HOME NEW ZEALAND The Art Issue.
Five NZ homes master the art of easy living Inside the abodes of artists and collectors An Auckland villaâ€™s smart reinvention Bold, blissful bathroom designs
Free Art Poster Exclusively for HOME by John Reynolds FEBRUARY/MARCH 2015 HAE_1502_1_28839_2.0_ 1
FEB/MAR 2015 $10.90 inc gst
21/01/2015 2:33:29 p.m.
Authentic Craft Metallic Modern
Tom Dixon introduces some overdue additions to the popular Beat family, inspired by the sculptural simplicity of traditional water vessels used in India. The new table and floor lamps have a slender articulated arm that can be adjusted to direct the light beam, along with the familiar handbeaten shade. New colours of matt grey and gold extend the pendant
range and match perfectly with the cog candelabras and bowls from the Tom Dixon accessory range. We have custom displays of Tomâ€™s industrial style in all our showrooms, so stop by soon to be inspired. Mike Thorburn Managing Director, ECC
Auckland Wellington Christchurch Sydney Melbourne Brisbane Milano
Architect: McCoy + Heine Architects. Builder: Percival Construction Ltd.
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ART HOUSES 66.
Artist John Reynolds and his revamped Auckland villa
An architect, an artist and a bright red box at Orua Bay
Stevens Lawson design a magical home among Te Hengaâ€™s sand dunes
The loving restoration of a 1970s Thames classic by Franz Iseke
Ceramicist Amanda Shanleyâ€™s lofty Otago Peninsula perch
contents HOME NEW ZEALAND / 07
Inside Fuzzyvibes, the artist-run gallery on Auckland’s Karangahape Road. Photograph by David Straight. For more, see p.19.
34. FRESH EYES
ART & DESIGN 19. NON-WHITE CUBE
Auckland art space Fuzzy Vibes 23. DESIGN FINDS
Our favourite new design items 29. DESIGN NEWS
Meet Julie Eizenberg, Home of the Year 2015 international juror
36. DESIGN MINDS
44. THE BEST OF WEST
Architectural heavyweights at the In:Situ conference
Mitchell & Stout design Te Uru, Titirangi’s new public gallery
38. MEET ME IN THE SQUARE
50. A LITTLE BIT COUNTRY
Photographer David Cook remembers 1980s Christchurch
International gallerists Hauser & Wirth head for Somerset
58. GREY MATTER
Studio Italia’s gorgeous BEING BRANDED new showroom, plus Billy Apple’s major new shopping info retrospective
Celebral combinations of art and design
128. STYLE SAFARI
Our design store tours 130. BATHROOMS
Bold bathroom designs 136. JULIE EIZENBERG
The 2015 Home of the Year lectures 140. SUBSCRIBE TO HOME
Never miss an issue 146. MY FAVOURITE BUILDING
Trish Clark’s gallery 08 / HOME NEW ZEALAND
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10 / HOME NEW ZEALAND
Photography / Emily Andrews. Architect/ William Tozer
See more of HOME online.
Stay in touch online homemagazine.co.nz @homenewzealand, @_jeremyhansen facebook.com/home.nz.mag @homenewzealand
Photography / Mark Smith
Top left Artist John Reynolds in his Auckland villa, photographed by Patrick Reynolds. See more on p.66. Top right Stylist Amelia Holmes and photographer Toaki Okano mix new art with ﬁne furniture, p.58. Above left Ceramicist Amanda Shanley’s new home on the Otago Peninsula, designed by Kerr Ritchie Architects and photographed by Paul McCredie, p.116. Above right Architect Pete Bossley in his Orua Bay studio, photographed by Simon Devitt, p.80.
We’re delighted to welcome a very special collaborator on this, our annual Art Issue. Artist John Reynolds is a New Zealand Arts Foundation Laureate, a two-time Walters Prize ﬁnalist, and has been a headline act at the Sydney Biennale, among many other achievements. He lives with his wife, Claire McLintock, and their daughters Hart and Vita in a villa in the Auckland suburb of Ponsonby. He purchased the home in the late 1980s, and he and Claire had done very little to it until they embarked on a recent major renovation designed by Malcolm Walker (you can see it on p.66). Nowadays, it still presents a very traditional villa facade to the street but is full of marvellous surprises inside. We were already planning to feature the revamped house when it suddenly seemed to make sense to ask John if he’d be interested in helping us out with a few other things. He has used text in many of his artworks, most famously in ‘Cloud’, the gorgeous installation of more than 7,000 small canvases bearing words and phrases from The Dictionary of New Zealand English that was commissioned for the Sydney Biennale and is now in Te Papa’s collection. With this track record, we were more than happy to entrust him with reimagining the masthead on our cover (and adding some artfully placed spots), creating the typography for the openings of each of the ﬁve featured homes, and dreaming up the free poster you’ll ﬁnd in this issue (you can read his explanation of “Empty Room Theory” on the following page). John’s intelligence and enthusiasm made the whole process a joy, and this issue is all the better for it. It made me think about how the best collaborations are always based on trust, a fact to which the homes in this issue strongly attest. All of the homeowners and architects in these pages have placed the utmost trust in one another and succeeded in creating something unique and marvellous together, whether the project was large-scale or small. We hope their stories inspire you, now or in the future, to collaborate in the creation of a special home of your own. Jeremy Hansen, Editor
On March 2, our Home of the Year jury goes on the road to select New Zealand’s best new home. This year we’re delighted to welcome Los Angeles-based architect Julie Eizenberg as the international member of our jury (you can read more about her stellar career on p.34). She’ll be joining me and the designer of last year’s winning cabins, Nat Cheshire, as we visit the homes shortlisted for the award and choose the winner and ﬁnalists. Our thanks to our Home of the Year sponsors, Altherm Window Systems, for making Julie’s visit possible. I invite you to follow our judging journey online via our Facebook, Twitter and Instagram feeds. As well as announcing the winner and ﬁnalists in the Home of the Year 2015, our next issue is a bumper celebration of the 20th anniversary of our Home of the Year award. Watch out online for your chance to vote for your favourite home from all our previous Home of the Year winners in our People’s Choice Award, which we’ll be announcing at our special 20th anniversary dinner in April.
HOME NEW ZEALAND / 11
Artist John Reynolds at work reimagining our masthead for this issue. He also provided the typographic treatments that open each feature, and your free poster with this issue.
You’ve also created a poster for this issue. What was your thinking behind it? Empty Room Theory might be understood as a corollary to the Butterﬂy Effect, a phrase which refers to the idea that a butterﬂy’s wings might
12 / HOME NEW ZEALAND
create tiny changes in the atmosphere that may ultimately alter the path of a hurricane. Thus we might suggest an empty room is rich with the potential of seemingly minor events which may unexpectedly amplify, spiralling in dramatically unpredictable loops and storylines. You were a particularly skittish cover model. Do you not often stand still? In our Age of the Selﬁe we might all perhaps be a little more accommodating of the portraiture/posing process. Somehow that equanimity still deserts me. Your refurbished villa is in this issue. What are your favourite things about your new pad? Walking back into our new house after a recent stay in Canberra happily emphasised for me the heightened play of daylight and the generosity of the high articulated spaces. The rigour and mass of the in-situ concrete walls belies, of course, their delicate
wood-textured surfaces and the poised sculptural alignments of these very un-villaesque features. And the real daily pleasure of living and working in a dry, insulated, and stable home which maximises site and orientation to light and privacy, cannot be overstated. Bookshelves, storage and a real kitchen have also catapulted us from perpetual student living to a happy category of contemporary domesticity. What are you working on, apart from your obsession with hoovering your lovely new home? My current work revolves around a territory circumscribed in BLUTOPIA, a new book created with Arch MacDonnell and Laurence Simmons. Traversing the Kermadec project, to the Higgs Boson Blues and Nomadology, l hope the book posits a kind of blue manifesto. And, yes, living with carpet for the ﬁrst time in over 30 years has added a new daily ritual: espresso with vacuuming.
Left ‘Empty Room Theory’, the free poster created by John Reynolds to accompany this issue. Above BLUTOPIA, a new book by Reynolds that posits a “blue manifesto”.
HOME Thanks for the cover treatment. How did you decide what our masthead needed? JOHN REYNOLDS One of the more productive tendencies in my art practice seems to be the happy misreading of words or text as pure drawing. So the cover typography for HOME continues this recent play on words dissolving, collapsing or unravelling toward their fundamental drawn scaffolding. A word as a pictograph. With a similar economy of expression l tend to garland or festoon this varying legibility of the drawn word with an implied solar system of dots or efﬂorescences. This provides a compositional pull of orbits and scale shifts, a pictorial grammar of ﬂares and fullstops.
In association with
A home at Te Henga by Stevens Lawson Architects, photographed by Mark Smith. For more, see p.92.
QHZ Editor Jeremy Hansen Creative Spaces. Five NZ homes master the art of easy living Inside the abodes of artists and collectors
Art Director Arch MacDonnell Inhouse Design
An Auckland villa’s smart reinvention Bold, blissful bathroom designs
LQVSLUDWLRQÀRZ Get inspired with the new The Range fashion colours fandeck, packed full of the latest designer paint colours and complementary colour suggestions for 2015 and beyond. Available now at your local Resene ColorShop or reseller!
Free Art Poster Exclusively for HOME by John Reynolds
On our cover, a photograph by Patrick Reynolds of artist John Reynolds (who also redesigned our masthead for this issue), his wife Claire McLintock and their daughter Vita at their Auckland home. For more, see p.66.
Chief Executive Ofﬁcer Paul Dykzeul Publisher Brendon Hill Commercial Director Paul Gardiner
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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 email@example.com +64 9 308 2721 (tel) +64 9 308 2769 (fax) Bulk/Corporate Subscriptions firstname.lastname@example.org +64 9 308 2700
Contributors Jo Bates Julie Hill Amelia Holmes Katie Lockhart Maria Majsa Gregory O’Brien Henry Oliver John Reynolds Photographers Emily Andrews Simon Devitt Paul McCredie Toaki Okano Patrick Reynolds Mark Smith David Straight Simon Wilson
Advertising Auckland Liezl Hipkins-Stear email@example.com +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, Oct 2013 to Sept 2014: 11,190 copies. ISSN 1178-4148
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Beach rentals While we’re still in summer mode, you might want to plan your next beach holiday. Check out the range of architecturally designed beach rentals on our site, including this beauty (right) on Great Barrier Island by Fearon Hay.
Home of the Year This year marks the 20th anniversary of the Home of the Year award. View pictures and short web ﬁlms of the previous winners online, and watch out for our online competition to choose the best home of the past two decades. Our jury goes on the road to choose New Zealand’s best new home from March 2. Editor Jeremy Hansen will be giving updates from the judging journey on Facebook, Twitter and Instagram.
John Reynolds You can see artist John Reynolds and his wife Claire McLintock’s home in this issue. Online, check out Reynolds’ backyard studio (below right), also by architect Malcom Walker, and see the artist at work.
Top Oruawharo Cottage on Great Barrier Island by Fearon Hay, one of the homes in our online roundup of the best beach rentals. Middle Watch video of Eyrie, the Home of the Year 2014 winner, and browse our gallery of all the previous winners of our award. Left Artist John Reynolds’ home is in this issue. Online, see images of his studio, also designed by architect Malcolm Walker.
facebook.com/HOME.NZ.mag @homenewzealand #homenewzealand
Artist John Reynolds’ backyard studio by
16 / HOME NEW ZEALAND
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THE NON-WHITE CUBE AN ARTIST-RUN AUCKLAND SPACE FINDS AN ANTIDOTE TO WHITE-WALLED AND FLUORO-TUBED CONVENTION. Henry Oliver David Straight PRODUCTION: Amelia Holmes TEXT:
Fuzzyvibes is an artist-run gallery in a subterranean room on Auckland’s Karangahape Road. Opened in February last year by artists and recent graduates of Elam School of Fine Arts at the University of Auckland, the gallery has pursued a relentless schedule. Under directors Ophelia King, Liam Pram, Nina Lloyd and Emil Dryburgh, the gallery has presented more than 20 exhibitions in its ﬁrst year, each lasting between one night and three weeks. As part of the gallery’s hectic schedule, every member of the gallery was allocated a slot to exhibit their own work or curate the work of others. Two of
the members, King and Lloyd, recently combined their allotted weeks to transform the gallery’s interior, rethinking its colour and shape and inviting artists to respond to the colourfully renovated space. Rather than framing their work with the traditional blank slate of stark white walls, muted ﬂoors and bright ﬂuorescent lighting, the artists were forced to contend with a pre-existing set of aesthetic elements. “We decided that we were sick of having a white cube – with all the ﬂuoros on and the blinding situation that it is,” King says. “So we went down this semi-architectural path – both being obsessed
HOME NEW ZEALAND / 19
Previous page When creating the architectural installation for exhibiting artists, Fuzzy Vibes gallerists Ophelia King and Nina Lloyd drew inspiration from Luis Barragán. Left The stairwell at the entrance to the gallery was custom-made by Powersurge Artistry in Steel. Right Emil Dryburgh, Ophelia King, Nina Lloyd and Lady, the resident Fuzzy cat, in the courtyard. Far right With a palm to greet visitors, the peachy pink Karangahape Road entrance to the gallery was complete.
with Luis Barragán – and wanting to set up a different precedent for three groups of artists to work in.” The painted ﬂoor was stripped, a column was painted bright red, and a wall painted peach. Another wall was painted a deep, dark blue, with a shallow pond built below (Resene helped out with the paint). The ﬂuorescent lights were switched off in favour of directional lighting from behind the gallery walls. “We just went for it,” King says enthusiastically. “We were like, ‘Okay, we’re just going to be little interior designers for a while. We would love to see an indoor pond, we’re just going to do it and just not think about it too much or over-conceptualise the whole thing.’” Each artist dealt with the pond differently: King and Lloyd ﬁlled it with water, Owen Connors and Lewis Prosser with milk (which curdled to a cottage-cheese like consistency), and Ella Sutherland and Dawn Marble ﬁlled it with ﬂower petals. King and Lloyd asked each of the participating artists to leave one piece in the gallery for the next artist to work with or around, forcing the artists to respond to what came before them and consider what would come next. By the end of the project, the gallery looked like a group
20 / HOME NEW ZEALAND
exhibition, with King and Lloyd’s interior design co-existing with the remnants of three exhibitions and a ﬂower-ﬁlled pond. The experiment has left a lasting impression on the gallery. “It has been an interesting journey for us because we began on the default setting, all white walls and beige ﬂoors,” says Dryburgh. “But it was always our hope that we not end there and, that through some less arbitrary process, come to something that was our own. And I think we’ll try to ﬁnd a format which isn’t white walls and grey ﬂoors, in which we can invite artists.” “We’re apprehensive to take it back completely to a white cube again,” King agrees. “Sometimes I think things do look better in a white room, they just do. But I don’t think that we should presume that they do. I don’t think we should presume that everything is superior in the format that we know it to be in. It’s important to push those boundaries. “You should have seen Fuzzy when we moved in. It was orange spirals and blue splattered walls. Why did we think, ‘Oh yeah, let’s paint the walls white and make the ﬂoor beige?’”
Right The water feature – or indoor pond – within the architectural installation by Lloyd and King. Below The courtyard outside the gallery on Auckland’s Karangahape Road.
Fuzzyvibes 151 Karangahape Road Auckland fuzzyvibes.com
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CHEAP EATS PHOTOGRAPHED BY KEN DOWNIE
FRESH START NEW-YEAR PIECES TO DESIRE AND ACQUIRE. 04
01—'Bébé Crescent Moon' purse by Georgia Jay, $95 from Georgia Jay, georgiajay.com 02—'Teti' side table by Prospero Rasulo for Zanotta, $1500 from Studio Italia, studioitalia.co.nz 03—'Iro' bureau by Jo Nagasaka for Established & Sons, $10,313 from Simon James Design, simonjamesdesign.com 04— Rug by & tradition, $545 from Design Denmark, designdenmark.co.nz 05—Brooch set by Marni, $315 from Scotties, scottiesboutique.co.nz 06— Visor by Bronte, $95 from Scotties, scottiesboutique.co.nz 07—'Casablanca' sofa by Paola Navone for Baxter, $26,885 from Cavit & Co, cavitco.com 08—Clothes brush by Kent, $49 from Crane Brothers, crane-brothers.com 09—Wooden stool, $125 from Flotsam & Jetsam, ﬂotsamandjetsam.co.nz. Edited by Amelia Holmes.
HOME NEW ZEALAND / 23
TONE IT DOWN SUBDUED HUES GET THE NOD.
01—Silk handkerchief by Esme Winter, $84 from Everyday Needs, everyday-needs.com 02—Slate plate by Menu, $42 from Simon James Concept Store, store.simonjamesdesign.com 03—Bridle hide coin purse by Ettinger, $155 from Crane Brothers, crane-brothers.com 04—Toiletries bag by Everyday Needs and Deadly Ponies, $69 from Everyday needs, everyday-needs.com 05—Linen apron in chambray by Fog Linen, $79 from Father Rabbit, fatherrabbit.com 06—Chloe candlesticks and candles, $79 (left) and $59 from Zoo Warehouse, zoowarehouse.co.nz 07—'Hunter' archival pigment ink photograph (2013) by Roberta Thornley, $2750 from Tim Melville, timmelville.com 08—'Egyptian' chair by Ole Wanscher for Carl Hansen & Son, $2308 from Cult, cultdesign.co.nz 09—Crystal lamp, $370 from Flotsam & Jetsam, ﬂotsamandjetsam.co.nz. Edited by Amelia Holmes.
24 / HOME NEW ZEALAND
NOMADIC & TRIBAL RUGS
BOLD AND BEAUTIFUL DESIGN PIECES THAT MAKE A STATEMENT.
01—'Lightly Together' oil on board by Milli Jannides, $2,800 from Hopkinson Mossman, hopkinsonmossman.com 02—'Junk' ring by Stolen Girlfriends Club, $259 from Superette, superette.co.nz 03—'Alouette' mirror by Paola Navone for Baxter, $1495 from Cavit & Co, cavitco.com 04—'BeoPlay A 2' portable speaker, $549 from Bang & Olufsen, bang-olufsen.com 05—'Journal' table by Cameron Foggo for Nonn, $4058 from Simon James Design, simonjamesdesign.com 06—Brass scissors, $95 from Rather Rabbit, fatherrabbit.com 07—'Mr Mini' wallet by Deadly Ponies, $215 from Superette, superette.co.nz 08—'Drop' chair by Arne Jacobsen for Fritz Hansen, $667 from Cult, cultdesign.co.nz 09—'Shape Up' pendant light by Ladies and Gentlemen, $1960 from Douglas + Bec, shop.douglasandbec.com. Edited by Amelia Holmes.
26 / HOME NEW ZEALAND
Architect: McCoy + Heine Architects. Builder: Percival Construction Ltd.
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SHOW ME MORE STUDIO ITALIA STEPS UP INTO A GORGEOUS NEW SHOWROOM.
Some of Italy’s ﬁnest furniture brands look better than ever in Studio Italia’s vast new Auckland showroom, which celebrates its ofﬁcial opening in February. With 1100 square metres of light, airy space (25 percent more than their old store) over two levels, key brands such as Flexform, Zanotta, Arﬂex and Poliform furniture and wardrobes are now showcased in custom-designed zones, along with two show-stopping Varenna kitchens. Architect Lawrence Sumich designed the space – including the ﬂuid lines of a central steel-and-oak staircase – in collaboration with the Italian design studios who develop spaces for each of the ﬁrm’s brands. “Every year the core brands we represent enrich their collections with exciting new designs,” says Studio Italia director Valeria Carbonaro-Laws. “Now we can showcase more of their work, in an environment that makes it easy for people to visualise what it would be like having these items in their own homes.”
01—In front of the Varenna kitchen for Poliform is a ‘Ben Ben’ sofa by Cini Boeri for Arﬂex and a ‘Katrin’ chair by Carlo Colombo for Arﬂex. 02—The showroom has a dedicated zone for Poliform’s wardrobes and furniture. 03—A ‘Derby’ chair by Noe Duchaufour Lawrance for Zanotta. 04—A ‘Ventura’ chair by Jean-Marie Massaud for Poliform.
VALERIA CARBONARO-LAWS’ FAVOURITE ITEMS IN STORE NOW
01—‘Ladle ‘ chair by Luca Nichetto for Arﬂex. 02—‘Ipanema’ chair by Jean-Marie Massaud for Poliform. 03—‘Ventura Lounge’ chair by Jean-Marie Massaud for Poliform.
STUDIO ITALIA 25 Nugent Street Grafton, Auckland 09 523 2105 studioitalia.co.nz 03
HOME NEW ZEALAND / 29
Over 874,000 readers every week Another reason to be sold on Property Press
NZ’s best-read property supplement Another reason to be sold on Property Press
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DREAMY GREENS GARDENING JUST GOT MORE AESTHETICALLY PLEASING.
Everyday Needs is going gangbusters on gardening, with a new range of tools and accessories that’ll have you inspired to get outside and sow your autumn crops. New products in store and online include buckets, sun hats, secateurs, English watering cans made of titanium and designed in 1886 by John Haws, and fetching garden bags designed in collaboration with local label Deadly Ponies.
EVERYDAY NEEDS 270 Ponsonby Road Auckland 09 378 7988 everyday-needs.com
01—Garden bag by Everyday Needs and Deadly Ponies, $95. 02—‘Longreach’ watering can, $169. 03, 04, 05—Vegetable seeds, from $4.
CRAFTED CARPETS FLOOR COVERINGS WITH A DIFFERENCE.
Artisan Flooring has expanded its already large number of ﬂooring options with the addition of the ‘Nomad’ range, a collection of ﬁnely woven artisanal rugs hand-made in India (a red version is shown at right) that use a durable hardtwist woollen pile and come in beautifully soft shades. We’re also keen on Artisan’s vintage Moldavian kilims, which feature a profusion of petals on dark backgrounds, all woven in hand-spun sheep wool. ARTISAN FLOORING 96 St Georges Bay Road Parnell, Auckland 09 302 2499 artisanﬂooring.co.nz
HOME NEW ZEALAND / 31
CLOSE TO HOME AUSTRALIAN DESIGNER ADAM GOODRUM’S NEW FURNITURE RANGE.
Cult Design is best-known for representing illustrious Scandinavian brands, but this month they add their own products to the range in collaboration with inﬂuential Australian designer Adam Goodrum. The designer has previously worked with design houses Tait and Cappellini, among others. Goodrum’s suave, curvaceous range for Cult includes a bed, armchairs, tables and the handsome ‘Fat Tulip’ sofa (right) and arrives in Cult’s Auckland showroom in February.
CULT DESIGN 73 The Strand Parnell, Auckland 09 379 4466 cultdesign.co.nz 01—‘Fat Tulip’ sofa by Adam Goodrum for Cult, $12,652. 02—‘Aran’ bed by Adam Goodrum for Cult, $7578. 03—‘Fat Tulip’ chair by Adam Goodrum for Cult, from $7100.
DESIGN STEALS ECC BRINGS HOME THE BARGAINS WITH A NEW STORE.
Bargain hunters will be delighted with ECC’s new store, Level One (across the road from their Auckland ﬂagship), which offers big discounts on genuine design originals: furniture, lighting and accessories. Open Fri, Sat and Sun, 10am-4pm. Sadly, we can’t guarantee all the items at left will be in stock by the time you visit. LEVEL ONE 18 Nugent Street Grafton, Auckland 09 379 9680 levelone.co.nz 01—‘Piani’ table lamp by Ronan and Erwan Bouroullec for Flos. 02—‘Titan’ pendant by BTC. 03—‘York’ lounge chair by Rodolfo Dordoni for Minotti. 04—‘Peg’ chair by Tom Dixon.
32 / HOME NEW ZEALAND
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FRESH EYES AN INNOVATIVE ARCHITECT FROM CALIFORNIA JOINS OUR HOME OF THE YEAR JURY.
This year we’re celebrating the 20th anniversary of our Home of the Year award. The entries are in, and judging will take place in the ﬁrst week of March. Thanks to the generosity of our Home of the Year sponsor Altherm Window Systems, we’re delighted to welcome Los Angeles-based architect Julie Eizenberg as the international member of our three-person Home of the Year 2015 jury (Nat Cheshire, the designer of last year’s winning cabins, is also on the jury with me). Originally from Australia, Eizenberg moved to Los Angeles in 1979 and established Koning Eizenberg Architecture with fellow Australian Hank Koning, who is also her husband. The ﬁrm has gone on to win more than 90 awards and a reputation for rule-breaking, eco-friendly design in everything from private residences to libraries, hotels, museums and mediumdensity affordable and social housing. Eizenberg may be Australian, but she’s come to be regarded as quintessentially LA in her design approach. Her ﬁrm’s “taste for combining frugality and verve in the same project, and for juxtaposing serious architectural ideas with informality and references to Pop Art, ﬂows directly out of a singularly LA tradition,” wrote Christopher Hawthorne, architecture critic for the Los Angeles Times, in an article on the ﬁrm. Says Eizenberg: “There’s something about coming from New Zealand or Australia that means you look at things with a fresh eye.” In 2012, Eizenberg won the American Institute of Architects Los Angeles Gold Medal in recognition of lasting inﬂuence on the theory and practice of architecture. She is a frequent advisor to the US Mayor’s Institute on City Design, lectures around the world, and comes to us fresh from a stint as a super-juror at the World Architecture Festival in Singapore. She hasn’t visited New Zealand since she was a kid, so we’re looking forward to showing her the work our architects have been creating. She’ll give lectures in Auckland (on March 2) and Christchurch (March 4) – ticket details at the link below. Please join us for what will be a fascinating couple of talks. –JEREMY HANSEN
Tickets at eventopia.co/eizenberg
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01—03 The Sobieski home in Pasadena is made up of a series of pavilions and has an outdoor screening area. 04—Koning Eizenberg added a wing of affordable apartments to a landmark LA building. 05—The Belmar Apartments, a sustainable housing project in Santa Monica. 06—Inside Hancock Lofts in Santa Monica.
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DESIGN MINDS INTERNATIONAL ARCHITECTS ARE COMING TO ADDRESS YOU.
The New Zealand Institute of Architects hosts of bevy of architectural stars at In:Situ, their conference at Auckland’s Viaduct Events Centre in February. The good news is that some of the talks are accessible not only to conference delegates, but to interested members of the public. The ﬁrst is an architectural heavyweight who designs buildings of sublime lightness – Japanese architect Sou Fujimoto, who won the top award at the World Architecture Festival in 2008, designed the Serpentine Summer Pavilion in London in 2013, and was last year named Architecture Innovator of the Year by the Wall Street Journal. He’ll be speaking at 6pm on Tuesday February 10. Booking is essential; you’ll ﬁnd tickets are for sale at the link on the following page.
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BRITAIN’S SAM JACOB LOVES TO PROVOKE.
British architect, writer and provocateur Sam Jacob is speaking at the In:Situ conference, and tickets to his talk on Wednesday February 11 are available to the public. He was a founding director of FAT (Fashion Architecture Taste) and curated the mash-up of Brutalism and Pop that formed Britain’s exhibition at the 2014 Venice Architecture Biennale. He has good advice about designing homes, too. “Think of your home,” he says, “as a place that helps you develop and experiment with the possibilities of your identity, family and ways of living rather than something that ﬁts in with external expectations.” His talk in Auckland promises to be full of such thought-provoking nuggets. IN:SITU NZ Institute of Architects Conference 2015 February 10-13 Viaduct Events Centre Halsey Street, Auckland Tickets at insitu.nzia.co.nz
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DISTINCT FLAVOUR PHOTOGRAPHER DAVID COOK PRESENTS AN EXHIBITION OF A FASCINATING PORTRAIT OF A DIFFERENT AGE: 1980S PRE-QUAKE CHRISTCHURCH.
HOME The exhibition and book of your photographs of Christchurch, Meet Me in the Square, are amazingly compelling. How did the exhibition happen? DAVID COOK I started taking the photographs in 1983 when I was 23 and in my ﬁnal year of art school at the University of Canterbury. I decided to look at my home town as a year-long project. It’s easy to look at exotic things far away, but I looked at the fabric of everyday life. I had spent some of my younger years growing up in England and the US. When I came back aged about nine, I was struck by how peculiar Christchurch was – it had a real distinct ﬂavour. I never found the city boring. I realised how diverse the subcultures are that make up a place and how everyone can belong. I would take my camera everywhere – I became obsessed with the idea of eventually creating a book. Thirty years later I made the exhibition.
Did the earthquakes stimulate your desire to look back at your earlier work? Visiting my family after the February quake in 2011 and going to the red zone, I felt really moved to look at the city again. I was struck by how many awful photographs I’d taken, but the ﬂip side was experimenting, so there was a lot of stuff that really worked. The photographs had a freshness to them. I could see recognisable strands to build into a narrative that said something about identity. Every city is transitional. Transitions are more abrupt and rapid here but even without the quakes, you would look at the photos and think this place has changed. DAVID COOK: MEET ME IN THE SQUARE Until May 24, 2015 Christchurch Art Gallery 209 Tuam Street, Christchurch christchurchartgallery.org.nz
01—Among the detritus at Lancaster Park after a NZ vs England one-day international cricket game (1983). 02—At the Cathedral Square bus stop (1984). 03—Anglicans gather at Cathedral Square (1984). 04—Punks contemplate the news (1983). 05—A cadet drill at Christ’s College (1983). 06—A giant kiwi at Colombo St (1984).
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BEING BRANDED ARTIST BILLY APPLE® AND THE JOURNEY FROM POP ART TO RIGHT NOW.
HOME Why Billy Apple, and why now? CHRISTINA BARTON, CURATOR I think Billy
Apple is the outstanding senior New Zealand artist who has not yet had a full-scale retrospective at a major metropolitan institution in this country. It’s long overdue. He’ll be 80 at the end of this year and he’s receiving considerable attention internationally. His work has remained extremely fresh and topical.
What part did he play in the Pop Art movement? He was there right at the start in London and then in New York in the early 1960s. His background in advertising and design lent a particular slant to the contribution he made. He was working alongside people like David Hockney and Andy Warhol, who were extremely adept at becoming media fodder: they crafted their personalities to become celebrities. Billy Apple changed his name and his identity to re-create himself as his own art object and his ﬁrst solo show was designed to launch this ‘new’ product, so he took what they were doing a step further. In replacing Barrie Bates with Billy Apple he refused to separate his life and his art. He’s been living with the consequences ever since. His work is so varied. How would you describe what links the works in the exhibition? He has always been interested in ideas. Right from the start he’s taken the latest media and technologies to convey these ideas, and used the skills of others to realise them. It has always been a ‘hands off, head on’ approach. This gives the show a particular look and feel, despite the wide range of media and formats. Putting it all together you can see the consistency of his approach, even as it evolves over the decades. Billy has continually tested the concepts of ‘art’ and ‘the artist’ as they operate under current conditions. This makes his work timely and challenging. Getting to grips with his work will reveal how one person has negotiated the complexities of modern life, but it’s also a great way to understand the nature of contemporary art as it has unfolded since the 1960s. BILLY APPLE®: THE ARTIST HAS TO LIVE LIKE EVERYBODY ELSE 14 March – 21 June Auckland Art Gallery Toi o Tamaki Kitchener Street, Auckland aucklandartgallery.com
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01—‘Art Declared Found Activity’ (Silver gelatine print, Alicante Spain, 1960). 02—‘The Golden Apple’ (22 carat gold, 1983). 03—‘Motion Picture Meets the Apple’ (offset lithograph on paper, 1963). 04—Billy Apple photographed by Mary Morrison. 05—‘Two Minutes 33 Seconds (painted cast bronze, 1962/2010).
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Left Limited edition prints by Elliot Collins (far left), Sarah Maxey (upper right) and Kris Sowersby (lower right) created in conjunction with Inhouse Design using Dulux Colours of New Zealand®. See a short ﬁlm of the artists at work on our website, homemagazine.co.nz.
COLOUR WAYS THREE ARTISTS CREATE LIMITED-EDITION PRINTS USING DULUX COLOURS OF NEW ZEALAND®
Dulux has partnered with artists Kris Sowersby, Sarah Maxey and Elliot Collins to celebrate the Dulux Colours of New Zealand®. All three artists work with text and language in some way in their work, yet each comes from different disciplines and traditions. Kris Sowersby is a type designer, Sarah Maxey is a designer and illustrator, while painter Elliot Collins creates works with his own poetic texts. Each artist has used the Dulux Colours of New Zealand® range as inspiration for a series of limited edition artworks that feature on the cover of the new Dulux fandecks.
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Elliot Collins is a poetic painter who operates in what he describes as a “world of free associations”, frequently using words to “visualise the stuff of thoughts”. Elliot’s texts are almost entirely his own words. Drawn from a kind of visual diary, they have to prove themselves “paint worthy” and have usually been around for several years before they make it in to one of his paintings. ‘Before you go’ is an uplifting piece that uses a variety of vibrant colours from the Dulux Colours of New Zealand® range, ﬁnished in gold-foiled text.
Sarah Maxey is a graphic artist, typographic illustrator and book designer. Her distinctive work has graced publications worldwide, including the New York Times and numerous literary books. In 2011 she was awarded the Purple Pin at the Best Awards, the highest graphic design accolade in New Zealand. Sarah’s work explores both colour and language. Her artwork, ‘I’m All Ears’, depicts what she describes as “a conversation between a big person and a little person”. It was created using letterpress inks colour-matched to Dulux Port Hills and Poor Knights from the Dulux Colours of New Zealand® range.
Kris Sowersby is a type designer based in Wellington. His typefaces are used by designers and art directors worldwide and can been seen in a vast array of applications from New York Magazine to the Vine app. Sowersby’s typefaces combine historical knowledge with rigorous contemporary workmanship and ﬁnish. To create this artwork, Kris has used the letter ‘z’ (a letter synonymous with New Zealand) from his recent typeface, ‘Domaine’. The letterform has been foiled on to handmade brush-outs using four new Dulux Colours of New Zealand® – Dulux Big Lagoon, Colombo Street, Lochiel and Manaia.
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A light diffusing lantern designed by Mitchell & Stout Architects ﬁlters light into a second-ﬂoor gallery at Te Uru.
THE BEST OF THE WEST A bold new public gallery by Mitchell & Stout builds on west Auckland’s rich creative history. TEXT:
PHOTOGRAPHY: Patrick Reynolds
“They’re pretty outspoken,” says architect David Mitchell of the folk of Titirangi. We’re in the central Auckland ofﬁces of Mitchell & Stout, the ﬁrm Mitchell co-founded with his partner Julie Stout, talking about the teal-ness of their new art gallery Te Uru (which means west wind). The architects have spent more than a decade engaging with the denizens of the west Auckland suburb of Titirangi during the restoration of Lopdell House – for 80 years the majestic peach jewel of Titirangi Road – and construction of a brand-new adjoining gallery. Spectacular Te Uru rises to its task as west Auckland’s ﬁrst major home for contemporary art. A wide glass entrance welcomes visitors into ﬁve galleries arranged over four ﬂoors, plus nooks, crannies and exposed staircases, all of which offer glimpses into each other and to the glorious outdoors. Originally, the architects wanted to use pre-patinated copper, which is teal, so they obtained and received consent. “It’s a serious business getting resource consent in Titirangi,” says David. “They’re sensitive up there. We had public meetings and what-not.” However, the cost proved prohibitive and to bring the project back on budget, they switched to an
aluminium exterior and painted it the colour it would have been as copper. “The response has been mixed,” says David. “If it’s not faun or one of those [greyish] colours, someone objects.” The wondrous beauty of the Waitakeres has long been a secret shared among artists. Colin McCahon’s house in nearby French Bay is now home to an artist’s residence and museum. Maurice Shadbolt, Brian Brake, Len Castle: all Titirangians. Tim Finn wrote the beautifully bitter song ‘I Hope I Never’ here. In 1927, Frank O Peat’s Treasure House was the ﬁrst stab at a cultural building in the area. Its celebrated wares included natural history items, polished kauri gum and Maori curios, which later found their way to the national museum. It also boasted a souvenir shop. “A most charming place for a day’s picnic,” gushed the Auckland Star of the destination. Two years later the building that would become Lopdell House opened nearby: the magniﬁcent but doomed Hotel Titirangi. It was not only isolated but was nicknamed ‘the pub with no beer’ because of its failure to obtain a licence. “But it was a very bold thing to do,” says Julie Stout. “We have heritage photos and it was this three or four-storey building in a paddock. There were no trees, just grass and here’s
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The refurbished Lopdell House (left) now boasts a rooftop terrace and connects with Te Uru Waitakere Contemporary Gallery at right. The artworks in the lower window are by Gregor Kregar.
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A view of Te Uru’s main staircase. Architect David Mitchell says the design is like choreography: “People are on the move and you’re choreographing the unfolding views and enclosures that they see.”
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Top The architects rejected outright the proposal to transform Lopdell House into a gallery, instead designing Te Uru as a purpose-built companion to the refurbished building.
Above A walkway in the new Te Uru building. Right The glass wall enclosing the stairwell at the rear of the building offers spectacular views to the Manukau Harbour.
this urban building on a dirt road corner in the wopwops – what were they thinking? It’s extraordinary!” Upon its immediate failure, the pub had various careers as a home for deaf children, teachers, yoga practitioners and thespians. “It’s had a checkered history,” says David, “with a lot of constructional failure.” A few years ago in Tauranga, Mitchell & Stout had turned a bank into an art gallery, and in Auckland they had magicked NEW Gallery from a telephone exchange (that gallery was closed when Auckland Art Gallery opened its recently expanded and renovated building just across the road). But Lopdell House was too hard to transform. “We went away and said, ‘this building was designed as a hotel’,” says Julie. “There was no way you could turn what they had into a proper functioning gallery space.” Climate control, lighting, storage and security were inadequate. “It had a window every three metres,”
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says David, “and we don’t believe that you take top heritage buildings and brick in the windows. Matter of principle. But we are architects!” “So we suggested turning the heritage building into what it wanted to be,” says Julie, “and put back into that space proper dining facilities, then take the whole gallery function and make a new building.” As with the gracefully restored dining room, Lopdell House’s most attractive new feature had been there all along: a rooftop observation deck. Photos from the 1930s show punters perambulating stylishly among rock gardens and a ponga hut. But by the 80s, the entire roof had been covered with a hideous convention centre. “So we said we’ll turn it back to what it was and link it back up to the art gallery,” says David. What to build next door, he says, “was very much decided by the old building”. Te Uru is a vertical stack – tall and slender to avoid having to spread through the bush, which is “very precious to Titirangi people”, says David. “We conceived of it as a piece of choreography. If you’re a dance choreographer, you choreograph the movements of people in space. And if you’re an architect choreographer, the people are on the move and you’re choreographing the unfolding views and enclosures that they see.” David’s son Julian Mitchell, who also worked on the gallery design, takes a tour through the new spaces, explaining how the architects have tried to bring natural light into each space and diffuse it. A triumphant example hangs from the second ﬂoor ceiling: an “Anish Kapoor-like thing”, or “light-diffusing lantern” that is an unmistakeable architectural presence in a space dedicated to art. “There’s this funny thing – is [the gallery] art in its own right, standing in the way of art?” asks David. “Well, it is art in its own right but it doesn’t stand in the way of art. We don’t see a contrast between the two and we don’t think a lot of artists do either.” Te Uru director Andrew Clifford is excited that the region’s heavy art hitters, including Judy Millar, Gavin Hipkins and Michael Parekowhai, now have a gallery worthy of showing their work. “We’ve got a repurposed building so we can loan from anyone. We’ve got some major works coming from Te Papa and shows from Auckland Art Gallery and the Dowse next year. We’re at the table now with all those other institutions,” he says. As for that exterior colour, now the building’s ﬁnished David Mitchell says he’s “extremely glad it’s not the colour of the bush, and I rather like its slightly synthetic quality. Some people like it and some people don’t, and if I were to look at the colour of their houses I probably wouldn’t like it either.” The other architects crack up laughing. “The arrogance!” says Julian. “But he can get away with it.” “Because when you’re in your 70s,” roars David, “you don’t give two fucks about anything!”
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Top Architect and designer Luis Laplace worked on the farmhouse interior and the building’s restoration. Above A stainless steel milk pail by Subodh Gupta appears to dwarf the farmhouse, which bears Martin Creed’s work ‘Everything is Going to be Alright’.
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A LITTLE BIT COUNTRY One of Europe’s most powerful art couples establishes a must-visit gallery and restaurant in rural Somerset. TEXT:
PHOTOGRAPHY: Emily Andrews
At its upper levels, the business of art is a highstakes game played out in the world’s wealthiest cities. And in recent years, few have played this game better than Iwan Wirth and Manuela Hauser, whose eponymous galleries in New York, Zurich, London and Los Angeles represent some of the world’s most important contemporary artists: the Swiss video maestro Pipilotti Rist, the American provocateur Paul McCarthy, the minimalist sculptor Dan Graham, British Turner Prize-winner Martin Creed, and the late FrenchAmerican sculptor Louise Bourgeois, among many others. Monied global collectors pay stupendous sums for their work. So it may seem strange that Hauser and Wirth have recently opened a gallery not in a metropolitan hub oozing money and power, but in a cluster of abandoned farm buildings over an hour and a half by train from London. This is no minor enterprise: the existing buildings – a threshing barn, cowsheds and a piggery – all date from the late 1700s and have been restored by architect Luis Laplace and conservation architects Benjamin + Beauchamp and combined with two new buildings by Laplace to form galleries, a restaurant and a small shop around two courtyards. The original farmhouse has been restored to serve as an
artists’ residence. A perennial meadow by renowned landscape designer Piet Oudolf had just opened when I visited last September. We ate at the charmingly informal Roth Bar & Grill – named for the late Swiss artist Dieter Roth, who the gallery also represents – which serves produce from the farm and displays works from Hauser and Wirth’s personal collection. Despite all this amenity, this isn’t a Guggenheimstyle cry for attention, but something more layered and subtle. It’s so different to their other galleries that it makes you wonder: Will Hauser and Wirth’s clients be interested in venturing this far from the city? Are Hauser and Wirth suffering some sort of mid-life crisis? Have they got more money than sense? And how did the two glamorous Swiss gallerists ﬁnd themselves here, of all places? As it turns out, the couple moved to the area almost a decade ago with no intention of developing a gallery. They were looking for a weekend place outside London and were so charmed by the quaint village of Bruton and the rolling agrarian hills that they moved there permanently and sent their children to local schools. It wasn’t until a few years later that long-defunct Durslade Farm came up for sale. Hauser and Wirth were interested in farming, and knew that
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Now providing guest accommodation, the farmhouse – and its surrounding buildings – stood empty and in disrepair for 30 years. Laplace’s reworking of the interior is both sympathetic and full of surprises.
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Above The restoration of the original farmhouse and other buildings on the site involved the local community as much as possible, from sourcing furniture to employing local craftspeople.
purchasing the farm would be a way to save its Grade II-listed buildings. The idea to open a gallery “was a very natural process,” says Hauser & Wirth Somerset’s director, Alice Workman, when we speak by telephone after my visit. “They’re very connected to the community here and they love the landscape.” If it’s beginning to sound like a nightmare in which a pair of global high-ﬂiers parachute in and patronise the locals by constantly telling them how fabulous the area is, then think again. After purchasing the farm, Hauser and Wirth voluntarily instigated a two-and-a-half year community consultation process, asking locals how they thought a gallery could work there. “One of the main pieces of feedback we had was that people were delighted these buildings were being rescued,” Workman says. “And we’ve employed local people and contractors. If we can ﬁnd a local source for bottled water or beer or graphic design we do it. It means you bring the whole community with you.” Since the gallery opened last July, it has welcomed local school groups, run youth events and family activities on weekends, had a summer drama school, and a multitude of talks by artists, gardeners and other creatives. “Lots of things are free, or heavily subsidised,” Workman says, “and everything we’ve done so
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far has been oversubscribed or sold out.” This private largesse seems incredibly timely when you learn that the local county council recently cut the region’s arts funding by 100 percent. Durslade Farm may be rural, but it’s not exactly in Hicksville. The area is famous for its farming and food production and its local cheddar. Some of Bruton’s four schools look rather posh. Glastonbury, site of the famous annual music festival, is half an hour away, and Bath and Bristol aren’t far. London is a little distant for a daily commute, but it’s close enough for DFL (Down from London) types to spend weekends here. In any case, Hauser and Wirth certainly aren’t talking down to the locals, as the art at their Somerset gallery is as rigorously contemporary as any they exhibit in the city. But being there is a completely different experience from an austere metropolitan gallery. Hauser & Wirth Somerset feels relaxed, convivial, casual. “It’s a new kind of place for audiences to engage with contemporary art,” Workman says. “If someone is intimidated by a white-cube gallery, that’s all removed here. Some people come for the food or garden. It’s a place where people can spend time and hang out.” In so many ways, it feels like a promising model for a new artistic age.
Top The two pieces by Caro Niederer on the wall in the farmhouse are ‘Strickendes Mädchen’ (Girl Knitting, 1993), on the left, and ‘Schulknabe’ (School Boy, 1993). Above Argentinian artist Guillermo Kuitca spent ﬁve weeks at the farmhouse when he was commissioned to create the mural for all four walls of the dining room.
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Top Landscape designer Piet Oudolf recently completed the gardens, which include an extensive meadow and 26,000 herbaceous perennials. Above An untitled piece by Josephsohn (2002) stands in front of the new building, which responds to the restored cloister.
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Top An ode to the artist and his work, the Roth Bar, which was designed by Dieter Roth’s son Björn and grandson Oddur, was created from locally reclaimed materials. Above The gallery opened with Phyllida Barlow’s exhibition, GIG, which dominated several spaces.
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GREY MATTER Stimulate the senses with cerebral combinations of art and design. STYLING: Amelia Holmes PHOTOGRAPHY: Toaki Okano
From left: ‘PP225 Flag Halyard’ chair by Hans J Wegner $21,277 (includes leather headrest not shown) from Cult, cultdesign.co.nz; pure wool vintage Turkish Damali rug, $4531 from Artisan Flooring, artisanﬂooring.co.nz; ‘B.S.D.I.Y.’ in brass by Matt Coldicutt (below), $300 from Fuzzy Vibes, fuzzyvibes.com; ‘Nissan Skyline MK1’ by Steve Carr in blackened walnut, POA from Michael Lett, michaellett.com; ‘Other Another’ in brass by Christopher Hanrahan (right) $10,500, from Michael Lett, michaellett.com.
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Art work from left: ‘Pool’ by Owen Connors, $400, Untitled by Wendelien Bakker, $230, ‘Tuxedo Tears’ by Kyle Grenfell, $680, ‘Literacy Credits’ by Ashleigh Wilding, $200, and ‘Untitled’ by Zoe Marler (on ﬂoor), $350, all from Fuzzy Vibes, fuzzyvibes.com. From left: Brass mirror by Amelia Holmes, $2800 from Amelia Holmes, ameliaholmes.com; Moroccan rug, $4565 from Artisan Flooring, artisanﬂooring.co.nz; stool by Max Lamb, $325 from Everyday Needs; ‘Botolo’ chair by Cini Boeri for Arﬂex, $5900 from Studio Italia, studioitalia.co.nz.
From left: ‘Extrasoft’ ottoman by Piero Lissoni for Living Divani, $7430 from Studio Italia, studioitalia.co.nz; Moroccan rug, $3278 from Artisan Flooring, artisanﬂooring.co.nz; ‘Murals & Print’ in cast aluminium by Fiona Connor, $8000 from Hopkinson Mossman, hopkinsonmossman. com; ‘Fragments of Z’ by Ryder Jones, $700 (chair and bowling ball) and $300 (blue mat with ball), from Fuzzy Vibes, fuzzyvibes.com.
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66. JOHN REYNOLDS’ REINVENTED AUCKLAND VILLA 80. P PETE BOSSLEY AND MIRIAM VAN WEZEL’S 92. AN ART-FILLED NEW STUDIO AT ORUA BAY ABODE BY STEVENS L AWSON AT TE HENGA 104. THE LOVING RESTORATION OF A 1970S THAMES 116. C CERAMICIST AMANDA SHANLEY’S CLASSIC SLEEK OTAGO PENINSULA HOME TYPOGRAPHY
/ John Reynolds
This page Artist John Reynolds, his wife Claire McLintock, their daughter Vita and Jock, the family dog, moved out for 14 months while their home was being transformed. The painting is by Phyllis Thomas from the ‘Gemerre’ series (2013). The ‘Steltman’ chair by Gerrit Rietveld was made by Jeremy Reynolds. At the kitchen bench is a ‘Baker’ stool by IMO. Right When designing the layout of the tiles for the kitchen splashback, John wanted the result to be “chaotic and adventurous”.
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Behind a regular villa facade, John Reynolds and Claire McLintockâ€™s revamped Auckland home offers all sorts of surprises. / Maria Majsa PHOTOGRAPHY / Patrick Reynolds TEXT
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Far left Assorted canvases from the ‘Acronym etc’ series by John Reynolds. Left Jock sits in front of the ‘Y2K’ oil stick on canvas (1999) by John Reynolds.
Artist John Reynolds and his brother Patrick (who took the photographs for this article) made the reckless decision to buy a big, shabby villa on Auckland’s Richmond Road after visiting it twice, brieﬂy, in 1989. The ﬁrst was a winter evening and John admits they found the Ponsonby house dark and depressing. The second was in daylight – all the better to see the stained teal carpet and cockroaches running up the walls. “The house was like a freezing, draughty old wooden tent,” says Patrick. “There was a dead mouse trapped in the stove and a rubbish heap for a back yard. Then suddenly we were moving in.” That ﬁrst night in the house, the three of us (Patrick is now my husband) sat around on the gritty carpet eating ﬁsh and chips. We did our best to celebrate with champagne, but mostly I remember the dazed ‘what have we done?’ looks on their faces as the enormity of the task ahead sank in. For the next few months I helped them rip up carpets, sugar-soap walls, hoist rubbish into skips and slap buckets of white paint over what was left. All around us in the streets of Ponsonby, the same domestic revolution was quietly changing the neighbourhood, house by house. When Patrick and I left Richmond Road in 1993, John’s new partner Claire McLintock moved in.
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“The roof had been leaking down inside the walls for years. There were rats in the ceiling, the piles were rotten and the whole place was damp and mouldy. It was basically a sick building.” Right Architect Malcolm Walker describes the clever effect John conceived with the splashback tiles as “amazing”. The ‘Giro’ stools by Fabio Bortolani for Lapalma are from ECC.
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Over the years they made a few cosmetic changes to the kitchen and bathroom, though structurally the 109-year-old villa remained the same. Busy juggling their respective careers as a medical specialist and an artist, while raising their daughters Hart and Vita, they kept putting off any major alterations to the house, until things began to get dire. Claire remembers the kitchen being “so cramped it could only ﬁt two people at a time.” Furthermore, “the roof had been leaking down inside the walls for years,” says John. “There were rats in the ceiling, the piles were rotten and the whole place was damp and mouldy. It was basically a sick building.” The couple enlisted their friend, architect Malcolm Walker, and his trusted builder Charlie Low, and discussed the sort of house in which they wanted to live. John wanted light, warmth and walls to hang art. Claire wanted a spacious kitchen, room for books and a cosy space with a ﬁre. There was a long, slow, incubation of ideas and schemes as they worked towards a plan which would address all their hopes and needs. As a regular visitor, Malcolm began with knowledge of the home’s orientation and spaces. “It was a dark, damp house that needed rebuilding. The ﬁrst thing we had to do was pull some light into the place.” The kitchen was moved from west to east to catch the morning sun and a clerestory added for extra light and to frame a glimpse of sky and trees. At either end of the kitchen bench, louvered windows were ﬁtted to ventilate the space and bounce around plenty of northerly light. “You take what the building gives you,” says Malcolm. “It’s big and simple with a 3.7-metrehigh stud, so we played around with that, making everything big and generous. We took the doors up higher towards the ceiling and made the living area taller by dropping the ﬂoor down a few steps.” The resulting home is a series of intense, discreet spaces that are lofty, inviting and full of light.
Left Ceiling battens draw the eye through the home to the living space at the rear. The mounted double-sided work ‘I am Living in Herne Bay, I am not Dead’ (2013) iin the hallway is by John Reynolds. The artwork at left is ‘Y2K’ (1999) by John Reynolds, while the photographs at right are by Patrick Reynolds, Mark Smith, Deborah Smith and Laurence Aberhart. Against the concrete wall at end of the hall is an ‘Ero’ chair by Philippe Starck from Kartell. To the left are ‘Zaza’ chairs by Naoto Fukasawa for Driade.
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One of the major constraints of the renovation was the cramped Victorian site. With virtually no land to spare, Malcolm still managed to create a sense of leafy serenity and privacy from neighbours of the 256-square-metre house. The rear living space has a soaring, chapel-like quality with monumental walls of concrete, a huge window and triangular skylight which look out to a handsome stand of nikau palms. Strict heritage-zone regulations meant the house had to retain its villa street frontage, but Malcolm went one better, adding a second bay window to make it even more formally symmetrical. “You have to stick to the rules,” he says, “then once inside you get to play another game, so the expectations dissolve and the house develops into something else.” A series of playful old/new inversions is evident throughout the house, from the updated board-andbatten ceilings which pick up the lines in the boxing of the concrete walls, to the choice of bathroom tiles. John enjoyed the contradiction of using ceramic tiles with a wood grain effect to mimic traditional kauri ﬂoors and the pattern of the biscuit-coloured wall tiles is reminiscent of Victorian pressed-tin ceilings. Working closely with Gabrielle Luong, a key member of Malcolm’s team, on the kitchen plan, Claire sourced materials and worked through the detailing of the design. She is especially proud of the delicately etched grey-green quartzite on the kitchen island. And, after tracking down textured tiles for the splashback in Melbourne, John devised a pattern on paper, which the tiler painstakingly recreated. Different tones and textures give the design a 3D effect to which the eye is drawn. There is a graduated sense of colour and movement, from white in the north corner, moving through olive and grey to charcoal, like day to night. “I was after something chaotic and adventurous,” says John, “somewhere between a tukutuku panel and Moorish mosaics.”
“Once inside you get to play another game, so the expectations dissolve and the house develops into something else.”
Right Dropping the living area down a few steps has increased its lofty proportions. On the wall next to John is his work ‘The Second Fall’ (2010). On the wall by the dining table by Michael Draper is ‘Kura’, a screenprint, by Gordon Walters (1982).
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Left Vita in her room with her cousin Rainer. Above the bed is ‘Toward a Global Theory of Waves’ (2012) by John Reynolds. The neon light rod is from World. Below left A Mexican skeleton and ﬂask of rare tequila take a perch up high in the living area. Below right The house sentinel from West Africa stands inside an orange glass window. The miniature house is a beeswax candle. Right Above the ‘Longreach’ leather sofa by Neil Burley is ‘The Second Fall’, mixed media on canvas (2010), by John Reynolds. The ‘Stone’ stools by Marcel Wanders and ‘Bourgie’ lamp by Ferruccio Laviani are both from Kartell.
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The hallway is bathed in light from a clerestory, which just happens to perfectly illuminate the Pat Hanly stained glass panel above the front door. Commissioned in 1980 for Ian and Marilyn Reynolds’ (John and Patrick’s parents) Parnell home, the panel had sat in storage for 20 years. John sees it as “a public art work beaming out to passing trafﬁc and nocturnal pedestrians; tipping its translucent hat to the villa tradition of coloured verandah glass.” John worked in a cramped front room of the villa until 2009, when Malcolm designed him a studio on the back boundary of the site. The concrete and plywood construction is a simple, robust shed with a rubber ﬂoor. A glazed wall to the east ﬂoods the room with essential light, framing a lush view of nikau fronds and maintaining a sense of the outside world. “The process of art is such a solitary and internal one,” says John, “it is important not to feel like I’m locked up in a cell when working.” With the renovation came an opportunity to create a more comfortable, secluded space between house and studio. The buildings look out over each other, independent but connected with a deck and pohutukawa tree to soften the transition. In a visual link, the shuttering used on the studio walls was recycled for the concrete walls in the house, so the same woodgrain exists in both buildings. Since moving back in six months ago – the family moved out for 14 months – they have had enormous pleasure becoming reacquainted with the house. “It is modernised but [feels] intact,” says John. “Malcolm negotiated a difﬁcult line between heritage issues and living in the 21st century.” If a house is a machine for living, then John, Claire and Malcolm have collaborated to create an especially artful, well-oiled one that is a joy to live in.
Far left John’s 44-square-metre studio, also designed by Malcolm Walker, is located just outside the home’s back door.
Middle A view from the deck taking in the rear living area of the home. At right, a stained-glass panel lets light into the sitting room.
Top Two Bill Culbert photographs are propped up on the credenza by Michael Draper. The rug is from Dilana and features a drawing by John. The tan chairs are vintage.
Bottom left The stained glass panel above the front door is by Pat Hanly and was commissioned more than 20 years ago by John’s parents for their home in Parnell.
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DESIGN NOTEBOOK Q&A with architect Malcolm Walker Do you relish villa renovations or sigh deeply each time you take one on? I never sigh. Some are more of a challenge than others, but it’s never dull. Although the villa itself is fairly repetitive, a modern house demands much more and that’s where the fun starts – issues of sun, social organisation, relationship to the outside, and clients’ lifestyles are issues the original villa never addressed. It’s putting all these into the renovation, yet respecting the original house, which is tricky and fun! What was different about this renovation? Firstly, it was a very big house on a very small site. Everything was oversized and it was very dark. It was crowded by neighbours, so easy sun, outlook and wide-open outdoor space wasn’t available. And, of course, they were particularly special clients.
Verandah Bedroom 03. Hall 04. Bedroom 05. Bedroom 06. Ensuite 07. Bathroom 08. Laundry 09. Sitting 10. Study 11. Dining 12. Kitchen 13. Living 14. Deck 01.
There’s a playful quality to the way you manipulate scale and light here. Thanks. Light was particularly important and a driver for what we did and we had fun with it – skating light along ceilings and down the rough-formed concrete. Windows are all varied and spread throughout the house, central and external, high and low, so the light changes utterly during the day. What are the key design decisions you are most pleased with? Closing the plan down so it is a sequence of spaces and doesn’t reveal the outside, except in an intimate way. There’s not much of the outside but what there is is interesting. That’s what those concrete walls are doing – obscuring and revealing. Splitting the corridor into two and adding the clerestory window to the hall livens the place up and breaks any preconception of a villa you may have after the front door is opened.
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Below The Reynolds brothers purchased the home in the late 1980s; this photo shows the rubbish mountain they needed to deal with after moving in. Below Left The original villa – a “draughty old wooden tent” – almost entirely ﬁlls its site.
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This photo After a ďŹ veyear collaborative design process, architect Pete Bossley and artist Miriam van Wezel conceived the vivid red studio and sleepout, which sits loftily among the trees behind the Orua Bay bach they bought in 1997. Right Pete and Miriam inspect the clay cliffs on the beach, from which Miriam extracts pigments for her artwork.
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An architect and artist design a vivid, adaptable Awhitu Peninsula studio as a place to retreat and create.
/ Henry Oliver PHOTOGRAPHY / Simon Devitt TEXT
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Left Pete paints as well as creating what he calls ‘tings’ (paintings without paint) on his tablet in the studio. Above With Mishka the cat at her feet, Miriam works on a canvas at a moveable work bench in the studio. Above right Passersby on the beach have been known to shout out their delight at the bright red hue (which is Dulux Duratec ‘Intensity Red’) of the aluminium-clad bach.
If you want to visit architect Pete Bossley and artist Miriam van Wezel at their Orua Bay bach on the Manukau Harbour, you need impeccable timing. With no access by road, you have to drive across the soft sand and treacherous rocks. Or walk. When I visit the couple on a stormy spring morning, we are interrupted, mid-coffee, by a rapidly rising tide. Looking down to the small waves approaching the driveway, Pete declares that we need to leave within 10 minutes or be stuck for another six hours. “The best thing about this place is that you get locked in,” Miriam says as we quickly rinse our cups. “In between two little headlands, you can’t get easy access from either side. So even in the summer, when it’s busiest, people can’t get to you because of the tide so you always have that privacy.” Dealing with the rhythms of nature is the blessing and curse of a traditional bach. And this one is so close to the bay that, at high tide, the water threatens the deck. The couple, who live and work in Auckland, have become expert at reading the tide charts, knowing when they have to leave home to be able to drive along the beach. Pete and Miriam bought the 56-square-metre bach in 1997, then three tiny rooms, all brown outside and in. Ever since their second weekend there, when
they took out the wall dividing the living room and kitchen, they have slowly and steadily renovated. One year, a new deck. Another, just a coat of paint on a single wall. Two years ago, after a ﬁve-year design process, they added a separate 38-square metre structure as a second bedroom and studio, designing it collaboratively. “We work well together as designers,” Pete says. “I have ideas and say ‘This is pretty good’ and Mir will just say, ‘That’s a good start.’ We’re never in a hurry so it’s nice to just keep pushing ideas around.” “I always think that Pete’s a hare and I’m a snail,” Miriam agrees. “But our house and the bach are products of that process because we take our time to think about it and we do change our minds.” I ask about the difﬁculties of an architect and an artist collaborating on a building. “The hard part for every building is to ﬁnd a good, strong, red-blooded idea that’s going to drive it,” Pete answers. “But once you ﬁnd it, you keep referring to it all the way through. As you get ﬁner and ﬁner details, you keep referring to the big idea and see if what you’re proposing reinforces the idea or diminishes it.” An early decision they agreed on was the colour. It had to be bright. “There’s a cluster of baches along the beach. They used to be really lovely colours,” Pete
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Left Sea views sparkle from the deck of the original bach beside the studio. Below left Light shines through a strategically placed shell in the kitchen.
Below Art and objects collected by Pete and Miriam. Below right For many years, Miriam has been carefully arranging found objects from the beach to create this unique art wall.
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Designed to be versatile in its use, the sleepout is a studio, a place to stay, and a retreat for reading at the window seat while looking through the pohutukawa branches at the Manukau Harbour.
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remembers. “They were blues, reds. Over the years they’ve become gentriﬁed and are now green and grey and brown.” Pete’s favourite colour is yellow – the colour of the existing bach. That left Miriam’s favourite: red. Though bright colours are not permitted by the building codes, the pair was fortunate to ﬁnd a council planner who saw the red as a reference to the pohutukawa trees that line the coast. When Pete was telling an elderly woman where his bach was, she misheard him, thinking he was going on holiday not to Orua Bay, but Aruba. The name stuck. And when he bought an Aruban ﬂag, he found that in addition to the blue of the Caribbean, it was yellow and red. A perfect coincidence. Wanting to preserve the integrity of the traditional bach, the couple was drawn to the option of a second, separate structure, rather than an extension to the existing building. The wonderfully petite sleepout, as they call it, is perched over the car port, hanging like a treehouse in a pohutukawa. It’s a simple and versatile loft, with a prominent window seat, a small balcony facing north to the bay, and a south-facing window looking out on a steep bank of native bush. Two turrets light the room like a pair of periscopes, one peering towards the morning sun, the other towards the afternoon.
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All the furniture is on wheels. The bed can be split into two couches. Desks can be in the centre of the room or rolled into the corners. “We wanted a room that could be used for all sorts of things,” Pete says. “So it can be used as a bedroom or a sitting room for us, the kids, grandkids or guests. Or if we want to work there – and we can work anywhere – we can.” The ability to work in the space was crucial for the couple. At Orua Bay, Miriam’s abstract paintings are made using a palette of natural pigments she harvests from the clay cliff faces of the surrounding headlands. The canvases are broken by an erratic stitch tracing what looks like a map of the shoreline. Though they read cartographically, the lines aren’t literal. Miriam tells me they are more a “spiritual or psychological landscape than a representation of a landscape, although it’s very physical, material.” Pete also paints – bright geometric abstractions on canvas – though mostly creates on his tablet. He calls them ‘tings’, “paintings without paint”. Some are digitally graphic. Others surprisingly painterly. He prints on small scale, collecting them in a sketchbook. The pair gets most of their bach-based creative work done in summer, when they are there for extended periods. “You need to really settle in when you’re working,” Miriam says.
Above left Miriam and Pete in the new kitchen of the original bach. Above The artwork above the sofa is ‘Light/ Dark’ sand on wood panels by Miriam van Wezel (2000). The sofa bed is a Bossley-van Wezel design, fabricated by Michael Draper. Right With their bright façades, both the bach (at left) and the new studio (at right) refer to the original bright colours of the other baches in the bay.
Wanting to preserve the integrity of the traditional bach, the couple was drawn to the option of a second, separate structure, rather than an extension to the existing building.
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DESIGN NOTEBOOK Q&A with architect Pete Bossley
This is your own getaway. What’s different about designing for yourself? We don’t have a deadline. We happily take years to design things for ourselves: we design many options, mull them over, reject some, draw them again and again, try the survivors out in different seasons and different times of day before we make decisions. It’s fun! We like to focus on ideas, looking for a strong idea that might drive the project. Miriam is an artist and you paint as well as design buildings. How does a place like this fuel your creativity? For Mir, the bay is a great source of sandstone which she grinds into pigment for her paintings. She gets a wonderful range of colours from the cliffs. For me, there is nothing like drawing with the sound of the incoming sea as a companion for my thoughts. Another wonderful form of sustenance is just knowing it is there: we don’t even have to go, we can just think of it occasionally. What are the three most successful design decisions made on this project? The ﬁrst was to lift [the new building] up among the trees, so it offers a sense of retreat compared with the intense connection with the ocean one experiences in the yellow bach, and to invent the ‘lightstalks’ that suck light down through the overhanging branches. I’m also pleased we kept it as ﬂexible as possible so it is good for sleeping, working, kids lounging and so on. And third, I’m glad we painted it red! We believe architecture should lift people’s spirits. We get total strangers shouting up from the beach, “we love the red box!”
Right While the yellow bach is intimately connected with the water, the new building is a step away, offering a sense of retreat. Far right Pete created the ‘lightstalks’, which are angled to usher shafts of light into the sleepout from morning to afternoon.
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Bathroom Sofa/Bed 03. Studio 04. Desk 05. Original bach 01.
HOME + CORIAN
SHAPED TO PERFECTION Kitchen designer Mal Corboy picks up an international award for a kitchen using CORIAN®.
Congratulations on winning an International Design Excellence Award in London for the kitchen on this page. What do you think made this kitchen stand out to the judges from entries from all over the world? MAL CORBOY The winning kitchen project, located in a clifftop home on Waiheke Island, offers maximum functionality in a stunning visual statement. The judges admired how it combined extraordinary attention to detail with proportion and balance, as well as the provision of a practical showpiece scullery and a bench in Corian® ‘Glacier White’. HOME
What do you think are the essential elements of a successful kitchen? First and foremost, it has to function for the client – there is no such thing as ‘one size ﬁts all’ when it comes to kitchens. What are the most exciting developments in kitchens for you at the moment? The increasing number of cooking shows on TV means people are entertaining more at home, and the meals they create are becoming more complicated, which requires more kitchen appliances than ever before. The challenge is to ﬁt them all in while maintaining an aesthetically pleasing feel to the space. When do you like to use Corian® in a kitchen, and what are the advantages of doing so? Corian® is an amazing product that can be used anywhere in the kitchen, from benchtops to doors and even walls! I have been designing with Corian® for over 20 years and have won numerous awards where it has featured in my designs. I really love the fact I can push the boundaries with Corian®, designing everything from cantilevered tops to thermo-formed shapes, which I have done in the Waiheke Island kitchen. The advantage for me is that as long as I have been in the industry Corian® has been on the market – numerous products that have been similar to Corian® have come and gone but Corian® has stood the test of time. Many of my clients have had Corian® in the past and always want it again, which in itself is a great endorsement.
Above The kitchen by Mal Corboy features extensive use of Corian® and won an International Design Excellence Award. Left A Corian® bench and ample storage allow for maximum functionality.
Evolution of Surfaces 0800 267 426 corian.co.nz malcorboy.com
Left Pieta Brenton, with Laska, is the daughter of Tid Brenton, who owns the Te Henga home, northwest of Auckland. Pieta, a graphic designer, styled the shots for this feature. Right Among the collection of family portraits is a photo of Pieta by Deborah Smith (top left).
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With animals outside and a wild collection of art and antiques indoors, a home by Stevens Lawson Architects on Auckland’s west coast feels like something out of a dream. / Gregory O’Brien PHOTOGRAPHY / Mark Smith TEXT
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Left An elephant’s head crafted from nikau fronds sits above a painting by Mary Hooker. The antique occasional table is home to a collection of objects and antiques. Pieta reads at the kitchen bench. Right The home is situated among the sand dunes of Te Henga beach.
A horse saunters up the grassy bank; a wobbly gravel road goes by; a horde of enraptured children races towards the adjacent swimming pool. In the midst of such activity, the Te Henga house feels remarkably responsive to Le Corbusier’s suggestion that architecture is best viewed while in motion – ‘walking’ or ‘travelling’. That is how this house northwest of Auckland by Stevens Lawson Architects tends to be experienced, especially during the summer months. On the hop. A neighbour’s Italian greyhound hurtles down the fence line; clouds swirl and unravel above the windblasted dunes – all of this a stone’s throw from an ‘ocean deliriously endowed with frenzies’, to borrow from Paul Valéry. You walk towards and around the outside of the house and it feels modern, yet in keeping with the elemental, stark nature of its setting. Beyond the formal rigour and minimalism of its design, the house is infused with, and shaped by, the life of the extended family for which it functions as a hub. Owner Tid Brenton has had a life-long association with Te Henga. As a young girl she would ride a pony out from Oratia. Luckily for Tid, who was unsure of the route, the horse never had trouble ﬁnding their destination. In one old photograph, she is riding a white horse on the shoulder of a hill above a lake a few
hundred metres south of here. The image hangs on a wall inside as if it might be an emotional template for the dwelling itself, proposing a certain manner of being in this particular landscape. With the headlands and hills, as seen through the French doors, resembling the musculature of a horse, the house – just like the horse in the photo – sits well in its chosen place. Architect Nicholas Stevens was familiar with Te Henga well before embarking on the project. An old friend of the Brenton family, he also knew the house would, on completion, be decked in an existent array of old, cherished furnishings, rather than the latest interior design. He also knew to expect countless photographs, paintings and objects (many of them linked to the location), some antique cabinetry, and oddities such as an elephant head made from a palm frond and a cut-away anatomical model of a horse. Importantly, the house had a freight of family history, character and grandchildren to accommodate. For Stevens, this was an inspiration rather than an impediment. In the early planning stages of the house, Tid’s husband Peter died. A ﬁsherman – or a self-styled ‘pirate’ as she describes him – he remains a palpable presence. She placed an upended dinghy and a life buoy beside the front door as a gesture at once valedictory but also abiding.
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The buildingâ€™s black and whiteness strikes a chord with the monochromatic photographic prints that punctuate the interior.
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Far left The swimming pool on the homeâ€™s site provides a tamer option for a summer dip than that offered by the frequently wild waters of Bethells Beach.
Middle The home is replete with inherited and collected furniture and the white interior walls are dressed with family portraits and art. The bird images either side of the antique cabinet were originally from a museum and were purchased from Flotsam & Jetsam.
Above Feeling the responsibility of designing a home for such a dramatic setting, architect Nicholas Stevens says it was important the building felt as if it belonged in the landscape.
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Stevens says the three buildings are spread about the site in a naturalistic composition akin to driftwood on the beach.
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I wonder if Le Corbusier’s notion of the modern house as a ‘machine for living’ might be adjusted so the building functions as ‘a machine for remembering’. In fact, the Te Henga house, with its dark outer casing and isolated circular shutter windows, makes me think of another great memory device, the camera. The blackened cube of the garage brings to mind a Box Brownie, just as the main house resembles a ﬁlm canister or, from some angles, a projector. Such associations are in keeping with the prehistory of the buildings. The Brenton family has long been ﬁlm aﬁcionados, and one downstairs room doubles as a projection room. Might the house have inherited the camera’s function as a mechanism for preserving and
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I wonder if Le Corbusier’s notion of the modern house as a ‘machine for living’ might be adjusted so the building functions as ‘a machine for remembering’.
Left Tid Brenton’s family is of French origin, which is reﬂected in her treasured pieces of furniture. Above The family gathers on the deck with a roaring ﬁre in the foreground.
articulating feelings as well as memories? And the building’s black and whiteness strikes a chord with the monochromatic photographic prints that punctuate the interior. I visited the site during the early stages of construction, when wind, sun and sea-spray were coursing through its framework. Nicholas Stevens and I clambered up inside the walls for the breathtaking seaward aspect atop the skeletal structure. It reminded me of a childhood encounter with a whale carcass on a beach south of here. I looked up at clouds and blue sky through the cage-like ribs and then, as if it were a half-built house, I stepped inside. The Te Henga house has a whale-like, as well as an
equine, presence. High and dry on its coastal site, it gestures towards Colin McCahon’s vision of Moby Dick off Muriwai beach, and its blackness is that of McCahon’s ‘Necessary Protection’ works, painted a few kilometres away. Its powerful organic presence calls to mind another Le Corbusier remark: that ‘living architecture’ needs to be travelled inside as well as out, and ‘the quality of the interior perambulation represents the work’s biological strength’. Sitting atop the half-built house, an important difference occurred to me. A whale’s skeleton becomes visible when its life is over, whereas a building’s skeleton comes ﬁrst, then gradually, the body of the building forms around it. And its life begins.
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Bedroom Laundry 03. Bunk room 04. Bathroom 05. Bedroom 06. Hallway 07. Lounge 08. Dining room 09. Kitchen 10. Deck 11. Bedroom 12. Ensuite 01.
Q&A with architect Nicholas Stevens of Stevens Lawson.
How did this amazing location behind the dunes of Te Henga affect your design? There is a big responsibility that comes with building in such a place, so it was important that the house felt that it belonged in this dramatic, windblown landscape. The forms of the buildings are subtly shaped as if sculpted by the weather, similar to dunes, and they are scattered around the site like driftwood. Although the buildings have strong forms I believe they have empathy with the natural environment.
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The home feels like a farmhouse in the best possible way – was this part of your brief? Our clients are a family of strong horsewomen with a deep connection to this land. They have a French provenance and are unconventional in the modern world. They love simple things, old things and the old ways. The house is like a portrait of them and needed to feel both old and new. How important was the owner’s collection of furniture and photography in informing your design? These collections are their family history and also express who they are now. It was important to keep the interior spaces very simple, to create a frame for the eclectic furniture, objects and photographs. They required plain walls for art which we clad with rough painted boards to give a rustic warmth. The wide hallway acts as a family photo gallery with an extraordinary collection of images taken by Deborah and Mark Smith, as well as other notable photographers over the years. And of course there are spectacular views to be had, so a balancing act between art and landscape needed to be played out. What are the three most important design decisions with which you’re most pleased about the house? Spreading the three buildings around the site in a naturalistic composition gives a dynamic spatial relationship between the buildings and allows the landscape to ﬂow through the site unimpeded. The subtly sculpted building forms, which allude to both natural weathering and to the shapes of boats, include a nautical lookout tower which resonates with the family’s maritime history. And the use of solid timber throughout the house, with rough-sawn painted pine boards on the internal walls and ceilings, oiled hardwood ﬂoors, cedar joinery and hardwood wharf decking, creates a sense of craft, quality and patina and reminds us of the beauty of a thing well made.
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Below w Two Bronwynne Cornish creatures sit on the desk. Above it, the photos photos of the crow and Pieta with Inky the horse are by Deborah Smith.
Below right A shaft of light dances up the stairway that leads to the ‘tower bedroom’.
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This page The view from the dining room overlooks the Hape stream.
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Right A bamboo grove near the home.
A classic home in Thames is nursed back to health by a long-time admirer.
/ Jeremy Hansen PHOTOGRAPHY / Toaki Okano TEXT
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Far left The entrance reveals the home’s original tawa ceiling. Beyond hangs an ‘Octo’ pendant light by Seppo Koho for Secto Design, and ‘Crimson/Red’, a work by Max Gimblett. Left Looking through to the dining room from the kitchen, where an Art Deco teak table from Singapore is paired with ‘Eiffel’ chairs by Charles and Ray Eames for Herman Miller. The butler’s pass is an original feature and the dining room can be closed off from the kitchen. Right The artwork at the end of the hall is ‘Romeo and Juliet’ by Arthur Boyd. To the left of the low landing wall is ‘The Belief II’ by Wang Guangyi. Two antique temple lions stand guard inside the entrance to the home. An antique rug is placed in the entrance.
Dean Sharpe never forgot the ﬁrst house he fell in love with. He grew up in Thames, just up the road from a home designed by the modernist architect Franz Iseke in 1971 for the town’s chief surgeon, Philip Lane, and his wife Meg. He remembers his childhood admiration for the daring feat of building a home on the edge of such a steep hill, “like a pohutukawa that hung off a cliff”. Getting to know the Lane family and their house only increased his ardour. “It has beautiful bones – it’s a house with a very calm soul,” he says. Dean went on to become an interior designer in Thames and then in Auckland. While there, he met his partner Bentley de Beyer, a senior executive in the healthcare industry who had been posted to New Zealand from his home town of Sydney. After a year in Auckland, Bentley was transferred to Asia and Dean moved with him, rising to design director at interiors ﬁrms in India and Singapore (where the couple now lives) before striking out on his own. Seven years ago, they were visiting Dean’s family in Thames and noticed the Lane house had come up for sale. Bentley liked how the home felt “a little bit Palm Springs and a little bit brutal – the combination of timber and concrete block is really joyful, and there’s a real lack of pretension”. That said, the home had been unoccupied for the previous 18 months, and while it
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The home felt “a little bit Palm Springs and a little bit brutal – the combination of timber and concrete block is really joyful, and there’s a real lack of pretension”. hadn’t fallen into disrepair, it was certainly in need of some work. Its original shagpile carpet had not weathered the decades well, and the garden had grown to block the view down the valley to the Firth of Thames. Nevertheless, “because it was still so original you could tell it would be easy to bring back the love,” Dean says. So the couple decided to buy the property, and embarked on the task of restoring it. Soon afterwards they discovered Iseke’s original blueprints for the house in a cupboard, documents that Bentley says “were highly instructive for me – they showed how pedantic Iseke was”. (Iseke died in 2010; Dean and Bentley never met him but spoke to him on the phone after they purchased the home,
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Left Dean walks past a photograph entitled ‘Circle’ by Rohan D Souza, while above him is ‘Constellation’, a mounted sculpture by Kevin Osmond, a bespoke piece created for the home while the artist was in residence. The art work on the lower wall is ‘Stoneﬁelds’, an image by P J Paterson. Right Max Gimblett’s ‘Crimson / Red’ hangs over a mid-century buffet by Parker Furniture, with vases by Peter Collis, John Parker and Keith Murray. Dean and Bentley bought the Australian mid-century wingback armchairs in their original vinyl from Bondi markets in Sydney.
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The home is uniquely tailored for its site, with rooms strung in linear fashion along the edge of the valley. There is a sense that one is ﬂoating in the trees.
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Below String shelving lines one wall of the library. On the facing wall is ‘Conversation of Momentum’ by Annika Koops. A ‘Barcelona’ chair by Ludwig Mies van der Rohe and Lilly Reich, and a ‘Diamond’ chair by Harry Bertoia for Knoll sit on an antique Kashmir rug. Outside is a sculpture by John Edgar.
Right The terrace off the living room feels as if it suspended in the trees over the valley, and is furnished with ‘Butterﬂy’ chairs and a side table from Magis.
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Facing page The sectional sofa, covered in its original 60s fabric, was purchased from Auckland’s Mid Century Design. The coffee table is by Peter Hvidt. On top sit a Gandhara head from India, a Peter Collis orb, and Jonathan Adler candles. The artwork above the Art Deco teak bookcase is ‘The Machine Replaces the Man’ by Amol Tote. An ‘Arco’ ﬂoor lamp by Achille and Pier Giacomo Castiglioni for Flos presides over the living area.
when he told them that the house was one of his favourites, and that he hoped they weren’t tampering with too much). The home is uniquely tailored for its site, with rooms strung in linear fashion along the edge of the valley. Inside, there are subtle changes in level and a sense that one is ﬂoating in the trees. It is a home that is highly rational but full of subtle complexity, a winning combination of machine-like Bauhaus-style modernism and humane artistry. Iseke was born to German parents in Shanghai in 1926, where his father had a business that delivered mail and freight by air. Greg Smith, the curator and writer who manages the architecture website Lost Property, says the family was visiting relatives in Germany in 1939 when the escalating conﬂict that led to World War II prevented them from returning to China. Franz joined the navy aged 16, served time in
Top left An urn from Thailand stands inside the garden gate. Top right At the top of the landing, a Max Gimblett piece hangs above a temple lion. Bottom left A view of the back garden. Bottom right Vintage skis are propped up in a corner of the guest room. Above the bed is a piece from John Weeks’ ‘African’ series.
prison for disobeying orders, and survived an attack on a U-boat in the North Sea. After the war ended, he studied architecture in Munich and was awarded a scholarship to study at Harvard with the great modernist Walter Gropius. He later migrated to Australia, where he met Patricia, a seamstress from Whangarei. The couple married and moved to Auckland, where Iseke made a splash with the design of their own family home in the suburb of Kohimarama. His deft pairing of concrete block and timber in homes, apartment blocks and commercial buildings became something of a trademark. He used this combination of materials in the design of the Rolleston Motel in Thames, the building that caught the eye of the Lanes. It is wonderful when a piece of architecture meets a pair of appreciative custodians, which is exactly how Dean and Bentley describe themselves. They have sensitively reinvigorated the house without substantial changes. They quietly renovated the bathrooms, keeping the original tiles, and delicately opened the main bedroom upstairs to the view. A space that once housed the home’s central heating system is now a library. The garden’s foliage has been trimmed, which means light once again ﬁlls the home. The home generously hosts the couple’s art collection, which combines works by New Zealand artists Michael Parekowhai and Max Gimblett with pieces by Australian photographer Tracey Moffatt and pieces collected during their time in Asia. The experience of restoring the home has been so satisfying that it has led Dean to start developing a business that he plans to launch this year that will allow more people the opportunity to enjoy architecture like it. Dean and Bentley visit the house three or four times a year. Otherwise, Dean’s parents, who still live up the road, keep an eye on the property, and friends and siblings regularly use it when they’re in town. It feels like a lot of people are caring for the house when they’re away. “It’s such a pure design from that period,” Dean says, “and if you talk to people in the community it’s a really well-known property. People have such a sense of ownership of it that if anything happened to it there would be an outcry.” It appears the love Dean has long held for this exemplary piece of modernism is widely shared in the town in which he grew up.
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Right Modernist architect Franz Iseke, who died in 2010, built numerous homes in New Zealand. Below w Soon after buying the Thames home, Dean and Bentley found Iseke’s original drawings for the 230-square-metre home in a cupboard.
DESIGN NOTEBOOK Q&A with Greg Smith of Lost Property, lostproperty.org.nz.
Who was Franz Iseke and what elements characterised his work? Iseke was born in Shanghai in 1926 and gained his diploma in architecture at Munich University, before studying at Harvard. It seems Franz spent a little time in the US before setting out for Australia where he met his wife-to-be, Patricia, a gifted seamstress. Shortly after their marriage and arrival in New Zealand, he joined Thorpe, Cutter, Pickmere & Douglas, prior to starting his own practice in the late 1950s and designing a number of stunning steel and concrete Bauhaus-inﬂuenced houses – the earliest with steel outriggers supporting a minimal pitch or ﬂat roof. He seems to have been best known for designing commercial buildings. How extensive was his residential practice? Franz’s structural knowledge and design ability meant he quickly became involved in large-scale building for the government and commercial developers, although throughout
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his career in New Zealand he also designed a large number of residences – they probably number in the hundreds. Some, like the Lane house in this story or those in Meadowbank’s Dover Place in Auckland, were expensive builds, but many were smaller, always well-sited single-storey houses or units, usually in concrete block with ﬂat roofs. What do you like best about the home on these pages? The Lane house in Thames is both a wonderful example of Franz’s astute handling of site, planning and materials. It has warmth and spaciousness, and a great ﬂow and ease of movement between rooms and levels, while also offering areas of seclusion and intimacy. The craftsmanship and detailing apparent even in the expansive decks and large glass doors and windows all contribute to the house’s sense of being generous but not excessive; one is very much ‘open’ to the elements but also securely embraced by the structure.
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Ceramic artist Amanda Shanleyâ€™s new Otago Peninsula home by Kerr Ritchie Architects looks at Dunedin from a lofty perch. / Jeremy Hansen PHOTOGRAPHY / Paul McCredie TEXT
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Left The home by Kerr Ritchie Architects is a simple, compact linear form on an Otago Peninsula hillside, with views back across the harbour to Dunedin.
The plates, bowls and cups Amanda Shanley creates in her studio at Macandrew Bay on the Otago Peninsula are beautiful in their simplicity. They are deliberately unpretentious pieces designed for everyday use, possessing a beguiling directness that is also evident in the new home she shares with her husband, ﬁnancial adviser Rhodes Donald, and their six-year-old daughter Frances. Designed by Bronwen Kerr and Pete Ritchie of Queenstown-based Kerr Ritchie Architects, the home is a simple black container that clings to a vertiginous site with views of central Dunedin and all the way northeast up the Otago Harbour. It is as economical and elegant as the creations of the artist who commissioned it. It is a home that almost didn’t happen. Amanda and Rhodes purchased the site in 2005 while they were living in the old signal master’s cottage across the harbour in Port Chalmers, but put it brieﬂy back on the market when they contemplated a move to Christchurch. There were also plenty of times when building on the steep piece of land seemed too challenging. “Anyone who looked at it before us couldn’t envisage building on it,” Rhodes says. Pete and Bronwen approvingly refer to it as “an architects’ site” – meaning only an architect could see its potential – but Amanda says Rhodes also knew it could work. “He saw a building site where most people don’t,” she says. “Everything is possible to him.” Amanda had seen Bronwen and Pete’s work in the pages of this magazine, and particularly admired their own Queenstown home (featured in our February/March 2008 issue) and a small home they designed in Arrowtown that was a ﬁnalist in our 2010 Home of the Year award. “Their designs seemed gorgeous and affordable, and it felt like they were approachable,” Amanda says. They asked for a compact, economical dwelling that also offered space for Rhodes’ three adult children to come and stay, but otherwise Amanda says “we left it up to them”. Bronwen and Pete had a good starting point, as they already admired Amanda’s work (and owned a few of her cups). They visited Amanda’s studio and the couple’s home in Port Chalmers, took note of their limited budget and the way they lived, and got to work. The site faces north, so it made sense to extend the home along the cliff edge to get sun into all the rooms. Rhodes, who spent years clearing gorse, blackberry and 40 pine trees from the site,
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has planted 350 native trees and is establishing a remarkable garden featuring persimmons, ﬁgs, mulberries and walnut trees. With all this work, he understandably wanted the home to have a strong connection to its site. Bronwen and Pete responded by designing the journey through the home to extend beyond the kitchen and dining room to a deck (with a sheltered bench seat) that spills onto a compact lawn and garden, which then connects with a series of paths and retaining walls spilling down the hill. The site’s sheltered, north-facing aspect means “you can grow things you can’t normally grow in Dunedin,” Rhodes says. The home is partly anchored by a large retaining wall that also forms its entrance. Engineer Bernard Whitham, with whom Bronwen and Pete had worked on many previous buildings, also designed 24 rock anchors that tether the home to the bedrock underneath the cliff. A path at the end of the driveway descends between the retaining wall and the home, creating a feeling of shelter and compression before you step inside. The layout features the main bedroom, guest bedroom and bathroom to the west of the entry door, with a couple of steps down to the right that lead to the living, kitchen and dining spaces on the home’s eastern end (Frances’ bedroom is adjacent
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to the living room, and could also be used as a study or second sitting area). The material palette was deliberately kept simple and economical, with white walls and Strandboard ﬂoors that Amanda says she loves. The home is heavily insulated and has thermally broken window frames which, combined with the plentiful sun, means it is the warmest house Amanda and Rhodes have ever lived in. “Now I don’t care about the weather,” Amanda says. “It’s amazing watching it while being warm.” Rather than opening the entire north face of the home to the view, Bronwen and Pete modulated the use of glass to provide a smart series of varied spaces, from a window seat in the dining area that feels as if it is hanging over the water, to sheltered areas that act as a counterpoint to this sense of exposure such as the exterior sitting space that is recessed into the building envelope. The deck on the eastern end of the home features an angular slice that lets in sun and opens up the view to Taiaroa Head, while the high rear wall offers a sense of protection to the south. The deck is lined with white-painted pine boards that provide a graphic contrast to the home’s black Colorsteel exterior. Just ﬁve metres wide (and 170 square metres in size, including the garage), the home’s exterior
Above Keeping the home trim – just ﬁve metres wide to ﬁt the site – also kept it within the owners’ strict budget. The bookshelf is by Taylor Made, the sofa is from Belle Interiors and the anglepoise lamps are by Marset. The vase on the table and the charcoal drawing (left) behind the sofa are by Amanda’s sister Nichola Shanley. The piece next to Nichola’s was bought at a secondhand shop in Port Chalmers. Right Frances, in a linen dress by The Woods, draws at the kitchen table from Lisa West at Haunt. The water colour paintings by Eliza Glyn on the kitchen bench are of Amanda and Rhode’s previous home and studio in Port Chalmers. The dinosaur on the top shelf is by Frances.
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Opposite, top left Shanley intends her ceramic pieces to be enjoyed for their reﬁned simplicity as well as their function. Opposite, top right Frances hangs out in her room with a few furry friends. Left Shanley’s ceramics are made and sold from her studio, as well as throughout the country. On the wall above is a charcoal drawing by Nichola Shanley – a family portrait of when the siblings were young. Above The eastern deck opens onto a lawn and features a sheltered bench and contrasting white-painted timber lining. The building’s diagonal slice lets in sun and allows views up to Taiaroa Head.
simplicity belies the subtlety of the level change and arrangement of rooms inside. Pete likens the form to an “elongated container that has an industrial edge against a port city”. Its simple shape was necessitated by budget, a key concern for Amanda and Rhodes, but it is no less pleasing to the eye for it. “A lot of people talk about how architects don’t keep your budget in mind but I never felt that with Bronwen and Pete,” Amanda says. Amanda grew up in Auckland before moving south to Dunedin to study art at Otago Polytechnic. Now her studio is located just down the road at Macandrew Bay, right beside Frances’ school. She sells her work there as well as to eight design stores and galleries around the country. Her ceramics, she says, are designed not to be treated as precious objects, but to be “as beautiful as possible and to be used, to have that functional element”. In the evenings, she returns to her new home, where the lights of her adopted city glitter across the harbour, and where the sense of warmth and practicality of her own work has been beautifully realised in architectural form. “It feels like you’re living on a boat, but you’re only seven minutes away from town,” Amanda says. “To live in a house that feels so you – how could I live anywhere else?”
Rather than opening the entire north face of the home to the view, Bronwen and Pete modulated the use of glass to provide a smart series of varied spaces.
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DESIGN NOTEBOOK Q&A with Pete Ritchie and Bronwen Kerr of Kerr Ritchie Architects
What were the three most important design decisions you made on the home? PETE RITCHIE The decision to make a linear form that hung off the hillside to maximise the Dunedin sun and reduce the height of the substructure was one. It was the only logical thing cost-wise, but that didn’t stop us exploring ideas of peeling part of the house away from the slope. We’re also glad we created the split level in the home to add spatial variety and height to the living areas. And we like the way the east end of the house tapers to face towards the heads of the harbour. How did you retain a relationship with the land on this steep site? BRONWEN KERR The entrance ramp to the house is a slot between the house and a right-of-way [to a neighbouring property] that stretches from the garage to the entrance almost a storey below. This also acts structurally, anchoring the house into the hillside. We explored steps down from the front deck, but it is so steep it was impossible. The only way was to link at the east end. The ability to wander out onto the lawn from the deck enhances the sense of connection with the property. The home is economical in size compared to many contemporary homes (or indeed the ballooning average New Zealand house size). What did you enjoy about designing at this scale? BRONWEN KERR We love designing at this scale. It is a treat, and a challenge, to design a house with one bathroom and to think about how each square metre is going to be used effectively.
Right The front deck pulls in under the building envelope to offer a covered and sheltered outdoor seating space. Far Right Rhodes takes time out by the ﬁre to read. Above him is a work by Mary McFarlane. Frances stands at the entry to her bedroom.
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Carport Bedroom 03. Bedroom 04. Bathroom 05. Laundry 06. Bedroom 07. Entry 08. Living 09. Dining/kitchen 10. Deck 01.
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style safari PRESENTS
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A day of design store tours and expert brieďŹ ngs guided by HOME editor Jeremy Hansen FRIDAY MAY 15
HOME’s Style Safari is an exclusive day-long set of brieﬁngs on the latest design trends and releases from the Milan Furniture Fair, guided by HOME editor Jeremy Hansen. The day commences at 9am and includes ﬁve design brieﬁngs at Auckland’s most important design stores, ﬁnishing around 5pm. Lunch is included. Numbers on the Style Safari are limited to 50, so reserve your tickets now.
OUR GUEST SPEAKERS
We visit the beautiful new Studio Italia showroom and hear about the latest releases from Milan.
Artisan Flooring’s director on ﬂooring trends and his ﬁrm’s international ranges of artisanal rugs.
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Photography / Toaki Okano Styling / Kendyl Middelbeek Furniture by Nathan Goldsworthy.
The New Zealand design ﬁrm on their design process, new showroom, and foray into kitchens.
Fresh back from Milan with a host of new purchases, the ECC head reports on new design developments.
HOW TO BOOK Book your tickets online at eventopia.co/homestylesafari Each ticket costs $75 and includes lunch and our all-day Style Safari experience. For information, contact Ashleigh Webb, 09 308 2850 or firstname.lastname@example.org
McKinney Ponsonby, Windeatt Auckland
For a spectacular bathroom space
FLOOR SPACE A BATHROOM BY JACK MCKINNEY MAKES A DRAMATIC BATHTUB ITS CENTRE.
What was your brief and what made you want to foster the strong connection with the outdoors? JACK MCKINNEY, MCKINNEY WINDEATT ARCHITECTS The clients asked for a “spectacular” bathroom and we interpreted this as a request for a bathing experience that had an additional dimension. This led to incorporating the garden into the room and treating the articulation of the space in a sculptural way.
The position of the bath makes you wonder why most bathrooms tend to push all the functional elements to the edges of a room. Did placing the bath in the centre make the design any more difﬁcult? Not more difﬁcult, but you do need plenty of space to do this. We had to carefully consider the proportions and geometry of the bath: it needed to feel generous in the space but remain ergonomic. The inside dimensions of baths are actually quite tight, so the edge detail became a way of visually enlarging it while not creating a swimming pool instead of a bath. How did you choose the materials? There is an extremely limited material palette with the walls, with the cantilevered slab of the basins and the sunken bath all formed in the same stone. There are only two colours in the space, white and stone. This parity makes the space tranquil and seamless, and enhances the sculptural qualities of the architecture. The antiqued character of the stone feels enduring. The same materials are present in the garden, strongly linking the two areas.
Photography / Simon Devitt
Tiles Antiqued French limestone tiles from Designsource. Basins Carved from blocks of antiqued French limestone. Tapware Dornbracht from Metrix.
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Fearon Hay Architects
To create seamless functionality
Photography / Patrick Reynolds
INSIDE STORY JEFF FEARON AND TIM HAY ON FUNCTION AND FORM
What were the main constraints in this bathroom space, and how did you respond to them? TIM HAY The opportunity of a semi-subterranean space meant access was provided through an excavated courtyard. This allowed for a light and open space while still maintaining a sense of privacy. JEFF FEARON The idea was a utilitarian space, adjacent to the garage and
laundry, with functionality that would deal with people coming to and from the beach. How did you want the bathroom to feel? JEFF FEARON The bathroom was intended to feel open, despite being below ground level. A sense of ease of use was also important for the space to work within its context. How did you go about choosing the material palette? TIM HAY The colour and material palette was a continuation of our design scheme for the rest of the house, and was chosen for its sense of subtle richness, such as the plasterwork and ﬁnishings. The bathroom looks remarkably uncomplicated – but is there a lot
of work behind that apparent simplicity? JEFF FEARON It aims to appear simple and clean but with a high level of utility. With indoor and outdoor showers it can be easily accessed to and from the beach, for washing the dog and so on. The racks [out of shot] provide a means of storage for beach activities, heightening the functionality of this space while still maintaining a sense of simplicity.
Tapware from Bofﬁ Studio Elemento. Flooring the shower ﬂooring is travertine, and elsewhere it is honed concrete slab. Vanity y Custom-made terrazzo. Toilet Duravit ‘Stark 2’ by Philippe Stark for Duravit from Metrix. Glass doors ‘W20 Milan Suite’ electro-polished stainless steel and ‘Satinlite’ toughened glass. Walls ‘Cement Grey’ Stolit MP from STO.
Guy Tarrant Architect
Pt Chevalier, To create a calm, Auckland compact space
CLASSIC CALM ARCHITECT GUY TARRANT GETS TO WORK ON HIS OWN SPACE.
Where in the house is this bathroom, and what were the spatial constraints on its design? GUY TARRANT It’s an ensuite bathroom adjoining the upstairs master bedroom, with a sloping roof but with views to the water. Space constraints and a sloping ceiling meant it was important to maximise the sense of space. How did you choose the material palette, and what made you choose the same tiles for the walls and ﬂoor? The materials are an extension of the palette established in other parts of the house. Because it is a small space, a restrained palette of materials was selected to create a sense of calm. The marble tiles lend a restrained, classic luxury. You’ve created a wall-mounted vanity unit. What led you to this decision? The ﬂoating vanity is an elegant solution and also helps to enhance the sense of space.
Photography / Patrick Reynolds
What made you choose a basin mounted on the bench instead of a single unit? The round basin is a contrast to the orthogonal nature of the house and has a purity and simplicity that I like.
Tiles Marble tiles from Artedomus. Tapware ‘Cox’ wall-mounted mixer by Paini from Metrix. Basin David Chipperﬁeld for Ideal Standard from Robertson Industries. Mirrorr Custom-made by Anytime Glass. Benchtop Honed granite from Italian Stone. Timberr American oak vanity cabinetry fabricated by Form Design. Heated towel rail from Metrix.
HOME NEW ZEALAND / 133
Te Henga bathroom
Te Henga, Auckland
To create a bathroom that enjoys the view
FREE AND EASY A BATHROOM IN A HOME BY STEVENS LAWSON INVITES THE OUTSIDE IN.
This bathroom is part of the home on p.92. While many bathrooms are hidden away for privacy reasons, this one has a wonderfully direct relationship with the site. What made you decide to design it this way? NICHOLAS STEVENS There are no neighbours and the horses don’t seem to mind, and there are always the timber Venetian blinds (so as to not scare the horses). Most importantly, the sublime luxury of lying in a bath with French doors open to the ocean was too good to pass up. Most bathrooms are full of built-in cabinetry, but in this one you’ve allowed space for free-standing furniture, as well as a mirror and an artwork more like you’d ﬁnd in a living area. What are the beneﬁts of this approach? An eclectic bathroom is less clinical, has more personality and allows the owner more self-expression. It feels like a place to spend more time, not just pass through. What are the key elements a good bathroom should have? I think a bathroom should be sensual and serene with beautiful ﬁttings, materials and textures and, of course, exquisite light.
Tapware Dornbracht from Metrix. Vanity ‘Vero’ by Duravit from Metrix. Floor tiles French hexagonal tiles from Heritage Tiles. Bath Resurfaced claw-foot bath. Light Antique Venetian glass.
Photography / Mark Smith
Photography / Toaki Okano
Lake view bathroom
Mitchell & Takapuna, Stout Architects Auckland
For a bathroom with water views
LIQUID LINES WATER VIEWS FROM A SPACE BY MITCHELL & STOUT.
This ensuite has a lake view. What made you decide to privilege it with one – bathrooms are often shoved out the back of a home – and how did you manage the vista? JULIAN MITCHELL The view of the lake is so beguiling that it seemed churlish not to engage with it in as many rooms of the house as possible. Some rooms break out of the main form of the house to catch the view and this, along with the kitchen below, is one of those rooms. How did you choose the material palette? Our clients were keen on a fairly clean look and they liked Jura (a hard limestone) ﬂoor tiles. White marble and wall tiles were chosen for their durability and clean appearance, while the honey tones of the Jura and Tasmanian oak warm the space and tie it in with the exterior cedar cladding. The vanity is lifted off the ﬂoor – what made you decide to take this design approach? Lifting the vanity extends the ﬂoor area, which gives the room a more spacious feel.
Tapware ‘Promix’ by Methven. Marble ‘Miele’ marble from Italian Stone. Timber bench Tasmanian oak bestwood veneer. Tiles ‘Jura’ ﬂoor tiles from Italian Stone and white wall tiles from Artedomus. Lighting ‘Buzzi Buzzi Neﬁ’ downlight with satin white glass by Philippe Starck from ECC.
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2015 HOME OF THE YEAR LECTURE
Julie Eizenberg Opportunity Hides in Plain Sight The maverick Californian architect on her award-winning design approach.
Koning Eizenberg Architecture refurbished a landmark 1926 YMCA building and added a wing of affordable apartments with a roof deck (above) in this multi-awardwinning Los Angeles project.
Los Angeles-based architect Julie Eizenberg is visiting New Zealand as the international member of our Home of the Year jury. Don’t miss the opportunity to hear this worldrenowned designer discuss her innovative work. AUCKLAND
Monday March 2, 6.30pm CHRISTCHURCH
Wednesday March 4, 6.30pm
$20 (Students and subscribers $15) Venue details and tickets at: eventopia.co/eizenberg
Born in Australia but a resident of California for over 30 years, Julie Eizenberg of Koning Eizenberg Architecture’s uniquely Los Angeles approach to design has won more than 90 architectural awards. Her work has been praised for combining frugality and verve, and juxtaposing serious architectural ideas with an easy informality. She has designed homes, hotels, museums, libraries and affordable housing and serves as an advisor on the US Mayor’s Institute on City Design. In 2012 she won the American Institute of Architects’ Los Angeles Gold Medal in recognition of a lasting inﬂuence on the theory and practice of architecture. She comes to New Zealand fresh from a stint as a super-juror at the World Architecture Festival. Don’t miss the chance to hear this inspiring speaker in person.
For information, please contact Fiona Williams at HOME, 09 308 2739 or email@example.com
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Inside Eyrie, one of the cabins on the Kaipara Harbour designed by Nat Cheshire of Cheshire Architects, which won our Home of the Year award in 2014. The artwork at right is by Julian Dashper. Photograph by Darryl Ward.
In our next issue
home year — — OF THE — —
SPECIAL 20TH ANNIVERSARY ISSUE THE BEST NEW ZEALAND HOMES OF THE LAST 20 YEARS, PLUS THE WINNER OF THE PRESTIGIOUS 2 0 1 5 AWA R D O N N E W S S TA N D S I N A P R I L
FO L LOW U S O N FA C E B O O K , T W I T T E R A N D I N S TA G R A M F O R U P D AT E S O N O U R JUDGING JOURNEY
Subscribe to AND RECEIVE ISSUE AFTER ISSUE OF INSPIRING ARCHITECTURE AND DESIGN.
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
1 YEAR 6 issues $50 SAVE 24%
2 YEARS 12 issues $90 SAVE 3 1%
G R E AT G I F T F O R FA M I LY & FRIENDS!
140 / HOME NEW ZEALAND
BENEFITS OF SUBSCRIBING FREE DELIVERY TO YOUR HOME BEFORE IT HITS NEWSSTANDS
NEVER MISS AN ISSUE NEVER PAY COVER PRICE AGAIN
SUBSCRIBE SECURELY ONLINE AT WWW.MAGSHOP.CO.NZ/HOME/M502HAE SAVE $5 MORE ONLINE! PHONE 0800 MAGSHOP (0800 624 746) AND QUOTE M502HAE Offer ends 5 April 2015. This offer is valid for delivery in New Zealand before 5 April 2015 to subscribers by phone or online at www.magshop.co.nz/home/M502HAE. Gift will be sent to bill payer. This subscription offer cannot be used in conjunction with any other offer. Once processed, all subscriptions are non-refundable. Rates include GST and postage. Please allow 6 weeks for delivery of your ďŹ rst magazine. For overseas subscription rates and full terms and conditions refer to www.magshop.co.nz.
HOME NEW ZEALAND / 141
Waterware Our modern contemporary bathroom products have been carefully selected to make dream bathrooms real and affordable. Waterware is an established supplier of plumbing and bathroom products to the industry for more than 25 years.
54 Stonedon Drive East Tamaki Ph 09 273 9191 firstname.lastname@example.org www.waterware.co.nz
Designworx As a leading Auckland Interior Designer, Amanda has years of experience and knowledge designing Bathrooms that are both stylish and functional. Amanda has a vast knowledge of all the latest products and trends to create the Bathroom of your dreams. E: email@example.com Ph (09) 445 1098 / 027 492-1383 www.designworxnz.co.nz
Diamond Fusion easyCLEAN Glass Do you hate scrubbing your shower glass? Do you want to keep your shower “showroom” new like the day it was installed? Now you can. Protecting the shower glass against mineral deposits that can damage the surface is not hard. With the application of Diamond Fusion easyCLEAN on your new glass, you can ensure your shower will keep its sparkling clean glass for years to come, reducing your cleaning time dramatically and backed by the manufacturer’s life-time warranty.
Mobile Ceramics Mobile Ceramics NZ Ltd is proud to release its latest product from Italy. The Dakota range of timber-look porcelain tiles have been developed with highly innovative technology that allows for a perfectly ﬂat tile ﬂoor when laying large format tiles, thanks to a revolutionary self-levelling system. The large format planks (200x1700 and 400x1700) provide elasticity previously unthinkable for porcelain material. Dakota – A perfect and aesthetic timber-look ﬂooring solution, with the strength and low maintenance of porcelain stone ware. Tawa Trade Centre, Shop 5, 2 Tawa Dr, Albany, Auckland 198 Moore St Howick, Auckland Ph 0800 002 005 www.mobileceramics.co.nz
Plumb'In Bathrooms See yourself in the best light. Lighting around the mirror in a bathroom has to be effective but subtle, and these designer LED bathroom mirrors are just the answer. They are great for shaving or applying makeup and unlike side or top lighting they do not cast any shadow. Using LED lighting saves power, lasts longer and provides a quality light. You should always have good lighting to help you look your best so you leave your bathroom feeling good and conﬁdent throughout the day. Ph 0800 449 993 Available online at: www.plumbin.co.nz/shop/Accessories/mirrors Albany, New Lynn, Whangarei, Christchurch
To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: firstname.lastname@example.org
Ph 0800 666 785 www.diamondfusion.co.nz
New Zealand Portrait Gallery
Artiteq is a low cost, high proﬁle, high quality ﬂexible picture hanging system. It provides a professional way to display art and other decorative items in a home or public area. Using Artiteq will give you total freedom and ﬂexibility to move your hangings around without having to worry about holes in the wall or damaging your pieces of art.
Pop along to the Wellington Waterfront to visit one of New Zealand’s signiﬁcant galleries. The New Zealand Portrait Gallery is home to a growing collection of portraits; from poets to prime ministers, actors to activists and many in between. These images help us appreciate New Zealand’s identity, culture and creativity. Free Admission. Open daily. Jemaine Clement as Vladislav, Oil on board, Collection NZPG www.nzportraitgallery.org.nz
Whether it concerns hanging a valuable work of art in a gallery, a children's drawing, advertising material for your ofﬁce or showroom or a precious photograph Artiteq will have a hanging solution for you!
Mardeco International Ld. Phone 0800 820 840 email@example.com www.artiteq.co.nz
Art of this World
Representing a select group of established and emerging Artists from New Zealand, our interest is fundamentally in modern, contemporary Art and Design practice. Promoting richness and diversity that will appeal to the casual visitor to art connoisseur. Artists include: Nicolas Dillon, Bob Kerr, Susanna Izard, Stafford Allpress, Rebecca Thomson, Susan Wilson. Design Store: Debra Fallowﬁ eld, Madeleine Child, Kate of Arcadia. Nicolas Dillon Winter in the Mackenzie Paradise Ducks
Art Of This World Gallery in Devonport is a 10 minute ferry ride from downtown Auckland featuring beautiful contemporary art and craft by New Zealand artists. An ever changing collection of Paintings, Prints, Photography, Glass, Wood, Sculpture, Jewellery all in one spacious gallery. Tax free sales on exports. Local and worldwide shipping is arranged with ease.
Upstairs Old Post Ofﬁ ce Building, 47/49 Talbot St Geraldine. New Zealand. Ph.+64 3 69 37 292 www.mcatamneygallery.co.nz
To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: firstname.lastname@example.org
Open 7 days 10am to 5pm Ph 09 446 0926 www.artofthisworld.co.nz
Jane Gray ART & INTERIORS Jane Gray ART & INTERIORS offers a Full Interior Design package which includes a comprehensive understanding and knowledge of Artworks, and access to the Top Design Houses. Jane is an interior designer/artist who takes pride in working with her client to create a space the client will love and continue to enjoy living in. “I believe in developing a relationship with my client so they can communicate their ideas as well as trust the ideas and opinions that I may advise."
Lake House Arts Centre
www.janegrayinteriors.co.nz www.winecountrygallery.com Emailemail@example.com Ph: 021 2458500
OPEN: 28th and 29th March 2015 Art Galleries| Heritage | Museums | Performance | Literature The OPEN weekend event will showcase the vibrant and exciting creative industries that are prevalent on the North Shore of Auckland and ‘open’ for all to enjoy and discover. OPEN will include North Shore performance venues, art galleries and arts organisations as well as local museums, heritage buildings, historic sites and independent practitioners (artists’ studios and private galleries/ performances). OPEN is a free regional event, proudly supported by the Devonport/ Takapuna Local Board. For more information visit www.lakehousearts.org.nz
Höglund Art Glass Art glass by Ola and Marie Höglund is totally unique. Each masterpiece is a singular work of art, engraved with its individual title and code, numbered and signed by the artists, and accompanied by a certiﬁcate of authenticity. Any masterpiece from this ﬁne collection is a true collector’s treasure.
Architects ArtShowcase Showcase
ARCHITECTURALLY DESIGNED, QUALITY BUILT & AFFORDABLE MYPAD.NET.NZ / 0800 4 MYPAD
WINNER 2014 CREATIVE EXCELLENCE AWARD FOR THE MOST INNOVATIVE KITCHEN Visit our display kitchen at: PO Box 28-700, Remuera Phone (09) 813 6192 www.croninkitchens.co.nz
155 The Strand, Parnell.
www.strawmark.co.nz | 027 289 3478
Readership: 103,000* Circulation: 11,190** * Nielsen CMI Oct 13-Sep 14 ** NZ Audit Bureau of Circulations Oct 13-Sep 14
To advertise your product in the Urban Living Directory
contact: Kim Chapman Ph: 07 578 3646 | Mob: 021 673 133 Email: classiďŹ firstname.lastname@example.org
Importers and distributors of genuine vitreous enamel industrial lighting www.boudi.co.nz
Ph (06) 878 0166
To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: email@example.com
Original Acapulco and Mamasita Chairs WERE $499 NOW $299. Summer special for a limited time only
DESIGNERS AND MANUFACTURERS OF BESPOKE CABINETRY & FINE FURNITURE
www.seftonpowrie.com +64 9 278 4935
photography by firstname.lastname@example.org
MY FAVOURITE BUILDING Gallery owner Trish Clark adores her central Auckland space. “Long my favourite modernist building in central Auckland, I shrieked on ﬁnding this online while searching commercial space for lease. It has intense architectural clarity and urbanity, a modest scale, perfect proportions and a remarkable siting. I had always loved its human-scaled presence hugging Albert Park to the rear and the footpath in front, and the perfectly proportioned steel fenestration of its north face. Incredibly, Albert Goldwater’s brilliance in delivering this touch of European modernism was a seamless integration in 1955 with the 1914
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schoolrooms on the site, which were built in bungalow style. More incredibly, and thankfully, the building’s demolition to construct a seven-storey ofﬁce building was averted by the October 1987 sharemarket crash. In the consent, it was noted the new building ‘would have little impact on Albert Park’. Hello!! This wonderful building is now my recently opened gallery. Characterful, yet not dominating, graciously accommodating of large and small artworks and projections, blessed with beautiful natural light, this space delights me daily.”
25 Nugent St, Grafton, AKL email@example.com www.studioitalia.co.nz phone +64 9 523 2105
studio.italia new showroom now open:
Published on Jan 27, 2015