest. Early on, Irving offered to take part of his fee in nights at the bach over several years. “So I kind of bought into it mentally,” he says. “You generally don’t get to enjoy what you do in residential architecture.”

Now, it feels a bit like a posh encampment. Down both sides, large expanses of glass stacker doors – with no one to look in, there are no curtains – lead to huge decks on both sides, blessedly free of handrails.

“I wanted an infinity deck,” says Irving.

In summer, it is still, with the water far below rolling in like beaten metal. In winter, the place gets the full might of storms off the Pacific, exposed as it is on the ridge. Its owners say they actually like it more then, with the fire blazing and the storms pounding the house.

Materials are simple: stained cedar weatherboards and black anodised aluminium outside; oak floors, stainless-steel benches and dark and light cabinetry in the kitchen; off-the-shelf fittings in the bathrooms. “They haven’t spent anything frivolously,” says Irving. “They’ve paid where it needed to be spent and they haven’t where it doesn’t.”

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The interior layout is a simple yet effective arrangement that allows the two couples privacy – each has a bathroom – but also encourages engagement when the home is being shared. The only way in and out of the bedrooms is through the main central space. As the bedrooms don’t have doors leading onto the deck, people naturally flow into the central hall.

Remarkably, building a home together hasn’t ruined the friendships. Far from it. “I don’t think as individual couples that either of us would have taken this on,” says Blair. “It has doubled what we were able to do on our own.”

Above left A jug from Father Rabbit on the outdoor table.

Above A view down the cliffs to the rocky shore below the property.

Right The home sits on the ridge between two knolls and two pohutukawa. Taranga Island, part of the Hen and Chicken Islands, looms in the background.

In summer, it is still, with the water far below rolling in like beaten metal.There is the wash of the sea, the whump of tui overhead and the baa-ing of sheep.

HOME NEW ZEALAND / 115

Right Architect John Irving traded part of his fee for the opportunity to holiday at the home.

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DESIGN NOTEBOOK Auckland-based architect John Irving on designing for a spectacular site.

How does a view like the spectacular one from this site affect your design?

It was a strange one: the site felt a lot like cheating because you could look in any direction and it was beautiful. It had this natural dip between two knolls and between the pohutukawa, so we slung a roof between two blocks – it’s an old classic.

Your budget on this project was far from unlimite­d. What design strategies did you adopt to make the building economical?

With cost, it’s all about choosing your battles carefully and telling the clients my mantra: “the pleasure remains long after the pain has faded”. The clients

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are also friends so I kept my fee lean with the knowledge that I would be able to stay there from time to time, which has been brilliant. If anyone wants a beach house and they’re happy to share the love, I’m all over it!

A ridgetop site can be very exposed. How did you design the house to adapt to wind conditions and seasonal changes?

The large eaves over the decks create an eddy so you can open up to the easterly sea side or the westerly farm side, depending on the prevailing wind, time of day and your mood. On a calm day it’s all on. Spoilt for choice!

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Suburban inspiration is not an oxymoron How architect Guy Tarrant embraced the burbs when designing his own family home.

TEXT

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/ Simon Farrell-Green

PHOTOGRAPHY

/ Patrick Reynolds

Left Guy Tarrant designed his family home to ensure privacy without erecting a large front wall. He also worked with his neighbour to create a shared front lawn that is open to the street.

This photo Vertical glazing on the window backing the internal stairwell emphasises the double-height nature of the kitchen space.

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Left The home occupies its site in a linear manner, using side yards to allow space for a swimming pool and outdoor living.

Landscape designer Carol Bucknell has lent a subtle hand outdoors.

Right The expanse of shared lawn created by Tarrant and his neighbour mitigates the narrowness of the site and creates a sense of greater openness and generosity to the street.

Below right Tarrant walks up the stairs that lead to the main bedroom from the living area. His wife, Debra Millar, sits on the daybed below. The lights above the kitchen island are from Katalog. A George Nelson ‘Bubble’ lamp (available from Matisse) hangs above a dining table from IMO.

Architect Guy Tarrant didn’t intend to build a house in the burbs. But after selling the family home in Auckland’s city-fringe neighbourhood of Grey Lynn (it featured in our October/November 2005 issue), he and his wife Debra Millar embarked on a fruitless search for a site on which to build nearby.

The couple, who have a teenage daughter, wound up buying a long, narrow property further away in the suburb of Point Chevalier. It had a tiny wooden bungalow and was gently sloped, with the promise of a sea view if a new home had a second floor. “There was no attraction to it initially,” Tarrant says. “But the place grew on us.”

Point Chevalier is lovely, with its parks and sheltered tidal beaches and wide, safe streets. The largely post-war suburb is a hodgepodge of bungalows with the occasional 1980s infill home thrown in. There are wide front lawns and, more recently, architecturally designed houses replacing older ones. The existing homes are not protected by heritage controls, making them attractive targets for architects and builders.

It is undeniably suburban, but pleasantly so.

The neighbourhood’s sense of old-world openness – there are few high walls or big fences – partly drove Tarrant’s design process. The new house that replaced the old bungalow is built from bagged brick

and vertical cedar weatherboards. There is no front fence or wall – instead, a neighbour and Guy worked together to create a wide expanse of lush green lawn that is shared between both houses. Tarrant’s house faces the street in an open sort of a way, allowing a glimpse of the pool and the home’s garden, in contrast to the obsessively private approach adopted by so many contemporary homes.

Go through the oversized front door and you’re presented with a home that stretches its 300 square metres almost from one end of the site to the other. It’s a different strategy to that of the villas and bungalows of old, which were generally built close to their side boundaries and featured gardens at the front and rear.

“The idea was for the house to take possession of the site in a way that suburban houses don’t,” Tarrant says. “We didn’t want to have our living areas next to these other houses – we wanted to borrow from the other gardens.” There is an gentle sense of engagement with the neighbourhood, which might bother some people, but it also brings in a sense of space that the house would otherwise lack. “And honestly,” says Tarrant, “how many people actually walk down a quiet side street in Point Chev and stare in?”

The long, narrow house features a gradual progression of spaces from public to private. Tarrant’s

HOME NEW ZEALAND / 121

Left More than just a circulation space, the hallway, lined with oak bookshelves, forms a usable space in itself.

Adjustable cedar walls allow the night room to become fully enclosed.

The painting in the room is by Michael Stevenson and the â&#x20AC;&#x2DC;Hudsonâ&#x20AC;&#x2122; sofa is from Katalog.

Right Polished concrete floors and band-sawn cedar contrast to other, more refined materials, such as honed granite and oak cabinetry in the kitchen.

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An elegant staircase is a focal point of the combined living, dining and kitchen area. The double-height volume above the kitchen lowers to make the dining area a more intimate space.

The window enclosing the staircase borrows views of neighbouring gardens, and is inspired by mid-century churches.

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Left Sliding cedar screens echo vertical rhythms throughout the rest of the home. They also offer privacy and allow sunlight to be modulated.

Right The bagged brick exterior creates an almost fabric-like texture.

studio is at the front and, a little further along the hall, there’s a snug area to retreat to in the evenings, then the kitchen and main living areas. The bedrooms are upstairs, all enjoying harbour views: the main bedroom is up the grand staircase at one end of the home, and the other bedrooms and bathroom further east with their own staircase. It’s a neat separation of the home’s public and private faces. “In urban houses you’re always trying to control the journey between the street and private space,” Tarrant says. “In this house that’s controlled by verticality.”

Instead of a large back yard, there are carefully demarcated side courtyards – a morning courtyard on the eastern side, and an afternoon courtyard and pool on the west. There is no slavishly north-facing aspect, partly since the view that way is of a couple of 1980s infill townhouses, but also because Tarrant wanted to control where the light fell and to manipulate it throughout the day.

The volume of spaces within is carefully calibrated, with a lofty ceiling in the hallway that opens out into a double-height void above the kitchen, then drops lower over the dining and living areas, which are located below the main bedroom.

The home expresses a vocabulary Tarrant has been refining for years. A large and rather spectacular

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mullioned window by the staircase in the living room is inspired by mid-century New Zealand churches.

You can also see his fastidious attention to detail in the built-in cabinetry he designed, which was built

by Form Design. There are also deft touches of luxury, such as marble in the kitchen and bathrooms, which offset the polished concrete floors and roughly finished cedar and honed granite.

Most of all, Tarrant has slowly refined his approach to walls – or rather, to windows. “I always thought that a house was something that you experienced from the inside out,” he says. And so, house by house, he has designed homes that are less opaque, more containers for living than open boxes. As you come down the long, wide hall, there are glimpses of the pool and a west-facing courtyard. Tucked between the doors, in elegant built-in oak bookshelves with their backs to the western sun, is a collection of books and family photographs. On the walls around them, there are delicate, sun-sensitive framed works on paper. A more obvious approach would be to place a big wall of glass here – but as anyone with west-facing windows knows, that light can be fatal to the precious objects you collect. It makes you realise: this is a house that is both beautiful and carefully thought out, a house that is designed around the things its family holds dear.

HOME NEW ZEALAND / 127

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Right Architect Guy Tarrant.

Day bed Family room Bathroom Bedroom Void

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DESIGN NOTEBOOK Architect Guy Tarrant on designing his own home with neighbourly values.

So many homes wall themselves off from the street these days. What made you want your home to feel open to the street, and how did you achieve this without compromising privacy too much?

The house is relatively closed to the street on its southern side, apart from the generous window above the stairs, so I couldn’t see the point in putting walls in front of walls. I have a particular aversion to the walled front yard, which is so popular in Auckland.

We wanted to share the garden with the street, something which is common in American suburbia, and sharing the front lawn with the neighbouring house mitigates the narrowness of the site. Interestingly, the shared front lawn immediately made people assume we owned both houses, which gives an insight into people’s mentality – that they don’t do things like sharing yards, which is a bit scary.

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What are the benefits of designing for yourself?

You get to test ideas over a long period of time as your family’s needs evolve and change. It’s a good way to find out how well your designs work.

Older homes in the area are like squares placed almost in the centre of their sites. What are the benefits of occupying the site in a more linear way?

In the typical lot arrangement the house is sited in the front with a large back yard. My strategy was to stretch the plan to create more meaningful side yards. The pool is positioned in the western side yard, for example. By organising the plan this way, the master bedroom, kitchen, dining and day living are situated beyond neighbouring houses, creating better solar aspect, privacy and the opportunity to borrow views of neighbouring gardens and beyond.

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The home is designed to face the ocean views.

The double-height space at the centre contains the living area and mezzanine main bedroom.

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Who needs a summer getaway?

Sally Farmer and Cameron Rennie live, work and surf year-round from a home by Jack Manning near Christchurchâ&#x20AC;&#x2122;s Sumner Beach. / Adrienne Rewi PHOTOGRAPHY / Patrick Reynolds TEXT

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Right Relocating from Auckland to Sumner was a lifestyle choice for owners and avid surfers Cameron Rennie and Sally Farmer, shown here in their living room. The couple were keen to introduce a holiday essence to their home. Rennie sits on a sofa from Belle Interiors in Christchurch. Behind him is a Gordon Walters print.

The dominant artwork in the living area, hanging above the Vono sofa, is by Matt Small.

Left Tane the dog is ready to greet guests at the blue front door.

High above Sumner, on the side of a summe­rbaked slope, a cluster of modern homes creeps upward into Christchurch’s iconic Port Hills landscape. One of them hovers above the street with a zany self-assurance that is impossible to ignore.

Anchored by the hill, it opens out to spectacular views, hinting at the ease of bach living and summer holidays with an open design more often associated with warmer northern climates.

Those hints are well-placed. Owners Cameron Rennie and Sally Farmer – who describe themselves as obsessive surfers – moved to Sumner from Auckland just over a decade ago and were keen to create a house that alluded to the childhood holiday homes they had loved. “Everyone talks lovingly about their bach, so it made sense to us to replicate something of that holiday essence in our permanent home,” Farmer says. In turn, that ties in with Sumner’s early history as Christchurch’s popular beach holiday destination.

It’s also no accident that they chose award-winning Auckland architect Jack Manning to design their home. As the owners of L.A. Works, a landscape architecture practice, Farmer and Rennie spend a lot of time in Auckland, and a referral to Manning led them to an award-winning house he designed in the

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Auckland suburb of Glendowie. Within minutes of walking in, they knew he was their architect. “It was confident, refreshing, and quirky with multiple levels of interest,” Sally says. “It was the coolest house I’d ever walked into – like a Mondrian painting with lots of wood.”

Rennie’s preference for “something SwedishJapanese” resonated with Manning, who is now in his 80s. For him, ‘Swedish’ conjured up a preference for natural materials and having worked for Group Architects, where Japanese domestic architecture had been a major influence, he had a lot of empathy for the Japanese design aesthetic. “At Group Architects we were impressed by the absolute calm and serenity of Japanese houses and the ‘one-ness’ of interior and exterior when the screen walls were opened up,” says Manning.

Rennie and Farmer backed up their brief with photographs of homes they liked – “lots of good New Zealand houses with natural timber, plywood, wall openings and decks, all with a wholesome lack of ostentatious materials. I got a very clear idea of their parameters,” says Manning. “The interesting thing about the house was its brief to be quite different to the average family house. They live together, work together, cook together, eat together and take their

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Left Rennie surveys the sea view from the mezzanine bedroom, which opens onto a balcony through the door behind him. The red door below him leads to the kitchen.

Right The red, yellow and blue highlights of the kitchen cabinetry are echoed in the exterior architectural detailing.

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Left Sally opens one of the bold lacquered storage cabinets in the mezzanine main bedroom, which is positioned above the living area. The flooring is matai.

Top The roof over the homeâ&#x20AC;&#x2122;s mezzanine bedroom tips upwards towards the west to draw late-afternoon sunlight into the home.

The coupleâ&#x20AC;&#x2122;s home office is at lower left.

Above left Rennie and Farmer often cook together, so Manning designed a kitchen island to facilitate this.

For more, see our kitchen design feature on p.143.

Above right Rennie and Farmer opted for low-maintenance plants in the landscape design of their property.

HOME NEW ZEALAND / 137

This page Rennie and Farmer run their landscape architecture firm, L.A. Works, from their office at home. The sea views make it easy to check the surf conditions.

Right The living room and kitchen open onto the home’s large deck.

leisure and travel together. The house needed to enhance their shared lives.”

Sitting at their informal teppanyaki-style dining bench in the kitchen wing, where bright red and yellow cabinets interject between timber floors and sea-blue lacquered walls, the couple is delighted with their choice of architect. “We got exactly the right guy,” Farmer says. Adds Rennie: “It’s open, airy, casual and people instantly relax when they come here.”

The home’s versatility is one of the features with which the couple is most happy. They can go from the openness of the kitchen and dining area to the darker, contained intimacy of the low-ceilinged living room.

They can throw open doors to a huge deck sheltered from the easterly, and they have the potential to turn the office space into a third bedroom if they wish.

Upstairs, in the mezzanine bedroom, they can relax and feel like they’re “floating off the site”.

Within its 205 square metres, there are visual surprises to discover too – the way the window awnings cast shadows through the rooms; the bright bursts of colour inside and out, where Manning has highlighted an architectural detail in the same bold red, blue and yellow that punctuates the interior cabinetry. And there are unexpected shutters that disguise themselves in interior timber detailing.

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Easy-going principles have been applied to the landscaping, which Rennie and Farmer created themselves. Retaining walls are made from rocks from the site and low-maintenance, massed plantings focus on large, glossy-leaved plants such as puka puka, the tractor seat plant Ligularus renniformis, and natives including pohutukawa.

“We usually go surfing at least twice a day and when we’re not working, we don’t want to be tied to our garden,” Farmer says. “For us, Sumner is a lifestyle choice and in the wake of the Christchurch earthquakes, which hit the village badly, the community has pulled together and there’s a real caring feeling here.” (The house suffered only minor earthquake damage).

“We’re still discovering things about the house,” she adds. “It’s not a place that reveals itself all at once and it has an ability to transform itself for summer and winter living. We’re enjoying that. It has a timelessness to it. You have to be rigorous when you choose your architect. You’re engaging an artist and you have to like their work. It’s a real Jack house and we love it.”

HOME NEW ZEALAND / 139

Second floor

First floor

Ground floor

DESIGN NOTEBOOK Architect Jack Manning on working remotely and the joys of residential architecture.

You visited the site once before building and once after. What was the biggest challenge of the ‘remote’ design process?

Communication was not a problem and progress photos were sent by Sally or my “eyes on the ground” local architect. The biggest void is that although you have the photos, you cannot get an accurate feel for the spaces, their volume and the actual interaction of materials and colours as they’re being built.

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Given so much of your career has been focused on the commercial, what do you enjoy about residential architecture?

The big difference between residential work and commercial, educational and public buildings is that the former cater for the personal, intimate, day-to-day living needs of distinct individuals, while the latter are more general, more impersonal, more multi-purposed and public-oriented. Residential work calls for a lot of human empathy, small-scale sympathetic details, materials and colour to generate feelings of warmth and a sense of belonging to the human race.

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Waiheke Island

A kitchen for entertaining

144 / HOME NEW ZEALAND

K:01

Benchtop 30mm-thick granite in ‘Super White’ from PSP. Island table constructed from American white oak, designed and made

by Cronin Kitchens, with a grey wash stain and clear satin polyurethane by Wallace Furniture Finishers. Tapware ‘Ringo’ sink mixers in black by Paffoni from Mico. Appliances Fisher & Paykel fridge-freezer and integrated CoolDrawer, Bosch ovens, induction hob and extractor power pack, Miele semi-integrated dishwasher.

Chairs ‘Masters’ chairs by Philippe Starck from Kartell.

SUMMER LIVING A generous kitchen

by Morgan Cronin makes life easy for cooks and guests.

What were you asked to achieve with this kitchen? MORGAN CRONIN The kitchen sits between the home’s two pavilions and looks out to a sheltered courtyard, alfresco dining and sea views [the home was designed by John Irving]. The owners asked for a relaxed feel, suitable for entertaining friends and family. They needed a table to seat up to eight people, lots of fridge and freezer space, two ovens and an area to conceal everyday appliances.

Photography / Kallan Macleod

What made you locate the hob on the island instead of the back wall? The advantages of having the sink next to the hob for cooking and cleaning are obvious. And it’s important to have enough space on the back wall to house appliances and reduce clutter – behind the doors there’s a large pantry and bench with its own sink. The aesthetic advantage as seen here is that on the back wall you get a clean-cut look that is not broken up into sections by benchtops, wall tiles, extractors and so on. And there are social advantages – there’s no need to have your back to anyone, or the view, while working in the kitchen.

What’s the idea behind the double sinks facing each other on the island? The second sink on the outside of the island has a pull-out drinks fridge next to it. This area caters for the constant flow of noncooks who seem to come from every direction of the house and outdoors to get a drink or a glass of water, without having to enter the cooking zone.

HOME NEW ZEALAND / 145

K:02

ARCHITECTS

LOCATION

BRIEF

Bach kitchen

Herbst Architects

Waiheke Island

A kitchen to make holiday living easy

A holiday home renovation

by Herbst Architects makes summer living simple.

Photography / Jackie Meiring

GREAT ESCAPE

KITCHEN 02

This is a kitchen in an open-plan living area.

How did you decide where to locate it in this space, and how do you control the way it relates to the other living areas?

NICOLA HERBST This was a renovation, so the kitchen and lounge area was pre-determined by the existing floor area that we had to use. Two options existed: either positioning the kitchen at the rear of the space or alongside the deck. The client favoured the closer relationship between the lounge and the deck, rather than the kitchen and the deck.

You often talk about how holiday homes are used differently to permanent homes, and how you design for these differences. How does this apply in a space like a kitchen? LANCE HERBST In this bach, as with most that we design, the dining function has been absorbed into the kitchen, thereby eliminating the need for a separate dining space or room. We do this as most meals at holiday homes can be enjoyed outside under cover.

146 / HOME NEW ZEALAND

How did the design of the back wall, with its clerestory windows and rangehood, develop?

NICOLA HERBST We established early on that glazing was necessary at the rear of the space for light and view. With the positioning of the kitchen it became necessary to design glazing above the storage cabinets. A window behind the back bench allows for visual contact with the rear of the site. A slim rangehood drops through a slatted ledge – a continuation of the timber frame that orders the cabinets.

How did you choose the material palette?

LANCE HERBST A frame and infill arrangement provide an ordering device for the kitchen and living room cabinetry. The cabinetry frame also ties in with the main architectural concept and gives a nod to mid-century design and the previous incarnation of the bach. The frame is Pacific Jarrah and the infill cabinetry boxes are clad in cedar veneered board.

The timber veneer relates to the external cedar cladding and internal wall battens and screens.

Cabinetry Pacific Jarrah cabinetry and western red cedar veneer storage boxes designed by Herbst Architects and fabricated

by Wood-tech. Appliances Fisher & Paykel refrigerator and extractor, Ilve oven, Asko dishwasher. Tapware ‘Cox’ by Paini from Metrix. Drawer and cupboard handles From Katalog.

Benchtops Brushed stainless steel benchtops with kitchen tabletop in Pacific Jarrah.

Lighting ‘Octo’ pendants by Seppo Koho for Secto from Simon James Design. Track and spot lighting along rooflight from Prolux. Hidden T5 compact fluorescent strip over cabinetry boxes either side of back benchtop. See more of this home in our Bach Design Guide on p.35.

K:03

ARCHITECT

LOCATION

BRIEF

Island kitchen

Jack Manning Architecture

Sumner, Christchurch

To create a kitchen for more than one cook

A kitchen by Jack Manning places cooking at the centre of the action.

Photography / Patrick Reynolds

SOCIAL HUB

KITCHEN 03

You’ve designed the kitchen and dining area as a separate space, rather than being part of an open-plan living area. Why is this?

JACK MANNING I was originally trying to design the whole house more or less as a single space but I found it just didn’t work. I decided it was worthwhile having a second space. You might want privacy from each other at times and it’s nice to have a separate space to go to from the living room – it has an element of change and surprise about it. The process of eating around a dining table is so important in family dynamics that you really want to make something special of it.

How did you go about designing the kitchen space itself? I was very impressed talking to [owners] Sally and Cameron – they very much enjoy cooking together and it got me thinking that if you’re going to do that, you don’t want to cook against a wall, so it seemed best to create an island cooking area and treat that like a little jewel in the room. They can be on either

side of the island cooking away and at the same time the island unites both the cooking and eating process together. Their guests can sit around at the dining table while they’re doing the cooking, which suits the sort of people that Sally and Cameron are. The cooking area morphs into the dining table.

You’ve been bold with colour here. Well, there’s not a hell of a lot of colour and all of it is focused on the island cooking area and dining table. There’s a large red sliding door which is quite a strong colour – it was a good opportunity to get some colour in that doesn’t interfere with the scheme. But most of the room is fairly neutral except the island itself got particular attention in shape and colour and materials. I think the blue cabinetry reads as kind of a neutral, too.

Cabinetry High-gloss lacquer on MDF particle board, designed

by Jack Manning. Kitchen island in rimu with high-gloss lacquer on MDF particle board designed

by Jack Manning. Benchtop Stainless steel (in far window), with rimu island and attached table designed by Jack Manning.

Dining chairs ‘Organic’ chair by Charles Eames and Eero Saarinen for Vitra (available from Matisse). Pendant light ‘Saucer’ pendant by George Nelson for Herman Miller (available from Matisse). See more of this house on p.130.

HOME NEW ZEALAND / 147

K:04

ARCHITECTS

LOCATION

BRIEF

Open-plan kitchen

Michael Fisher, CPRW Fisher

Parnell, Auckland

For a workspace in an open-plan kitchen

In a compact home, this kitchen had to cover a few bases.

Photography / David Straight

READY TO ENTERTAIN

KITCHEN 04

What were you asked to create in this space, and how did you respond to that brief?

MICHAEL FISHER, CPRW FISHER We were asked to create an open-plan kitchen and home office for professional clients who are passionate about food, wine and entertaining. Our clients wanted a space that can be enjoyed casually with friends over coffee and is also capable of presenting as a backdrop to dinner parties.

We incorporated a large back kitchen and pantry area into the design, which allows the vertical appliances and preparation area to be housed and work alongside the open-plan kitchen.

How did you choose the material palette?

Because the townhouse is quite compact we chose a palette of materials that made the kitchen part of the overall living space and not a dominant feature. The back wall was, however, the main elevation of the space so a feature splashback of travertine marble has been incorporated to anchor and enhance this face.

148 / HOME NEW ZEALAND

What is your advice for making a kitchen a successful part of an open-plan living space?

Incorporate a butler’s pantry into the design and, if possible, make it large enough to work as a back kitchen allowing preparation and serving while entertaining to be seamless.

Benchtops Engineered composite Caesarstone in ‘Osprey’.

Splashback ‘Marble Ocean’ travertine in Black from SCE Stone & Design Flooring Natural limestone tile in ‘Champagne Grey’ from European Ceramics.

Cabinetry Johannes Erren cabinetry lacquered in ‘Mt Aspiring Double’ by Dulux.

Tapware ‘Elio’ mixer by Dornbracht. Oven Toledo Rangemaster. Lighting Recess lighting by Delta from Inlite.

Joinery APL Architectural series in Dulux colour ‘Electric Cow Kinetic’. Barstools ‘BCN Sgabello’ stools by Harry & Camilla for Kristalia from Matisse.

Studio chair ‘Kalmar’ chair by CRS Bonaldo from Studio Italia.

K:05

ARCHITECTS

LOCATION

BRIEF

Bach kitchen

Scarlet Architects

Pahi, Kaipara

For an easy-going holiday kitchen

A new kitchen for holiday living among the manuka.

Photography / Simon Devitt

GOING BUSH

KITCHEN 05

This is a kitchen for a holiday home. Did this mean you designed it differently to a city kitchen? JANE AIMER, SCARLET ARCHITECTS Holiday home kitchens need to work for communal food preparation, so we design bench spaces that can be used in the round. In this house, the island and the bench face the outdoor room when the sliding doors behind it are opened.

This is a relatively compact room that also contains dining and living spaces. How did you manage the kitchen’s relationship with these other areas? This is such a compact space that the kitchen had to become a seamless part of the whole space. To achieve this, the kitchen cabinets are part of a whole wall design which incorporates the fireplace in the living area.

You had to incorporate an old wood stove into this space for the owners. How difficult was it

to accommodate, and how do they use it?

The old stove was in an old house on the property and was carefully stored for years while the owners contemplated their future bach. They have planted an orchard and imagined they might use the stove to make jam. There are challenges to incorporating such a stove as it needs a hearth and fireproof surrounding surfaces. We achieved this by folding the bench surface down each side, and extending the splashback tiles along the back

Benchtops Engineered stone by Caesarstone. Tapware Grohe from Paterson. Tiles Southern Cross Ceramics and ‘Avantgarde’

by Refin, all supplied by Jacobsen. Appliances Westinghouse oven, Fisher & Paykel dishwasher. Cabinetry designed by Scarlet Architecture, fabricated by Parklane Kitchens & Interiors. Pendant lights Pendants by George Nelson from Inlite. See more of this home in our Bach Design Guide on p.60.

What are the best ways to keep the budget under control in a holiday home kitchen?

For a remote house you need to use quality materials, as getting items fixed can be a trial. A budget kitchen is likely to be a false economy. You need to use hard-wearing and durable materials and fittings to cope with intense periods of use. And it’s always sensible to select appliances with a reasonably local service provider.

HOME NEW ZEALAND / 149

KITCHEN 06

DESIGNER

LOCATION

BRIEF

Kitchen renovation

Janice Kumar Ward, Macintosh Harris

Northcote, Auckland

To create a workable family kitchen

150 / HOME NEW ZEALAND

K:06

Cabinetry Kitchen installation and lacquered cabinetry by Ward Manufacturing. Island front in Australian Blackbutt timber panels.

Tapware Mini spin kitchen mixer

by Zuchetti from Robertson.

Tiles White marble herringbone mosaic tiles from Design Source.

Benchtops Reused stainless-steel benchtops re-polished by Pacific Stainless. Lighting Pendant lights from Douglas + Bec, white spots from Prolux and LED strip from Bright Light. Appliances Liebherr fully integrated fridge, Smeg oven.

Barstools ‘Tangerine’ barstools

by Simon James for Resident from Simon James Design.

FRESH FACE A family-friendly kitchen update by interior designer Janice Kumar Ward.

What kind of kitchen were you asked to create here, and how did you respond to that brief?

JANICE KUMAR WARD I was originally enlisted to work on the interiors of other areas in the clients’ home and was asked to help work out how they could house a desk unit in their kitchen. The original kitchen was lovely but it didn’t work for them, and had no connection to the underutilised (and rather large) laundry space behind it. I was asked to provide a classic but edgy design that was practical, child-friendly and utilised as much of the old kitchen as possible.

Photography / Duncan Innes

What were the spatial constraints you were working within, and how did you manage them? My first epiphany was that we could turn the laundry out the back into a scullery by cutting into a brace wall, adding a cavity slider and fitting out the former laundry with great cabinetry. I hate waste and wanted to reuse what I could out of the former kitchen – the stainless-steel benchtops, for example, were in perfect order so we got them cut down, re-polished and re-installed.

How do you balance the needs for a kitchen to be functional and good-looking? Creating timeless practicality was my goal. The former kitchen was a cold grey on concrete floors and had concrete accents, which had dated considerably in a short space of time. It also lacked any connection to the great storage room located directly behind it. The choice of finishes immediately balanced this out for me. The charcoal handles and details such as the marble herringbone mosaics will age beautifully over time. With the addition of the Australian Blackbutt island front, we’ve used finishes that are warm and easy to live with, that little hands can explore without too much concern.

HOME NEW ZEALAND / 151

K:07

ARCHITECT

LOCATION

BRIEF

Family kitchen

Guy Tarrant Architects

Pt Chevalier, Auckland

A smart kitchen in an open-plan living area

An architect’s own kitchen carefully delineates its space.

Photography / Patrick Reynolds

IN THE ZONE

KITCHEN 07

Your kitchen is in a long open-plan area in your own home. How did you go about delineating the kitchen zone in this space, and how did you decide on its optimum size? GUY TARRANT A change in ceiling height defines the kitchen zone and adds spatial drama, with a high clerestory capturing afternoon light. The additional volume here makes the kitchen feel dramatic and generous. We wanted it to be large enough to accommodate two or more people cooking together at the same time.

How did you choose the material palette?

We wanted a very simple, functional space enriched by contrasting materials and textures, which is why I used timber and stone. In particular,

152 / HOME NEW ZEALAND

the timber adds richness and warmth to the space, and it is a material that wears gracefully.

This is your own home. What do you enjoy most about using the kitchen space? It is really the focal point of the house. It’s a space we gather in as a family and where guests tend to congregate. The dramatic stair window opposite connects it directly to the garden and it’s a space in which the light is always changing.

Lighting ‘Vinci B’ pendant lights and ‘Half Big Brigg’ LED uplights

by Steng Lights from Katalog.

Benchtops Honed granite from Italian Stone. American oak cabinetry designed by Guy Tarrant and fabricated by Form Design.

Tapware Dornbracht mixer from Metrix. Appliances Bosch ovens and hob; Fisher & Paykel fridge; Asko dishwasher. Bar stools ‘Artek’ stools by Alvar Aalto, available from IMO. See more of this house on p.118.

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HOME NEW ZEALAND / 153

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style safari PRESENT

2014

CHRISTCHURCH

We took a tour of Christchurch’s most influential design stores.

In October, 40 HOME readers enjoyed an exclusive tour of great design in Christchurch, hosted

by HOME editor Jeremy Hansen.

The day of design briefings began with coffee and a presentation of Cult’s Scandinavian favourites. Next, we took in the latest offerings at Matisse’s Victoria Street showroom, followed by a fantastic lunch at King of Snake. The afternoon began with a rundown on the latest furniture and lighting arrivals from Milan at ECC in the KS Lighting showroom. Next, the team at McKenzie and Willis briefed our guests on their latest indoor and outdoor furniture arrivals, as well as their expansive selection of interior design services.

Luxaflex’s experts then talked us through their range of the latest window treatment options, including their Q-motion wireless automated rollershades. The day ended in the McKenzie and Willis showroom with champagne and canapés, as our group – and our event partners, ASB Private Banking – toasted a day of great design.

Clockwise from top left: The ‘Bretagne’ sofa by Poltrona Frau at Matisse; chairs set up for the presentation by Cult; a bedroom with the Luxaflex ‘Silhouette’ shades; limited-edition ‘CH24’ chairs

by Hans Wegner for Carl Hansen & Son at Cult; our guests at the KS Lighting showroom for ECC’s presentation; the 1976 ‘Sinus’ chair by Reinhold Adolf and Hans-Jürgen Schröpfer for Cor at ECC; guests gather in the Matisse showroom in Victoria Street for one of our design briefings.

HOME NEW ZEALAND / 159

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MY FAVOURITE BUILDING The Dowse Art Museum director Courtney Johnston loves a Lower Hutt modernist icon. “‘Radical’ and ‘uncompromising’ were some of the words used frequently when Ron Muston’s St James’ Anglican Church was dedicated in 1953. I’d add ‘honest’ and ‘uplifting’. Seeing those concrete lines lit by bright, hard sunlight is one of my favourite things.

Maybe growing up in New Plymouth, with the 1960s gems of St Joseph’s and the Methodist church in Liardet Street, switched me on to modernist church design before I even knew about architecture. At the end of university I worked on a Plischke exhibition and fell for St Mary’s, the church he designed in Taihape.

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“Lower Hutt’s St James’ church set the tone for the formation of the city’s civic precinct in the 50s.

Muston went on to design the War Memorial Library and Little Theatre; the administration buildings by Keith Cook followed. The local council promoted them as a reflection of the city’s ‘progressive attitude’.

“Muston designed the original Dowse Art Museum in 1971. The façade has changed several times but the back of the building is still his, and our offices are built around his walls. I feel lucky to be part of this still-fresh piece of New Zealand history.”

Russell Kleyn

new showroom now open studio.italia 25 Nugent St, Grafton, AKL - info@studioitalia.co.nz - www.studioitalia.co.nz - phone +64 9 523 2105