Mooi Interiors

N째01 BOX LIVING

2013, October

SUSTAINABLE, MODERN DESIGN

KITCHENS & BATHROOMS LATEST INTERIOR TRENDS

2014 COLOUR TRENDS ONE ROOM, TWO LOOKS

#01 | OCTOBER 13 | NZ $14.99

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Auckland: 96 Carlton Gore Road, Newmarket Tel 09 523 2105 Queenstown: The Junction, cnr Gorge and Robins Roads studioitalia.co.nz

art

the

of living

Art claims you It takes you by surprise A splash of unexpected colour It is a statement of who you are It paints a portrait of you to the world The person you are within the person you will be for ever From that moment you realise that great design truly is an artform not fashion Discover the art of design for you home, at Matisse

www.matisse.co.nz

Ray Sofa, Frank Small Tables, Harry Large Ottoman & J.J. Armchair

AUCKLAND KITCHENS, BATHROOMS, LIGHTING, FLOORING AND RESIDENTIAL FURNITURE - 99 The strand, Parnell T 09 302 2284 E design@matisse.co.nz

www.bebitalia.com

the gallery where design becomes art TAURANGA - 74 First Ave T 07 281 1216 WELLINGTON - T 04 499 9891 CHRISTCHURCH 18/212 Antigua St. T 03 366 0623 QUEENSTOWN - 179/A Glenda Dr. T 03 409 0855

Contents PROJECTS 10 | Pastel Power A hit of lavender and mint adds a welcome creamy jolt to this mid-century modern home.

20 | High Art An old commercial building in Auckland is transformed into a show-stopper of a home.

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30 | Shine A Light A Remuera bungalow becomes a large, light-filled family home wrapped in louvres.

40 | Island Life A home on Waiheke Island features bright, bold architectural details and an impressive collection of colourful art.

50 | In Plain Sight High on the hill behind St Heliers, Auckland, sits a house that takes advantage of its position without being overbearing.

PEOPLE 60 | Force of Nature Kirsten Matthew talks to homewares and accessories designer Emma Hayes about her evocative, luxurious designs.

64 | Out of the Box The men of Box Living chat about small floor plans, modular homes and the nascent New Zealand urban-bach movement.

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68 | Family Affair Designer Rebecca Snelling talks to Mooi about Douglas + Bec, the homewares brand she created with her dad.

72 | Lauren Palmer Lauren Palmer tells Mooi about her job creating some of the world’s coolest cookware.

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ON TREND 76 | Bathing Beauties Clean up in the bathroom with the latest in interior and architectural trends.

80 | Kitchen Confidential Mooi takes a look at what’s cooking when it comes to cutting-edge kitchen design.

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84 | Artisan - One Living Room, Two Looks Earthy tones and rich, saturated colours create a warm backdrop for treasured mementos.

86 | Urbanite - One Kitchen, Two Looks Cool, crisp colours and unexpected contrasts evoke a cosmopolitan mood with a chic vibe.

88 | New Traditional - One Bedroom, Two Looks Bold colours and patterns bring a fresh perspective of classic elegance to a warm, inviting retreat.

90 | Coastal - One Home Office, Two Looks Colours inspired by sand, the sea and the sky combine to create a fresh, sophisticated palette.

BRANDS 92 | Arper Arper specialise in producing products that reflect a sense of playfulness and colour for residential and commercial use.

94 | Minotti Minotti creates furniture that’s made to feel as good as it looks using authentic Italian design.

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96 | Knoll Knoll is committed to modern design, using it to connect people to their work, their lives, their world.

98 | Walter Knoll Walter Knoll designs a wide variety of furniture, from classic pieces to furniture that embraces a sense of futurism.

100 | Paola Lenti Paola Lenti is renowned for its research and experimentation in the textile field using natural and technological materials.

102 | Roda Roda specialize in the production of top quality outdoor furniture, favouring natural materials and pared back design.

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Editor’s Letter HOME IS WHERE the heart is. And I’m sure I’m not the only who feels that. For me, the place where I live, where I spend the most time with my family and where friends can come to visit for that much needed glass of wine, is one of the most important elements of my life. For me, my home is a definition of myself and a sanctuary for those I love most. It was from this that inspired Mooi. A Dutch name, stemming from my Dutch heritage that means beautiful. Everyone, from all walks of life, should have unique homes that are beautiful to them. Mooi aims to enhance the sanctuary which we all call home.

This magazine is designed to inspire the audience and tries to have a little something for everyone.

Everything about Mooi is focused on creating highend, unexpected or innovative designs elements that elevate the rooms far beyond being simple living spaces. Where there is a house, there is a home, and the team at Mooi is dedicated to presenting and allowing everyone the opportunity to be inspired and create.

This month’s issue was created as a resource for both interior design professionals and inspiration for their clients. The interiors featured throughout Mooi are distinctly different and display how our interior designers can take a vision and make it come to life. Everyone is different, however the foundations for creating a home that you love is the same; to design interior spaces that function well, keep your personal treasures close, and provide not only a house, but a home and a sanctuary.

Carla Moulden Editor

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Carla Moulden Publisher & Editor Chloe Taylor Creative Director Carla Moulden Designer Kirsten Matthew, Sharon Stephenson, Tommy Honey, Jane Binsley, Clare Chapman, Zara Tempest Coleman, Harriette Loves Contributing Editors Lily Dodds Advertising Manager Nicole David Operations Manager Printing Print House Distribution Netlink (New Zealand), Gordon & Gotch (Australia) Subscriptions NZ$55 (GST incl) annual subscription to receive 4 issues delivered throughout New Zealand. Australia based subscriptions A$70 (includes postage).

Subscribe Online mooiinteriors.co.nz/magazines Subscription Enquiries subscribe@mooiinteriors.co.nz On The Cover Pastel Power Photograph by Shannon McGrath.

Feature on page 10.

AGM Publishing Ltd Level2, 409 New North Road, Kingsland, Auckland 1149, New Zealand Telephone +64 9 846 4068

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Akzente Limited 10/77 The Strand, Parnell Auckland Phone: 09 307 1577 Fax: 09 307 1511 auckland@poggenpohl.co.nz

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Pastel Power A hit of lavender and mint adds a welcome creamy jolt to this mid-century modern home.

WORDS ZARA TEMPEST COLEMAN & IVY NASSOPOULOS | IMAGES SHANNON MCGRATH

THIS PROJECT SHOWS an elegant resurgence for long-maligned pastels within a refurbished space. The mid-century modern home in Auckland, while highly relevant to the owners in an architectural sense, was less than desirable when it came to spatial layout and finishes. Though a home with character, what they wanted was true open-plan-style living and a fresh focus on simplicity and chic.

In a collaborative effort between designer, builder and landscaper, simple changes were made to the layout and flow of the house which in turn would result in huge changes in living. This was done without sacrificing the integrity of the original house. Knocking out a few walls and adopting a fresh white palette coupled with oak floors, they produced a series of ample, light and modern spaces and a soft backdrop upon which bolder accents could be added.

Gentle colour became key within the space - mint and lavender Wishbone chairs, pink and blue Eames elephants, Dot stools in dusky hues and other jolts of colour were introduced through carefully selected items. Further layers of art and object in a combination of neutrals, neons, and striking metallics added definition and texture and evolved the space from house to home.

The new owners of this Auckland home were charmed by the exterior architecture, however moving to the interior, this is one thing the owners weren’t that happy about. Although is was architecturally sound and had plenty of character, the owners wanted to make changes to interior layout and finishes. With the help of an interior designer, a builder, a landscaper and themselves, they managed to create an open plan living space, where

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FACING PAGE: A CAREFULLY SELECTED ART WORK GIVES DEPTH TO THE SPACE.

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function prevails and there is a sense of unobstructed flow from one room to the other. Large openings and many windows allow for light to generously stream in and in fact multiply. The bright, shiny white kitchen features a rather enormous central island, where basic functions such as washing, preparing and cooking take place.

FACING PAGE: THE LIVING SPACE INTRODUCES WARMER, EARTHIER TONES. LEFT: A WHITE-WASHED CANVAS IS SPIKED WITH NEONS. RIGHT: FROM BENCHTOP TO LIGHT FITTINGS, THE DESIGNERS HAVE OPTED FOR NEUTRAL TONES WITH SUBTLE DETAIL.

Using the words pastel and power, the one next to the other might sound a little odd, pastels being mostly correlated with sweetness, calmness, innocence and often a feminine or even “girly” mood. Lately though, more and more interior trends are emphasizing the indeed powerful impact pastel touches can have when incorporated in modern homes. It’s all a matter of the right mix and the right amounts to create an overall architecturally and chromatically minimal space.

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FACING PAGE: DOTS OF PASTELS CREATE A VISUAL CONTINUITY THROUGHOUT. ABOVE: WHITE-WASHED BRICK AND TIMBER WALLS PROVIDE A FRESH, INVITING ENTRANCE FOR VISITORS. RIGHT: A THOUGHTFUL ARRANGEMENT OF ARTFUL OBJECTS. FAR RIGHT: STONE TILES AND MORE CREAMY HUES ARE APPLIED TO THE BATHROOM SPACE.

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Through out the whole space oak floors have been combined with white walls and simple furniture in wood, textiles in muted greys, all lightened and brightened up with the addition of a pastel palette. Mint and lilac for some of the many Wishbone chairs in the dining area and one in the office, pale blue for the Panton chairs around the kitchen table, and a few pink and yellow notes here and there. The beautiful artwork in the dining area adds contrast to the gentle colour scheme, and depth to the space, while the metallics add texture. The outcome is a contemporary, minimal home, with the right amount of interest brought from the pastel colours of distinct design objects.

LEFT: AN EXPANSIVE GLOSSY ISLAND BECOMES THE FOCUS OF THE KITCHEN. RIGHT: THE MINT CHAIRS MAKE THEIR WAY FROM DINING ROOM TO OFFICE. FACING PAGE: SIMPLE, CLEAN LINES ARE KEY IN THIS FUNCTIONAL SPACE.

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High Art An old commercial building in Auckland is transformed into a show-stopper of a home.

WORDS KIRSTEN MATTHEW | IMAGES NIC STAVELEY

TREK TO THE top of Auckland’s Queen Street, far beyond the tourist shops and hole-in-the-wall restaurants, and you’ll find a quiet enclave. It’s Upper Queen Street: the strip where furniture designers, graphic artists and retailers have recently set up shop. And where Gary Langsford and Vicki Vuleta have made their home.

The pair bought the corner, three-storeyed building, once home to a windscreen-repair company, in 2005, almost two years into their search for an inner-city site to transform into an apartment. “I could see what I’d do with it as soon as I saw it,” says Langsford, an art dealer and co-owner of Gow Langsford Gallery. “But it took a while to get started.” “It was really bad,” adds Vuleta.

David Howell, a New Zealand architect who lives in the US, was commissioned by the pair to transform the down-at-heel space into a large home and commercial space. “Gary was mesmerised by the footprint of the property,” Howell says. “He’s a Kiwi but he gets New York. He’s spent a lot of time there. This property is a New York footprint; the footprint of a loft. That inspired both of us to do something which was interesting and different.” Jones Architects, a local firm, was hired to shepherd Howell’s design. Most of the building was demolished, so that only a few concrete columns, two floor slabs, and part of the back wall remained. The stud height on the third floor was increased from 2.4m to 4.0m, and a fourth floor was added. The top floor became the master bedroom with a large ensuite and walk-in wardrobe, an office space and a roof garden that Vuleta has adorned with topiaries and a large dining table. A lift was installed – and covered in black-and-white Fornasetti wallpaper – to access all four levels.

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FACING PAGE: NATURAL LIGHT FLOWS IN TO FILL THE LARGE LIVING AREA.

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On the Upper Queen Street level, a storefront was created to house the FACING PAGE: A SITE-SPECIFIC INSTALLATION BY SARA HUGHES BRIGHTENS UP THE KITCHEN.

couple’s latest venture, a design store filled with limited-edition and vintage pieces of furniture and objets d’art, named Design55, and a small café that is leased out. In the middle of the building, an enormous living area, kitchen and

TOP LEFT: ON THE TOP FLOOR, DUAL DESKS PROVIDE AN AT-HOME WORKSPACE FOR LANGSFORD AND VULETA.

guest bedrooms have taken residence. The two street-facing façades of the

BOTTOM LEFT: LANGSFORD, ONCE A MEMBER OF NEW ZEALAND BAND DD SMASH, NOW COLLECTS VINTAGE GUITARS.

windows are hidden behind concrete panels. Langsford wanted the exterior

RIGHT: THE THIRD-FLOOR HALLWAY LEADS TO GUEST BEDROOMS AND BATHROOMS – AND A MEDIA ROOM WITH A CAMPANA BROTHERS ‘BANQUETE’ CHAIR AND A GLITTER PAINTING OF A TIGER BY REUBEN PATERSON.

building are new and on the top two floors were constructed from GRC concrete.

There are no windows on the Upper Queen Street side; on Dacre Street, the of the building to look like a piece of minimalist sculpture. “We went through many dilemmas,” explains Howell. “Ultimately, the property convinced us to do a shuttered building, rather than a mesh-covered building.”

Inside the apartment, which is a monumental 1,800m², the rooms are designed to be grand, but warm. “The challenge was creating enough rooms in the back part of the building. You can do something cosy without the traditional bedroom

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FACING PAGE: THE STAIRWAY FEATURES ARTWORKS BY IAIN CHEESMAN AND MAX GIMBLETT. TOP: LANGSFORD AND VULETA IN THE COURTYARD. BOTTOM: THE ROOFTOP IS VULETA’S FAVOURITE PLACE IN THE BUILDING.

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feel,” says Howell. “The sense of space: you can’t create that if you don’t have it,” adds Langsford. “It’s a loft, but it doesn’t feel harsh. It’s divided up; there are spaces that function just like a house. To achieve that, you’ve also got to have carpet in the bedrooms. Curtains help in that respect too. You need some soft elements to it.” And plenty of oversized wall space to hang an enviable collection of art: There are works by Max Gimblett, Judy Millar, Jeff Koons, Andy Warhol and Dale Frank. And pieces of contemporary and vintage furniture: Chairs constructed from soft toys by the ingenious Campana Brothers, a B&B Italia white leather couch, a ‘Table Bleu’ coffee table by Yves Klein, which is filled with pure pigment in International Klein Blue, and a black glass Murano chandelier that sat in boxes for three years before taking pride of place in the kitchen. As Vuleta says, they “don’t do beige”.

“We’ve created a sort of sculpture to put things in,” says Langsford. “Things tend to find their own space. It’s an evolving environment. And every three months we move the art around. We like an eclectic mix. It’s about the quality and the quirkiness. It’s a whole lifestyle really. A lifestyle in building.”

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LEFT: THE MASTER BEDROOM FEATURES A MIRRORED SKULL BY SWISS ARTIST JOHN ARMLEDER. RIGHT: ALL FLOORS IN THE LIVING AREAS ARE BASALT. FACING PAGE: THE MASTER BATHROOM IS LIGHT AND BRIGHT AND FILLS THE SPACE BETWEEN THE HOME OFFICE AND THE MASTER BEDROOM.

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Shine a Light A Remuera bungalow becomes a large, light-filled family home wrapped in louvres.

WORDS SHARON STEPHENSON | IMAGES SIMON WILSON

WHEN LIFE HANDS you a renovation, what do you do? If you’re Sarah Loutit, you go for broke. “I’m the kind of person who believes that if you’re going to make a change, you may as well make it the biggest change possible,” says the interior decorator of the Remuera home she shares with husband Bill and children Jack (9), Annabelle (6) and four-year-old Lily.

The couple bought the 1930s’ bungalow in October 2011, having admired its single-storey living, simple flow and 900m² section. A draughtsman was called in to translate the simple, ‘back of the envelope’ renovation they planned. But it soon became apparent that, while the plans captured the spaces and layout Loutit wanted, they didn’t make the architectural statement she was after.

Enter David Ponting, design director of Ponting Fitzgerald, with whose work Loutit was familiar. Ponting suggested pushing out both the back and the front and adding a gabled roof that elevated the stud to 4.5m. “We wanted to reflect and expand upon the classicism of the established Remuera context,” says Ponting. “By creating a strong axial line, we were able to create a symmetry that everything else in the house hangs off.”

Key internal walls were moved to achieve a central axis, allowing for a 2.5m-wide hallway that provides gallery space for the couple’s extensive art collection, which includes works by Dick Frizzell, Michael Parekowhai and Karl Maughan. Ponting’s design also allows for a clear line of vision from the front door to the back garden.

At the street level, the former laundry at the back was demolished and replaced with a generous open-plan kitchen, dining and living space (the site of the

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FACING PAGE: THE FRONT GABLE OF THE HOUSE IS COVERED IN FINE-BLADE ALUMINIUM LOUVRES.

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original kitchen was turned into a den). It was critical to Loutit that she created the perfect kitchen – or two kitchens, as it turned out. The first is what she jokingly calls the “show kitchen” and features a generous island and an extensive pantry concealed behind floor-to-ceiling sliding doors. The second is the beating heart of the home, a large, functional scullery that’s tucked behind the pantry. “I hate clutter so having the real working parts in the scullery – the appliances, fridge and so on – means the mess can be hidden away,” says Loutit, 42. Ponting agrees: “The scullery is an excellent solution for hiding the secret workings of an entertainer’s kitchen so the main space is kept as simple and elegant as is the adjacent living area. I’ve always pushed for these working zones when resolving open-plan environments because I like to see streamlined kitchens that integrate with architecture.”

However, the change that literally stops traffic is the front gable of the house covered in fine-blade aluminium louvres custom-made by Locarno. “I wanted the FACING PAGE: OWNER SARAH LOUTIT, WHO WORKS AS A DECORATOR, DESCRIBES HER STYLE AS “PARED BACK WITH CALM AND RESTFUL COLOURS AND TEXTURES”.

LEFT: THE STUDY AND WORKSPACE. RIGHT: JACK, ANNABELLE AND LILY ENJOY SOME SWEET TREATS IN THE KITCHEN.

front of the house to create a distinct statement by layering textures so that they allow light to play through and regenerate the true character of the previous form,” explains Ponting. “By using the wall of blades to softly manipulate light, the home reveals a sensitivity belying its bold contemporary form. In many respects, it extends the timeless, functional qualities of a ‘plantation’ aesthetic to better suit the urban context.” The imposing front grill is designed to completely close off,

which Loutit likens to “shutting out the world. People call this the

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FACING PAGE: THE NEW DESIGN OF THE HOUSE ALLOWS FOR A CLEAR LINE OF VISION FROM THE FRONT DOOR TO THE BACK GARDEN. ABOVE: A PAINTING BY ROB TUCKER TAKES PRIDE OF PLACE IN THE KITCHEN/ LIVING AREA. RIGHT: THE CHILDREN’S’ BATHROOM IS SIMPLE AND FUNCTIONAL. FAR RIGHT: LOUTIT’S PARED BACK AESTHETIC FLOWS THROUGH TO THE MASTER BEDROOM.

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‘louvre house’ and it’s definitely well known around here,” she laughs. “People often knock on the door to ask about it.”

Surprisingly for a renovation of this scale, the project took only eight months to complete. Being in the industry helped, admits Loutit, as she was able to call upon contractors with whom she had worked previously, including builder Adrian Rowan of 505 Construction. And, unlike when working for interiordesign clients, Loutit was able to decorate without any constraints. “When it’s your own home, you can do whatever you like,” she says. Hence the natural oak floors and liberal hand with white paint – and the striking Roll & Hill modernvintage light designed by US designer Jason Miller that hangs above the dining-room table. Loutit found it online and had it sent to New Zealand from New York. “It took five months to arrive and a few weeks later I saw the same thing in the ECC Lighting catalogue!” she explains.

The house was completed at the end of 2012 and the family moved in as soon as the last nail had been hammered. “I underestimated how functional it would be; it literally blows me away,” says Loutit of Ponting’s design. “It works so well; it’s straightforward, uncomplicated and not trying to be too clever. It has simplified life for us in a way I didn’t anticipate. We’re very happy here – I think we’d find it hard to find anything else that suited us so well.”

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ABOVE: THE LIVING AREA OPENS UP ALMOST COMPLETELY TO THE OUTDOORS. FACING PAGE: THE IMPOSING FRONT GRILL IS DESIGNED TO COMPLETELY CLOSE OFF, WHICH LOUTIT LIKENS TO “SHUTTING OUT THE WORLD”.

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Island Life A home on Waiheke Island features bright, bold architectural details and an impressive collection of colourful art.

WORDS KIRSTEN MATTHEW | IMAGES EMMA-JANE HETHERINGTON

PEER UP THE driveway of Christine James’ and Susie Flegg’s Waiheke Island section and there’s not a lot of colour to be seen. Yes, there’s a house with a red front door and a matching iron brace, but the rest of the façade is resolutely, monochromatically charcoal.

Throw that front door open, though, and colour bursts forth from every surface.

In the entranceway, known as the gallery by its owners, bright paintings, sculptures and objects d’art jostle for space. To the left, in the living room, duck-egg-blue armchairs, a pink chair, a purple sofa and more artworks reside. In the kitchen, with its white walls and floor, ceramics colour the space along with more paintings.

Beyond the kitchen, on the expansive deck that enjoys panoramic views of Enclosure Bay, colour has been added to the hard architecture in the form of almost-iridescent lime green polycarbonate panels that shelter the outdoor sitting area from the sun. Below, stepping stones that lead into the garden, and were hand-painted by Flegg, are painted primary colours: blue, red and yellow.

The 120m² house, which was completed in June 2012, is a reflection of its owners’ belief that colours should be thrown together, rather than worried about and overly curated. “Colour is part of the essence of life, so it was quite natural to add colour to the permanent structure, not just the parts we can move about, like the art and furniture,” says James, 59.

“Colour allows you to breathe and gives a sense of life and liveliness. Without it we are plunged into a potential monochrome, which is not how I see my life.”

James, who worked in media management, and Flegg, who had her own

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FACING PAGE: THE STONE AT THE ENTRANCE IS LOCAL STONE FROM WAIHEKE ISLAND.

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bookkeeping business before retiring, spent decades living in London and collecting British art and Murano glass. On a holiday in New Zealand a few years ago, they rented a house not far from their current home – and realised they might be ready to return to New Zealand.

The site they bought had its limitations. It was steep on two sides and covered in scrub (a landscaper worked for eight months clearing the land), but it had fabulous views and plans for a Box Living home (the modular abodes created by architect Tim Dorrington and three partners) already commissioned by the previous owners. The design wasn’t quite right – the women needed a gallery for their art that didn’t get too much sun and wanted to move the bedrooms around – but it was pretty close. And the idea that the first tailor-made home the couple FACING PAGE: THE GUEST BATHROOM IS FILLED WITH ART – AND THE WINDOW ALLOWS A VIEW OF THE COUPLE’S MURANO GLASS COLLECTION, STORED ON OUTDOOR SHELVES. LEFT: SCULPTURES AND GLASS ARE PLACED NEXT TO PAINTINGS TO CREATE THE COLOURFUL AESTHETIC. RIGHT: THE DINING AREA, COMPLETE WITH ARTWORK.

had commissioned would be done on time and on budget, as Box Living projects are thanks to their modular concept and systematic build, appealed.

“It necessitated a fairly large degree of excavation and retaining to create workable building platforms,” says Dorrington of the project. “This was difficult but the result is better for it as the house is, on the one hand, nestled nicely into the site and, on the other hand, cantilevering dramatically from it, so kind of the best of both worlds.”

Dorrington’s partner Dan Heyworth concedes that the house contains more colour than do some Box Living commissions: “Most clients are pretty happy to go for coloured doors. It’s quite a contained splurge of colour and they tend

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FACING PAGE: THE OUTDOOR FIREPLACE WAS DESIGNED BY TIM DORRINGTON. ABOVE: THE BOX LIVING HOME IS FILLED WITH COLOURFUL ARTWORKS. IN THE KITCHEN, WHITE RUBBER FLOORING FROM THE USA WAS INSTALLED. RIGHT: THE GALLERY SHOWCASES WORKS BY THE COUPLE’S FAVOURITE BRITISH AND NEW ZEALAND ARTISTS AND IS SITUATED ON THE DARK SIDE OF THE HOUSE TO PRESERVE THE WORKS. FAR RIGHT: THE GUEST BEDROOM, WHICH OVERLOOKS THE SECTION, HAS FANTASTIC VIEWS OF ENCLOSURE BAY FROM THE FLOOR-TO-CEILING WINDOWS.

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to go for red or green. The shades [above the deck] are definitely Christine and Susie’s touch. We’d love to do posts and beams in other colours too, but everyone seems to like the black.”

“We loved the idea of a black house but felt colour added a new and different drama without taking away the sleek lines of the build,” says Flegg, 68. “We take risks. We do things and people think we’re mad.”

In the gallery, artworks by British and New Zealand artists share wall space.

There are works by Joe Tilson, Elizabeth Blackadder and Archibald Dunbar McIntosh. James’ favourite is a Terence Clarke still life. Flegg loves three works

by Mark Surridge, a Cornish painter.“I’ve never bought a piece of art to go with our décor. I buy it because I love it and it makes me feel good,” she says. “I love mixing colours because just about every colour does go with every other.”

“Their objects and paintings add another layer of richness to the structure and finish off the house,” says Heyworth. In the end, the architecture of the house succeeds because it’s functional and fresh. The things inside the house work not because they are colour-coordinated or of the same era but because they are loved and enjoyed by their owners – and given unabashed pride of place.

“It’s a modern, modular home that reflects our lifestyle and is nestled into the landscape perfectly,” says James. “It has a solidity but at the same time seems to float.”

Flegg agrees: “We’ve ended up with a simple house that works fantastically for us.”

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ABOVE: FLOOR-TO CEILING WINDOWS MAKE THE MOST OF THE VIEW. FACING PAGE: THE EXTERIOR OF THE BOX LIVING HOUSE IN ENCLOSURE BAY, WAIHEKE ISLAND.

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In Plain Sight High on the hill behind St Heliers, Auckland, sits a house that takes advantage of its position without being overbearing.

WORDS TOMMY HONEY | IMAGES PATRICK REYNOLDS

SOMETIMES, THE MOST difficult sites inspire the most interesting dwellings.

This house is a case in point. “It was a tricky site because it is very deep with the best views high up at the back. But we also wanted to make the most of the flat area to the front, which faces north,” explains Ken Crosson, creator of the contemporary home that is made up of a collection of boxes and courtyards.

There was an existing but rather tired mid-century house on the St Heliers site when the owners purchased it. Their initial expectation was that the house could be altered to achieve their vision but, after discussions with Crosson, the owners realised that it had to go. Private people with a love of art and the sea, they wanted a house that would open up, take in the views and maximise the sun but still retain a strong sense of privacy. The resulting design process took a year and construction took 18 months. It is to Crosson’s credit that he delivered on all matters.

The architect from Crosson Clarke Carnachan placed the house as far back as he could to make the best use of the height. The house floats in the centre of the site, opening out to a series of formal and informal spaces that are carefully framed to enhance their – and the owners’ –privacy. “It is,” says Crosson, “essentially a courtyard house.”

It’s a long way from the double garage at the front of the section back to the 405m² house. Where other architects may have treated this as a landscaped path to the front door, Crosson enclosed it and created an entrance gallery several metres long. Entering the house is a journey: a progression that starts with broad concrete pavers set in gravel that lead to an entrance box clad in Coreten steel

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FACING PAGE: THE HOUSE MAKES THE MOST OF THE EXCEPTIONAL VIEWS.

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with low windows at ankle height. Carefully placed glass slots afford glimpses of the house ahead and the courtyards created alongside the gallery, while maintaining privacy. “One owner is part Maori; the other is Scandinavian,” says Crosson. “The gallery contains a nice fusion of the artefacts of their lives.”

The main organising element for the house is a skilfully designed timber stairway that rises three floors from the entry gallery. On one side is a concrete wall out of which the timber treads appear to float; on the other, a series of vertical timber columns extends the full three flights, like a series of masts, FACING PAGE: THE STAIRCASE RISES THREE FLOORS FROM THE ENTRY GALLERY AND GIVES THE HOME A BACKBONE. TOP LEFT: THE LARGE TIMBER STAIRWAY, THE MAIN ORGANISING ELEMENT FOR THE HOUSE. BOTTOM LEFT: THE BATHROOM ON THE THIRD FLOOR. RIGHT: THE POOL COURTYARD MAINTAINS THE PRIVACY OF IT’S OWNERS.

hinting at a nautical theme. Floor-to-ceiling windows at the foot of each flight are mediated with giant timber louvres that offer privacy from the street and a view out. The stairway is a reminder that even the most prosaic and functional spaces in our houses can be elegant, fun and a source of joy.

Crosson, who explains he is interested in designing “spaces for occasions”, wanted this concept to “extend to the outside, making a series of outside rooms: a guest courtyard, a family courtyard, a pool courtyard”. The floor area of the house is smaller with each level as it sits back against the hill. The first floor is extremely simple with two living spaces: one large with the kitchen dining and living areas; the other, smaller and more discrete. Crosson calls this latter room a

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FACING PAGE: THE ENTRANCE TO THE HOME ALSO SERVES AS THE OWNERS’ GALLERY. TOP: THE LIGHT-FILLED BEDROOM OCCUPIES THE THIRD FLOOR. BOTTOM: THE MASTER BEDROOM HAS AN EN SUITE AND A HEADBOARD THAT COPIES THE WOOD OF THE CENTRAL STAIRWAY.

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“little cave space” and it is a study in simplicity: a room for quiet contemplation.

Crosson thinks the larger, main living area has worked out well too: “The space works in both directions – fore and aft: at one end is the north with sun, views and a deck; at the other is the courtyard with a pool. So the room gets all-day sun.”

The deck to the north leads, in turn, downstairs to the grassed courtyard below.

The kitchen is a muted mix of timber and white; the floor to ceiling wooden pantry doors anchor one end while the white cabinetry hides the microwave while revealing the oven. The island is simple, elegant and solid. The main bedroom is on the third floor with a generous en suite and views through a window to the Waitemata beyond. The room is well proportioned with a bedhead lined vertically with timber to mimic the stairway. Across the hall is a small study with windows at desk level and bookshelves above.

This could have been the end of the journey, but the stair loops around for one last flight rising to a boat hatch in the ceiling. Climbing through is like emerging onto the deck of a yacht. The small roof deck that sneaks just under the height limit offers 270° views from Rangitoto, across the North Shore, to the CBD and the Sky Tower and round to the volcanic cones. It’s the house’s best-kept secret.

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ABOVE: FROM ALMOST EVERY ROOM THERE ARE VIEWS OF THE STUNNING AUCKLAND HARBOUR. FACING PAGE: THE FLOOR AREA OF THE HOUSE IS SMALLER WITH EACH LEVEL AS IT SITS BACK AGAINST THE HILL.

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Force of Nature Kirsten Matthew talks to homewares and accessories designer Emma Hayes about her evocative, luxurious designs.

WORDS KIRSTEN MATTHEW | IMAGES NIC STAVELEY

EMMA HAYES’ CAREER path has wended its way

Now she and one other staff member spend their

perfectly to her current job. The 35-year-old Auckland

working weeks creating hand-printed wallpapers,

resident started out as a graphic designer (where

pillowcases, cushions, prints, scarves and bags that are

she learnt to think visually and creatively), worked

sold at heavy-hitting design retailers such as Simon

in advertising (where she gained a sense for how to

James , Backhouse and Corporate Culture. By the end of

market and present products), segued into the fashion

the year, Emma Hayes will introduce its third collection

biz (where she honed her skills in making textiles) and,

of moody, sumptuous, hand-drawn prints to the world

in 2010, started her own eponymous company (where

– growing the export side of the business is near the

as owner, maker and marketer, she uses all of the

top of Hayes’ to-do list these days – from a Quay Street

above on a daily basis).

studio space in Britomart complete with ocean views

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FACING PAGE: EMMA HAYES IN HER AUCKLAND STUDIO. ABOVE: PIECES FROM HAYES’ LATEST COLLECTION. RIGHT: CUSHIONS FROM HAYES’ UNDERTOW COLLECTION.

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ABOVE: EMMA HAYES’ INK COLLECTION.

and office-mates that work in industrial design and other

time. Gradually, I came to be involved in various parts

creative pursuits. Mooi caught up with Hayes there and

of the business: sales and marketing, and collaborating

asked about her burgeoning small business.

with [owner] Cybèle Wiren. It was an exciting time.

Mooi: How did you start in graphic design?

M: Why did you decide to start your own company –

Emma Hayes: I studied at Unitec [Institute of

and to make homewares your focus?

Technology] and graduated in 1999. I worked in

EH: I wanted to work on some projects that were

advertising here and in the United Kingdom. In New

outside of fashion. I always found it hard to find things

Zealand, I spent quite a bit of time at Inhouse design.

I wanted to buy for my home. And there are a lot of

They were great people to work with. In the United

fashion designers out there and that was a reason [to

Kingdom, I was with a design and advertising agency too

concentrate on homewares] as well. I started with an

and did bit of freelancing as well.

initial collection of textiles, which was picked up by Simon James Concept Store. They were quite supportive

M: How did you move into the fashion industry?

about it and are still great at supporting the brand, as

EH: In London I took courses at Central Saint Martins and

are all of our stockists.

started a T-shirt brand. I’d always just really loved textiles and a hands-on approach and prior to that I had printed

M: You are known for your watery, hand-drawn

things and made my own clothes. When I came back

prints.

from the UK, I started working with [womenswear label]

EH: Yes, that first watery print is still my best-known

Cybèle. Initially, I came on board to develop prints part

print. I didn’t intend to do any watery prints but they

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LEFT: WASH & TIDAL CUSHIONS.

RIGHT: RIVER WALLPAPER.

just evolved that way. I find nature has come through in

one and the same thing. What’s important to me is how

my designs when I haven’t really intended it to. It does

the print relates to the form of the item, and I use fabrics

somehow give a sense of New Zealandness to it without

and print finishes to highlight that as well. So my River

being koru or pohutukawa trees but, when I started the

print feels like it is dripping off the bed.

brand, I didn’t want to do anything like that; it’s been a subconscious thing. I think my aesthetic has an element

M: How and where are the products then produced?

of the hand drawn to it and there’s quite often a play or

EH: I work with some local producers but I can’t print

transition between light and dark.

this fabric in New Zealand. It would be good if I could but it’s milled offshore. We work with local manufacturers

M: How do you come up with your designs?

to do our samples and to make our final products; if

EH: I do them in watercolour in the first instance. I like

we can, we do it here. The products are reasonably

making actual marks; that way you get accidents. Or

expensive, reflective of the material they’re made of.

I might start from a photograph I’ve taken. I start with

The bed sets are our best sellers. All of our more luxury

the concept or print ideas for the collection and then

pieces have been selling really well, which is great.

specific pieces are generated from there. In terms of

We’ve got some more bed linens coming up – and

the way the textiles look, that’s something I’m really

wallpaper – before the end of the year. Again the prints

interested in at the moment. I want to push the way

are quite watery, moody.

textiles are printed: the way things are done. Part of that’s the way I like to work, with layers of colours and

emmahayes.co.nz

textures. It’s not something separate from the fabric; it’s

M O O I INTER I OR S | 63

Out of the Box The men of Box Living chat about small floor plans, modular homes and the nascent New Zealand urban-bach movement.

WORDS CLARE CHAPMAN | IMAGES NIC STAVELEY & EMMA-JANE HETHERINGTON

ABOUT FIVE YEARS ago, four blokes got talking. Dan

building, Nat Holloway and I met architect Tim

Heyworth, Nat Holloway, Tim Dorrington and Nat Jakich

Dorrington and builder Nat Jakich. We were all inspired

were all inspired by mid-century modernism and were keen

by the mid-century modernist period, and had an

to create simplistic, architecturally designed, replicable

interest in prefabricated building… so we got together

homes. And by the end of their conversation, they’d created

as an integrated team to create a product. We’re trying

Box Living, an Auckland based company that, since 2009,

to do for houses what IKEA does for furniture.

has designed 69 modular houses around New Zealand.

M: Why the name?

Mooi: How did the Box house concept come about?

Tim Dorrington: Box is meant to be fairly playful. We

Dan Heyworth: In the course of setting up a design-

didn’t want the name to take itself too seriously. We

and-build company in 2004 that focused on ecological

wanted something that loosely inferred what could be

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FACING PAGE: THE BLOKES OF BOX LIVING FROM LEFT TO RIGHT: NAT JAKICH, NAT HOLLOWAY, TIM DORRINGTON AND DAN HEYWORTH. THIS PAGE: BOX LIVING WORKS ON BOTH RESIDENTIAL HOMES AND SEASIDE BACHES. THIS EXAMPLE SHOWS THEIR UNDERSTANDING OF CLASSIC BEACH LIVING.

M O O I INTER I OR S | 65

LEFT: BOX LIVING HAS WON ACCOLADES FOR DESIGN AND SUSTAINABILITY.

RIGHT: ANOTHER EXAMPLE OF A SUCCESSFUL BOX HOME.

done; you can stack these boxes on top of each other

M: Who does what on a day-to-day basis?

and arrange them almost like a Tetris game.

Nat Holloway: Tim Dorrington is the architect and Dan Heyworth is the general manager. So once their part is

M: What is the Box Living system?

complete, and consents are issued, the projects are passed

TD: Essentially it is pre-designed houses custom-

to Nat Jakich and I, who look after the construction side.

tailored to specific sites.

M: What are the benefits of working as a team?

DH: Post-and-beam construction forms the exoskeleton of

TD: The time frame of the whole project is considerably

the house, and then we infill the gaps with wall panels and

shorter than it is for a traditional building project; it

windows. The idea is that a lot of it can be prefabricated. As

probably takes about half the time. If you are designing a

much of the building as possible is flat-packed and brought

non-Box house, you are starting with a blank canvas. We

on site where it is assembled.

still have to plan the house but we know what the exterior and the materials will be.

M: How does the system work?

DH: The designs are replicable and suit any site, with a few

M: What are Box house designs based on?

minor tweaks. The system allows people who may not have

TD: Traditionally this type of modernist aesthetic was

been able to afford an architecturally designed house to

achieved in steel. The movement itself came about by using

access one because, instead of paying for the design hours

industrial materials in a residential setting. We originally

for a bespoke project, they can opt for the Box design

looked at using steel, but it’s not from New Zealand, and the

which is already done and is customised to suit each site.

price is never certain. So Box houses utilise glulam timber.

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TOP LEFT: THE EXPANSIVE DECK AND LIVING AREA ARE SPACIOUS AREAS.

RIGHT & BOTTOM LEFT: A BOX HOUSE IN TITIRANGI, AUCKLAND.

NH: It’s a pretty cool-looking house. The first house we

products to provide shading and deck areas. Holiday

designed set the trend for the style and the key elements

houses generally maximise decks and minimise house size.

have remained: the full-height joinery, use of glulam post and beam, an exposed structure and cross braces.

DH: We’re actually finding there is less and less of a difference between beach houses and urban dwellings.

M: Why do Box houses have relatively small floor areas?

TD: There are all these little pockets of urban baches

TD: We have an ethos that things are not bigger

all around Auckland, and there is more and more of

than they need to be. There’s no reason for building

a desire to build in this style. There seems to be a

big houses. The projects are all designed so there is

movement bubbling away there in the background. Box

absolutely no wasted space.

houses are a good fit for that.

Nat Jakich: No Box house is ever tight. It is just well

M: What does the future hold?

organized. Sometimes people are a bit doubtful about

DH: What we are really interested in developing are the

the size on paper but, once they walk into the space,

buildings as a product. Standardisation and components

those doubts disappear.

are the way of the future. There’s a large opportunity there; semi-prefabricated houses could be hugely

M: What about the exterior?

beneficial to the price of housing.

TD: It can be that the exoskeleton extends to create an outer room, or we have a couple of custom-designed

boxliving.co.nz

M O O I INTER I OR S | 67

Family Affair Designer Rebecca Snelling talks to Mooi about Douglas + Bec, the homewares brand she created with her dad.

WORDS JANE BINSLEY | IMAGES SIMON WILSON

SIX YEARS AGO Rebecca Snelling, 31, and her dad,

Mooi: How did Douglas + Bec start?

Douglas Snelling, 68, started a small furniture business

Rebecca Snelling: We started making a few lamps. I was

in a garage in Clevedon. Today the company has grown

a fine art student. I needed to make some money on the

into a furniture and homewares brand that is known for

side. Dad was a farmer and then he built several baches.

its high-end materials and handcrafted elements, and

He started doing a bit of furniture. I started adding my

sells overseas and in stores in Auckland, Wellington and

eye to it. And it snowballed really. We started out of an

Dunedin. Last year, Douglas + Bec created a collection

old mechanic’s garage in Clevedon. We started a little

for fashion designer Kate Sylvester and moved into a

store out there at the front edge of the garage. People

new, purpose-built workshop. Earlier this year, their

would come out to the farmers’ market and spend the day

second store opened in Mt Eden, Auckland.

out there. We capitalised on that and were open on the

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FACING PAGE: REBECCA SNELLING, DESIGNER AND ONE-HALF OF FURNITURE BRAND DOUGLAS + BEC, THE BUSINESS SHE STARTED WITH HER FATHER DOUGLAS SNELLING. ABOVE: AN ANGLE LAMP DESIGNED

BY SNELLING SITS IN A CORNER OF THE LIVING ROOM. RIGHT: A COLLECTION OF EPHEMERA ON THE DINING TABLE.

M O O I INTER I OR S | 69

ABOVE: THE KITCHEN IN THE 1970S’ BUNGALOW.

weekend. Ninety per cent of our customers lived in town

designer and maker. Paul Dowie, my partner, half owns

so we decided to come into town two and a half years

the business with me but he can’t work with us a lot

ago [and opened a shop in St Marys Bay, Auckland]. And

because he just doesn’t get it. Dad and I have an obvious

we’ve just built an American-style barn: a purpose-built

agreement about things. Dad’s our golden ticket: his

workshop in Clevedon and everything will be made there.

design and work ethic is out of control. He gets up at 4.00am. But we couldn’t exist without each other.

M: How is the product made?

RS: Everything’s made by us or local artisans, all

M: How has the business grown?

pretty much from Auckland. We’ve built really good

RS: We’d never have envisaged this when we opened the

relationships with local people. That’s really important

garage. We’re sold at Jardan in Australia. We’ve just been

to us because, if we can’t make it ourselves, we find

picked up by Mark Tuckey [in Sydney and Melbourne].

someone. It’s all hand cut and planed, rather than

A lot of people from here go to Milan Furniture Fair, but

computer machined. That’s our aesthetic: low tech, hand

we’re not a fat business so we went to Melbourne instead

rendered. It’s quite different to some other New Zealand

and that’s been really great for us. We’re sold in Hong

designers, who are about making it over-manufactured.

Kong and we’ve recently had a lot of interest from New York. And we’ve now got five employees.

M: How does your relationship with your dad work?

RS: We are quite intuitive in the way we work; we sort

M: How has production increased?

of understand each other. There’s crossover between

RS: I used to beg the metal spinner we work with to

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TOP LEFT: DOUGLAS SNELLING, REBECCA SNELLING AND PARTNER PAUL DOWIE. BOTTOM LEFT: THE MAHOGANY SIDEBOARD WAS INHERITED.

RIGHT: THE MASTER BEDROOM IS HOME TO ONE OF SNELLING’S LAMPS AND A VASE BY NEW ZEALAND DESIGNER PHIL CUTTANCE.

make five pieces for us: now they make 50 for me in a

M: What’s next?

run. We’re making about 150 pieces of each design a

RS: We’ve got a whole new collection, which is all

year. Forty per cent of it goes offshore at the moment. At

brass. And we’re re-interpreting our original pieces. It’s

times we’re a bit overwhelmed, but we’re not shy of hard

basically a super minimal range: functional and beautiful

work. I love what I do so I don’t really find it work.

lines with minimal treatment of the materials. Lightness of the hand is the term.

M: How did your 2012 collaboration with Kate Sylvester come about?

M: What’s the long-term plan for Douglas + Bec?

RS: Kate and her husband Wayne [Conway] have been

RS: I want to be in more stores around the world. I like

long time fans of the store. Wayne loved the story

exporting beautiful products all around the world. The

behind Douglas + Bec and was thrilled to know it was

brand speaks of New Zealand: that ‘roll your sleeves up’

local. There was a lot of crossover with their ethical

mentality. I want to evolve as a designer a bit more: push

practice. They asked me to design five pieces. I came

that handdrawn stuff with more collections.

back to them with 10 and we couldn’t cull any of them.

It’s fashion camping items: the two most successful are

douglasandbec.co.nz

the folding brass stool and the swan. Both of them I came up with in five minutes. It was the first time I’d ever had a brief. I was so excited and it’s helped me practise using different materials.

M O O I INTER I OR S | 71

Lauren Palmer Lauren Palmer tells Mooi about her job creating some of the world’s coolest cookware.

WORDS NICOLE STOCK | IMAGES NIC STAVELEY

LAST YEAR, AT just 29, Lauren Palmer was appointed

industrial designer. I made senior designer in May 2011,

chief designer for cooking at Fisher & Paykel. Based in

and just took on the chief designer role in August last year.

Dunedin, it’s her job to manage the team that creates cooktops and stoves for the New Zealand company –

M: Have you always been such a high achiever?

and to shepherd those products through from just an

LP: I was quite studious at high school I suppose… but

idea to a real life working appliance.

I didn’t know what I wanted to do. When I finished high school, I got a full-time job working in a fabric store in

Mooi: You are a chief designer before you’ve turned

Christchurch, because I wasn’t sure what I wanted to do yet.

30. How did you get so far so fast?

I had heard about the industrial design course at Victoria

Lauren Palmer: I joined F&P in July 2007 as a graduate

University through an old teacher, but I remember thinking

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FACING PAGE: LAUREN PALMER IS THE CHIEF DESIGNER FOR COOKING AT FISHER & PAYKEL, DUNEDIN. THIS PAGE: THE DINING ROOM IN LAUREN’S DUNEDIN HOME.

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LEFT: A VINTAGE RECORD PLAYER PROVIDES THE BACKGROUND TUNES FOR COOKING NIGHTS.

RIGHT: LAUREN’S INTEREST IN FABRICS AND FASHION IS EVIDENT THROUGHOUT HER DUNEDIN HOME.

“Why on earth would you want to study that?” It seemed

long product-development cycle: some of our projects

quite removed from what I was interested in.

take several years to get from a cool idea to a product we can put on the floor and sell. As industrial designers, we

M: What changed your mind?

span that whole process – other teams might be involved

LP: I quite liked that it was a mix of engineering and

more at the front end, or more at the manufacturing

art. So I went along to first year, and thought I would

end – but for us it’s really important to get those key

do the first year and see how it went, and I could

insights, understand the customer interests and, in some

continue with industrial design, or change and do

instances, fight for those decisions right the way through.

interior architecture or something else. I had a lecturer in first year who was an architect, and she said to me,

M: What do you love about your job?

“I know you’re going to be good, but you’re not good

LP: I find manufacturing really fascinating. I remember

now”. There were over 100 people in that first year, but

when I first went on a factory tour, I thought, “How do

she said that to only a couple of us.

you even start thinking about how to make a production line, and understanding how that would work?” I think

M: What do you actually do all day at work?

I would get really bored if I wasn’t designing within

LP: Mostly I work on cooking products. At the moment

constraints. I really believe good design comes from

I am working on a new free-standing range and an

constraints. We have to work within different standards

assortment of cooktops. I’m involved from the first

and all these different markets, and we complain, but

concept through to the product testing. We have quite a

those force you to look for the opportunity.

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LEFT: OPEN-STYLE KITCHEN SHELVING WORKS WITH THE REST OF THE HOUSE.

RIGHT: BOOKS AND OBJECTS IN LAUREN’S 1960S’ HOME KITCHEN.

M: What’s your kitchen like?

M: What design pieces do you covet?

LP: At the moment, it is an original 1960s’ kitchen built

LP: At the moment, I am all about things for my home – a

out of solid rimu. We have stripped back years of paint

Zig Zag rug from DwellStudio and an Arco Lamp.

and ripped the doors off one unit to have an openshelving kind of look which suits the house. We are

M: What’s important in industrial design, and design

planning to renovate the rest of it next year. Ironically, for

in general, these days?

someone working for an appliance company, I have no

LP: Thoughtful, purposeful design that is only as detailed

dishwasher as there is no space right now.

and complicated as required to fit the task it must perform.

We need to think carefully and be kind to the end user.

M: What’s your favourite appliance in the house?

And consider the whole life cycle of the product.

LP: My Kenwood stand mixer. It was my grandmother’s; she recently moved from the family home she had been

M: Tell us about your blog.

in for 50 years into a rest home and it’s nice to have a little

LP: That’s been an ongoing project for three and a half

piece of family history here with me in Dunedin. I also

years. I have been working with a team of designers

have a Singer sewing machine table that I scored from

and product evaluators on a cooking blog, Our Kitchen,

the Salvation Army in Wellington when I was studying. It is

developing recipes and content. Once a month, we craft our

mid-century, with slim legs and a warm timber veneer. The

own recipes, cooking, styling and photograph the creations.

sewing machine itself is mint green and in great condition. ourkitchen.fisherpaykel.com

M O O I INTER I OR S | 75

Bathing Beauties Clean up in the bathroom with the latest in interior and architectural trends.

WORDS KIRSTEN MATTHEW

OK, A BATH in a living area or a main thoroughfare

washroom this year. Gone are the subway tiles and

in your home might not be for everyone, but it’s a

mosaics of 2012; in are natural materials – not just

bold architectural move nonetheless. And it’s one that

wood but marble and stone too – that give powder

seems to be gaining in popularity. Perhaps it’s because

rooms and en suites a more organic, softer feel.

it cunningly leaves space to be re-purposed in other

The tendency to leave sinks and baths free-standing

parts of the home (or perhaps there’s just a lot of

rather than built in or hidden away feels organic too.

voyeurism out there).

Finally, again for the voyeurs out there, there’s an

Wooden walls, floors and even fittings (like the

increasing focus on maximising natural light in the

blackbutt bath in slide one) are another trend in the

bathroom with big (and not at all private) windows.

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ON TREND

FACING PAGE LEFT: BATHING ALFRESCO IS POSSIBLE THANKS TO SLIDING DOORS. IMAGE: FRASER MARSDEN CENTRE: SIMPLE FITTINGS AND TIMBER PANELLING GIVE A JAPANESE AESTHETIC TO THIS BATHROOM. IMAGE: BRIGID ARNOTT THIS PAGE TOP RIGHT: LIGHT AND DARK WOODS ARE USED IN THIS RACHCOFF VELLA-DESIGNED ROOM. BOTTOM RIGHT: MARBLE WAS IMPORTED TO MAKE THIS CAPE TOWN POWDER ROOM SUPER-LUXE. IMAGE: JAMES SILVERMAN

M O O I INTER I OR S | 77

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ON TREND

FACING PAGE TOP: THIS MELBOURNE BEDROOM FEATURES A CUSTOM-MADE BLACKBUTT BATH. IMAGE: FRASER MARSDEN BOTTOM: CHRISTOPHER KELLY TURNED A LANDING INTO A BATHROOM IN THIS AUSTRALIAN BEACH HOUSE. IMAGE: PATRICK BINGHAM-HALL THIS PAGE ABOVE: THIS BATHROOM DRAWS THE OUTSIDE IN WITH NATURAL MATERIALS AND A LARGE PICTURE WINDOW. RIGHT: A FEARON HAY-DESIGNED LOFT KEEPS FITTINGS IN THE BATHROOM SLEEK AND INDUSTRIAL. IMAGE: RICHARD POWERS FAR RIGHT: SINKS ARE EXPOSED FOR A UTILITARIAN, PARED-BACK LOOK. PRODUCTS BY ZUCCHETTI BY ROBERTSON.

M O O I INTER I OR S | 79

Kitchen Confidential Mooi takes a look at what’s cooking when it comes to cutting-edge kitchen design.

WORDS KIRSTEN MATTHEW

WELCOME TO THE Year of the Island: the kitchen

more elusive too, with cupboards behind veneers of full-

island, that is. They’re everywhere at the moment – in small

height joinery or with handles well hidden. It all makes

kitchens, large ones and everything in between – and

for a more pared-back, simple look but it doesn’t mean

take all sorts of interesting forms. And because they’re

the heart of the house is about to become less luxurious.

ubiquitous this year, so too are their accoutrements – namely the high stool and the duo or trio of pendant lights.

Other prevailing architectural forms are less obvious

In many cases, kitchens are being adorned with decorations more commonly used in other parts of the house: colourful elements are added to lend personality;

this year. Sculleries are a big deal, as the move away from

uplighting on islands and cabinets creates restaurant

open-plan kitchens continues apace, but they generally

like atmospheres; and well-known design pieces create

can’t be seen from the kitchens themselves (that’s the

stylish aesthetics once kept for formal sitting rooms.

point, of course). Public kitchen storage is becoming

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ON TREND

FACING PAGE LEFT: A MIRRORED SPLASHBACK TURNS A UTILITARIAN SPACE INTO A GLAMOUROUS ONE IN A MELBOURNE DWELLING DESIGNED

BY TEMPLETON ARCHITECTS. IMAGE: SHARYN CAIRNS CENTRE: OAK FLOORS AND WOODEN CABINETRY GIVE THIS OPEN-PLAN KITCHEN A PARED-BACK AESTHETIC. IMAGE: SIMON DEVITT THIS PAGE TOP RIGHT: A THICK BENCH IN THE SAME WOOD AS ARE THE FLOORS AND WALLS CREATES A RUSTIC AESTHETIC. IMAGE: FRASER CLEMENTS BOTTOM RIGHT: TOM DIXON STOOLS, A CUSTOM-DESIGNED BRASS CURTAIN AND AN ONYX BENCHTOP MAKE FOR AN UNEXPECTEDLY SOPHISTICATED ROOM. IMAGE: FRASER CLEMENTS

M O O I INTER I OR S | 81

THIS PAGE TOP: THIS BALLARAT, VICTORIA KITCHEN BY RACHCOFF VELLA ARCHITECTURE LOOKS SLEEK AND ORGANIC THANKS TO A MARBLE ISLAND AND WOODEN PANELLING. LEFT: THE KITCHEN IN THIS RENOVATION

BY BREATHE ARCHITECTURE IS DESIGNED TO BE THE BRIGHT, LIGHT SOCIAL CENTRE OF THE HOME. IMAGE: PAUL MCCREDIE FACING PAGE ABOVE: POTS AND BOWLS ON DISPLAY PROVIDE ANOTHER LAYER OF MATERIALITY IN THIS TIMBER KITCHEN. IMAGE: TREVOR MEIN RIGHT: A MONOCHROMATIC PALETTE AND ANGULAR LINES CREATE A FUTURISTIC AESTHETIC. IMAGE: SCOTT BURROWS FAR RIGHT: THIS ST KILDA, MELBOURNE RENOVATION FEATURES A ONE-OFF ISLAND BENCH IN OXBLOOD DESIGNED

BY ARCHITECTS EDWARDS MOORE. IMAGE: FRASER CLEMENTS

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ON TREND

M O O I INTER I OR S | 83

Artisan One Living Room, Two Looks WORDS BENJAMIN MORRE

EARTHY TONES AND rich, saturated colours create a

RESENE TRIPLE SPANISH WHITE RESENE THE RANGE WHITES & NEUTRALS

warm backdrop for treasured mementos of distant journeys.

In the first look, a rich earth tone on the ceiling complements blue-grey walls. This warm, inviting

RESENE MASALA RESENE THE RANGE FASHION COLOURS

palette creates the perfect background for treasured antiques and eclectic finds.

In the second look, the deep grey accent walls

RESENE WHITEWASH RESENE THE RANGE FASHION COLOURS

highlight the architectural details of the fireplace. Subtle yellow on the adjoining walls brings balance to the room.

RESENE HALF FOGGY GREY RESENE THE RANGE WHITES & NEUTRALS

RESENE KORMA RESENE MULTI-FINISH RANGE

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ON TREND

M O O I INTER I OR S | 85

Urbanite One Kitchen, Two Looks WORDS BENJAMIN MORRE

COOL, CRISP COLOURS and unexpected contrasts

RESENE STONEHENGE RESENE THE RANGE WHITES & NEUTRALS

evoke a cosmopolitan mood with a chic vibe.

In this urban-chic kitchen, rich golden yellow pairs with luscious navy to provide a fresh take on the traditional

RESENE DOUBLE THORNDON CREAM RESENE THE RANGE WHITES & NEUTRALS

black-and-white monochrome colour scheme.

In the second look, soft yet sophisticated colours highlight the crisp white cabinetry. A stencilled backsplash offers a creative alternative to stone or tile.

RESENE HALF RICE CAKE RESENE THE RANGE WHITES & NEUTRALS

RESENE MARZIPAN RESENE MULTI-FINISH RANGE

RESENE WARRIOR RESENE MULTI-FINISH RANGE

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ON TREND

M O O I INTER I OR S | 87

New Traditional One Bedroom, Two Looks WORDS BENJAMIN MORRE

BOLD COLOURS AND lively patterns bring a fresh

RESENE PETITE ORCHID RESENE MULTI-FINISH RANGE

perspective of classic elegance to a warm, inviting retreat.

Rich navy blue and light-coloured furniture create a clean, crisp look. The deep tone on the walls is tempered

RESENE QUARTER CONCRETE RESENE THE RANGE WHITES & NEUTRALS

by softer colours on the trim and ceiling.

In the second look, a geometric pattern on the ceiling provides an artistic complement to romantic

RESENE QUARTER PRAVDA RESENE THE RANGE WHITES & NEUTRALS

coral-coloured walls.

RESENE DUTCH WHITE RESENE THE RANGE WHITES & NEUTRALS

RESENE HALF NEW DENIM BLUE RESENE THE RANGE FASHION COLOURS

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ON TREND

M O O I INTER I OR S | 89

Coastal One Home Office, Two Looks WORDS BENJAMIN MORRE

COLOURS INSPIRED BY sand, the sea and the sky

RESENE HALF ROBIN EGG BLUE RESENE KAREN WALKER RANGE

combine to create a fresh, sophisticated palette.

This space is instantly updated by a fresh paint colour on the wood panelling. Seashore-inspired blues instill an

RESENE CORN FIELD RESENE MULTI-FINISH RANGE

air of calmness in the room.

In the second version, the soft colours of sand and sea harmonize to create an easy, relaxing atmosphere.

RESENE DESTINY RESENE MULTI-FINISH RANGE

RESENE EIGHTH PEARL LUSTA RESENE THE RANGE WHITES & NEUTRALS

RESENE BOULEVARD RESENE THE RANGE FASHION COLOURS

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ON TREND

M O O I INTER I OR S | 91

Arper Arper contemporary furniture is an Italian company that was set up in the late 1980s to create products that combine functionality and safety, technology and ergonomics, aesthetics and comfort. They specialise in producing products that reflect a sense of playfulness and colour for the home and public areas including hotels, restaurants, shops, and offices.

AVAILABLE FROM UFL 09 828 1000 ufl.co.nz arper.com

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BRANDS

Saari Sofa

by Lievore Altherr Molina

Catifa Lounge Chair

by Lievore Altherr Molina

Ply Coffee Table

by Lievore Altherr Molina

Leaf Chair

by Lievore Altherr Molina

Leaf Table

by Lievore Altherr Molina Cushion - Lines

by Lievore Altherr Molina

Dizzie Side Table

by Lievore Altherr Molina Song Coat Stand

by Lievore Altherr Molina Pix Pouf

by Ichiro Iwasaki

M O O I INTER I OR S | 93

Minotti Founded in the 1950s, Minotti is known for its passion for detail and unrelenting adherence to authentic Italian design, Minotti creates furniture that’s made to feel as good as it looks.

Constantly experimenting with new forms and technologies, the Minotti look leans towards understated luxury rather than outward opulence, catering to a discerning global clientele.

AVAILABLE FROM ECC 09 379 9680 ecc.co.nz minotti.com

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BRANDS

Evans Round Dining Table

by Rodolfo Dordoni

Sherman.93 Armchair

by Rodolfo Dordoni

Owens Chair

by Rodolfo Dordoni

Gilliam Armchair

by Rodolfo Dordoni Spencer Bed

by Rodolfo Dordoni

White Sofa

by Rodolfo Dordoni Sullivan Coffee Table

by Rodolfo Dordoni

Denny Pouf

by Rodolfo Dordoni

Denny Armchair & Ottoman

by Rodolfo Dordoni

M O O I INTER I OR S | 95

Knoll Knoll uses modern design to connect people to their work, their lives, their world. Since 1938, Knoll has been recognized internationally for creating workplace and residential furnishings that inspire, evolve, and endure. Today, our commitment to modern design, understanding of the workplace, and dedication to sustainable design have yielded a unique portfolio of products that respond and adapt to changing needs.

AVAILABLE FROM BROMHEAD DESIGN 09 366 7322 bromheaddesign.com knoll.com

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BRANDS

Tulip Stool

by Eero Saarinen

Washington Skin™ Nylon Side Chair

by David Adjaye

Saarinen Dining Table

by Eero Saarinen Washington Skeleton™ Aluminium Side Chair

by David Adjaye

Bertoia Diamond Chair

by Harry Bertoia Florence Knoll Sofa

by Florence Knoll

Barcelona® Couch

by Ludwig Mies van der Rohe

Platner Easy Chair

by Warren Platner

Platner Coffee Table

by Warren Platner

M O O I INTER I OR S | 97

Walter Knoll Starting as a leather business in 1865, Walter Knoll has grown to incorporate a wide variety of furniture designs suitable for residential and commercial applications. With a far-reaching appeal, it’s aesthetic ranges from classic pieces to furniture that embraces a sense of futurism.

AVAILABLE FROM MATISSE 09 302 2284 matisse.co.nz walterknoll.de

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BRANDS

Joco Dining Table

by EOOS

Cuio Chair

by EOOS

Mason Newspaper Rack

by Wolfgang C. R. Mezger

Cuio Lounge Chair & Ottoman

by EOOS

Bellows Side Table

by Toan Nguyen

Bob Armchair & X-Table

by PearsonLloyd

Prime Time Sofa

by EOOS

MYchair Lounge Chair

by UNStudio/Ben van Berkel

Oota Coffee Table

by EOOS

M O O I INTER I OR S | 99

Paola Lenti Based in Milan, Paola Lenti was established in 1994 and is renowned for its research and experimentation in the textile field. Natural and technological materials are transformed into unique, durable yarns and textiles. Their range of indoor and outdoor, furniture and rugs utilise these high tech materials, in both neutral and eye-popping colours.

AVAILABLE FROM ECC 09 379 9680 ecc.co.nz paolalenti.it

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BRANDS

Aqua Swing

by Edward Van Vliet Otto Armchair

by CRS Paola Lenti

Ami Sofa

by Francesco Rota

Giro Side Table

by Francesco Rota

Adigar Candle Holder

by CRS Paola Lenti

Nido Pouf

by Patricia Urquiola, Eliana Gerotto

Kimono Sofa

by Francesco Rota

Juni Rocking Chair & Pouf

by M. Claesson E. Koivisto O. Rune

Afra Ottoman & Pouf

by Francesco Rota

M O O I INTER IOR S | 101

Roda Roda was founded in 1990 as a company specializing in the production of top quality outdoor furniture. A passion for the outdoors gave rise to this Italian furniture brand whose furniture allows the outdoors to blend seamlessly with indoor spaces. Favouring natural materials and pared back design, Roda pieces combine informality with elegance, equipping he outdoors with luxury furniture as if it were an extra room.

AVAILABLE FROM DAVID SHAW 09 368 5829 davidshaw.co.nz rodaonline.com

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BRANDS

Harp 349 Chair

by Rodolfo Dordoni

Platter 314 Table

by Rodolfo Dordoni

Berenice 370 Lounge Chair

by Lievore Altherr Molina

Basketball 357 Sofa

by Gordon Guillaumier

Orson 001 Director Chair

by Gordon Guillaumier

Root 046 Coffee Table

by Rodolfo Dordoni

Lawrence 390 Lounge Chair & 391 Stool

by Rodolfo Dordoni

Spool 004 Chaise Lounge

by Rodolfo Dordoni

Caddy 001 Bar Trolley

by Gordon Guillaumier

M O O I INTER IOR S | 103

Contributors Mooi Interiors would like to thank the following contributors for providing the articles and photographs for this magazine.

Urbis Magazine www.urbismagazine.com

Design Folio Magazine www.designfolio.co.nz

Editors - Sharon Stephenson - Kirsten Matthew - Tommy Honey - Jane Binsley - Clare Chapman - Zara Tempest Coleman

Ivy Nassopoulos www.busyboo.com

Photographers - Simon Wilson - Emma-Jane Hetherington - Nic Staveley - Patrick Reynolds - David Straight - Shannon McGrath - Brigid Arnott - Fraser Marsden - Patrick Bingham-Hall - James Silverman - Richard Powers - Sharyn Cairns - Fraser Clements - Scott Burrows - Paul McCredie - Simon Devitt - Trevor Mein

Arper www.arper.com www.archiproducts.com

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Benjamin Moore www.benjaminmoore.com Resene www.resene.co.nz

Minotti www.ecc.co.nz www.sminkinc.com Knoll www.knoll.com Walter Knoll www.walterknoll.de www.archiexpo.de Paola Lenti www.paolalenti.it www.archiexpo.de Roda www.rodaonline.com

Original design. Superior craftsmanship. Enduring quality.

The Foundation Precinct, 8 George Street, Parnell, Auckland | 09 309 3023 | www.inres.co.nz

®

Luxury furniture concepts Auckland Showroom · 106 St Georges Bay Road · Parnell · Ph (09) 921 5574 Mon - Fri 9 - 5.30 · Sat 9 - 5 · Sun by appointment · info@domo.co.nz · www.domo.co.nz

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