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THE INTERIORS ISSUE 68.
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118.
CAST AWAY
LAND’S END
QUICK FIXES
STONE AGE
LOFT LIFE
Julian Guthrie creates a clifftop family home for the ages
A derelict shepherd’s cottage is reinvigorated by Andrew Patterson
Two traveling designers Richard Naish works create interiors on the go with native timber with a few select pieces and stone in Wanaka
Expat David Howell designs a luxe loft retreat in Manhattan
contents HOME NEW ZEALAND / 09
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A shepherd’s cottage on Banks Peninsula’s Annandale farm, recently restored by architect Andrew Patterson. Photograph by Simon Devitt.
28. FRESH COLLECTIONS
Douglas and Bec’s new lighting; David Moreland for Citta 30. ANCHORS AWEIGH
44. ON THE SIDE
Jamie McLellan’s foray into retail design
Coffee tables you’ll love to keep close by
KITCHENS & EXTRAS BATHROOMS
19. DESIGN FINDS
32. BRAVE WORLDS
50. AGE OF INNOCENCE
130. KITCHENS
New favourite pieces for your home
Density done well on Auckland’s waterfront; NZ’s next Venice Architecture Biennale
Douglas Lloyd Jenkins on apartment living
A guide to seven architects’ designs
52. PAST LIVES
148. KITCHEN DAY
34. HOME OF THE YEAR
Katie Lockhart’s earthy interiors
Join HOME for insights into kitchen design
Never miss an issue and be in to win a Bosch Series 8 dishwasher
58. PARADISE HILL
150. BATHROOMS
162. MY FAVOURITE ROOM
A family home spills over four levels
Spaces in which to indulge and luxuriate
ART & DESIGN
24. COFFEE CENTRAL
Christchurch welcomes a new caffeine hub 26. NEW SPACES
Moaroom’s new Paris base; Simon James’ expanded showroom
Celebrating 20 years of inspiring homes 36. DESIGN AWARDS
38. MILAN REPORT
Industry leaders on new furniture releases 160. SUBSCRIBE TO HOME
Tracey Lee on her favourite interior
Our furniture Design Awards judge, Fisher & Paykel’s Mark Elmore
10 / HOME NEW ZEALAND
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Photography / Mark Smith
EDITOR’S LETTER
Top left Stylist and interior designer Katie Lockhart offers her vision of new interior directions on p.52. Photograph by Harriet Were. Top right On Banks Peninsula, architect Andrew Patterson has restored a century-old shepherd’s cottage, p.82. Photograph by Simon Devitt. Above left Graphic designer Nik Clifford in his apartment in Brooklyn, New York. Photograph by Emily Andrews. Above right Expat New Zealander Grant Biggar invites us into his Manhattan loft on p.118. Photograph by Emily Andrews.
Our lead coverline, “Interiors Now”, may imply we’ve decided to impose on you our views of what the perfect interior should be. Quite the contrary: we don’t believe there is any such singular thing. Interiors, in our view, are not fast-fashion items that should be changed on a whim. (We don’t subscribe to throwawayism: buying once and buying well is much better.) What you’ll find in the following pages are five diverse interiors that can teach us a lot about the pleasures of letting your spaces slowly evolve. The home on our cover, by architect Julian Guthrie, is a lesson in the timelessness of grand, minimalist spaces (p.68). The Brooklyn, New York, apartment of graphic designers Nik Clifford and Jenny Miles (p.94) is minimalist in a different way: Nik and Jen, who have moved homes and countries often, take pride in their ability to make a new place feel like home with little more than a couple of suitcases of possessions. Richard Naish, designer of the 2015 Home of the Year, appears in this issue with a home near Wanaka (p.106) whose interior is a masterclass in the loveliness of long-lasting natural materials. Architect Andrew Patterson, whose much-anticipated Len Lye Centre opens in New Plymouth in late July, tells of the delight he finds in rehabilitating the small spaces of a century-old shepherd’s cottage on Banks Peninsula (p.82). And expat New Zealander Grant Biggar’s Manhattan loft, renovated by his compatriot, David Howell (p.118), reminds us of the enduring allure of Manhattan’s wonderfully spacious warehouses. Not one of these smart people is a slave to fashion, and their independent approaches make the interiors they’ve created all the more interesting. They’re the kinds of homes we’d like to revisit in a decade or so to see how they’ve evolved, which is exactly how all the best interiors should be. Jeremy Hansen
In this issue we’re calling for entries to our annual furniture Design Awards, sponsored by Fisher & Paykel (the entry details are on p.37). We’ll showcase the winner and finalists in our August/September issue, on newsstands from August 3. We’re looking forward to showing you the best of what New Zealand designers have cooked up this year: many of our previous winners are now exporting their creations and receiving world-wide attention. We’re delighted to be joined in our quest for the best by Mark Elmore, Fisher & Paykel’s design director, who will draw on his decades at the top of the design industry to choose the winner and finalists to feature in our pages and on our website, homemagazine.co.nz. The winner of the awards gets something too – a $3000 Fisher & Paykel appliance of their choice.
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Editor Jeremy Hansen
An Auckland home by Julian Guthrie, photographed by Patrick Reynolds. For more, see p.68.
Art Director Arch MacDonnell Inhouse Design Senior Designer Sarah Gladwell Inhouse Design Senior Designer Oliver Worsfold Inhouse Design
On our cover, a photograph by Patrick Reynolds of a home by Julian Guthrie. ‘Hug’ armchair by Rossella Pugliatti for Giorgetti from ECC. ‘Form’ brass tray by Tom Dixon from Simon James Concept Store. Ceramic mortar on hearth and vessels on tray by Laurie Steer, all from Everyday Needs. Rug from Siggada Kilims. ‘Dama’ side table by CR&S Poliform from Studio Italia. Styling by Sam Smith and Catherine Wilkinson.
Chief Executive Officer Paul Dykzeul Publisher Brendon Hill Commercial Director Paul Gardiner Marketing Manager Martine Skinner Commercial Sales Manager Liezl Hipkins-Stear lhipkins@bauermedia.co.nz +64 9 308 2873 Classified Advertising Kim Chapman classifieds@xtra.co.nz +64 7 578 3646 Advertising Account Manager Nicola Saunders nsaunders@bauermedia.co.nz +64 9 366 5345 Financial Business Analyst Ferozza Patel Group Production Manager Lisa Sloane
Senior Stylist/Designer Sam Smith Stylist/Designer Catherine Wilkinson
Contributors Jo Bates Sam Eichblatt Amelia Holmes Douglas Lloyd Jenkins Katie Lockhart Henry Oliver Photographers Emily Andrews Brian Culy Simon Devitt Paul McCredie Toaki Okano Patrick Reynolds Harriet Were
Editorial Assistant Fiona Williams
Editorial Office Bauer Media Group Shed 12, City Works Depot 90 Wellesley St Auckland New Zealand homenewzealand@ bauermedia.co.nz +64 9 308 2739 Postal address HOME New Zealand Bauer Media Group Private Bag 92512 Wellesley Street Auckland 1141 New Zealand Subscription Enquiries magshop.co.nz/home 0800 MAGSHOP or 0800 624 746 magshop@magshop.co.nz +64 9 308 2721 (tel) +64 9 308 2769 (fax) Bulk/Corporate Subscriptions corporates@magshop.co.nz +64 9 308 2700
Advertising Auckland Liezl Hipkins-Stear lhipkins@bauermedia.co.nz +64 9 308 2873 Sydney Rachel McLean rmclean@bauermedia.co.nz +64 9 308 2760 Printer Webstar Distributor Netlink Distribution Company HOME is subject to copyright in its entirety and the contents may not be reproduced in any form, either in whole or in part, without written permission of the publisher. All rights reserved in material accepted for publication, unless initially specified otherwise. All letters and other material forwarded to the magazine will be assumed intended for publication unless clearly labelled “not for publication”. We welcome submissions of homes that architects or owners would like to be considered for publication. Opinions expressed in HOME New Zealand are those of the contributors and not necessarily those of Bauer Media Group. No responsibility is accepted for unsolicited material. ABC average net circulation, April 2013 to March 2014: 11,286 copies. ISSN 1178-4148
Production Co-ordinator Clare Pike
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CONTRIBUTORS EMILY ANDREWS
HARRIET WERE
KATIE LOCKHART
You’ve shot two New York spaces occupied by New Zealanders for our interiors issue. How do New Yorkers do interiors differently from New Zealanders? Both these apartments were fairly large by New York apartment standards. New Yorkers are space-obsessed, so most aspects of a smaller apartment become really functional. New Yorkers are creative about their interiors in a different way to New Zealanders. Everyday objects often become decoration, like the hanging kitchen implements in Jen and Nik’s apartment. And I’ve often heard people refer to their fire escape as their ‘patio’.
What kind of a mood were you and Katie Lockhart trying to create in the shoot, and how did you go about capturing this? That’s a tricky one, or maybe simple. The mood wasn’t really discussed. I don’t use lighting and I don’t edit my photos, so we just used the natural light and I shot what I saw. I just wanted to capture Katie’s great eye, no frills. I really admire her and her work. I want my photos to be honest.
What was your inspiration for your beautiful interiors shoot? I read an article that fashion designer JW Anderson wrote that spoke of his love of Arts and Crafts furniture. He said the first pieces of Arts and Crafts furniture he bought were two chairs by Harry Napper, a textile artist who also designed tall-backed chairs around the same time as Charles Rennie Mackintosh. Anderson says he became obsessed with the way the arms were constructed and how something could be from a different period but still exude a strong modern force today. This article, in combination with finding amazing pieces of furniture and ceramics at Art & Industry, made me excited to create these still lives for the magazine.
Our New York-based photographer shot two apartments for this issue (p.94 and p.118).
You’ve been a New Yorker for four years now. What makes a good interior to you as an apartment dweller? A clean, light, uncluttered space. There is so much bustle and noise in the city that I can’t cope with visual noise in my own apartment. You’ve been shooting some fabulous people for T, the New York Times style magazine. Has this given you insight on the next big interiors thing? Interiors here vary wildly, but I often think about something the head curator at ebay, Michael Moskowitz, said. He’s trying to change the way we shop for objects and is dismayed by throwaway consumerism. He believes in serendipitous discovery, stories behind objects and investing in important pieces that you will hand down to future generations. His apartment is a mad mishmash of interesting things, including some live ammunition from World War II, and a fireman’s trampoline. What else are you working on at the moment? I’m doing some work with 1stdibs, the online auction site. They have a magazine, named Introspective, and I’m shooting some interesting people for them, dames of interior design and socialite philanthropists. I shot Donna Karan for them last week. Stepping into these worlds is really fascinating.
The photographer worked with Katie Lockhart on this issue’s interiors shoot (p.52).
You’re still using film! Why is this, and what do you think film still has that digital technology lacks? I have always used film cameras, ever since I was 10 years old. I like their simplicity and the finality of fewer shots, which means less time on the computer selecting images. Film does have a bit of magic. And you have to be patient! If I could afford a digital I would quite like both – if the digital was as simple as my Leica. This is our interiors issue. What are the main things that you think make a good interior? Light, simplicity and functionality. I’ve just moved to a new rental. It’s an old bach. To me it’s way more beautiful than an expensive, badly done-up bungalow in Ponsonby with the soul ripped out of it. What else are you working on at the moment? I’m working on taking photos, my own little hand-knitted line (Harry Were Handknitted), and how I will pay rent this week.
The interior designer styled our lead interiors feature (p.52) with an Arts and Crafts vibe.
What does the shoot – its colour and Arts and Crafts influences – say about the direction you’d like interiors to head in? I like interiors to be inclusive, to invite people in and make them feel comfortable. Colour is a tool I use to help make this happen. The paint colour in the feature is one we created for Drikolor, which was matched to a paint chip I picked off a fading building in New York, a few doors along from where the artists Robert Frank and June Leaf live. I’m gravitating to colours of this tone, which could be a seasonal thing, but for this shoot the colour anchors the Arts and Crafts and the modern pieces. The Arts and Crafts movement was, in some ways, reacting against industrialised production. Do you feel that message is relevant today? Absolutely. I am interested in cottage-industry crafts and we try to support and develop this as much as possible through my shop, Everyday Needs. I can’t believe that New Zealand has managed to lose so many industries of makers – it breaks my heart that there is no one to make flat-weave rugs for me here when we have so much raw fibre to work with.
www.peterfell.co.nz
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NZIA Warren Trust Awards Ad HOME Magazine Full Page 225x297mm
The Warren Trust Awards for Architectural Writing ————— The New Zealand Institute of Architects invites entries into a new essay writing competition.
An award will be made in two categories: Open (architecture practitioners, tertiary students, and members of the public); and Secondary School Students (all years).
Essay Topic
Submissions
Select a building or urban space you have enjoyed being in. What do you like about the building or place, for example, its design or layout, the way it relates to its setting, and the materials it is made from? Why do you think the building or space works so well?
Send your entry as a word document to writingawards@nzia.co.nz
Word Limits
1500 words Open 1000 words Secondary Entry Criteria
An essay must address the set topic, must be wholly the work of the person submitting it, and must not have been published previously. Entry Deadline
Friday 14 August 2015
Prizes
$1500 Open $1000 Secondary * Results
Winners will be announced in the first week of September 2015. The winning essays, and any highly commended essays, will be published on the NZIA website, and will be offered to selected other publications. More information at nzia.co.nz/competitions *The winner and any highly commended entries in the Secondary School category will also be invited to visit an architectural practice and learn about what architects do.
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DESIRE + ACQUIRE NINE WAYS TO INDULGE YOUR PASSION FOR DESIGN.
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1—‘Mantis’ table lamp by Bernard Schottlander, $1107 from Backhouse, backhousenz.com 2—Cushion by Ingrid Starnes, $69 from Ingrid Starnes, store.ingridstarnes.com 3—‘Midas’ 24-piece cutlery set by Selab, $413 from Seletti Boutique, selettiboutique.co 4—‘High Container Vase’ by Sebastian Herkner for Pulpo, $685 from ECC, ecc.co.nz 5—Decanter by Monmouth glass, $120 from Monmouth Glass, monmouthglassstudio.co.nz 6—Polished brass vessel, $69 from Indie Home Collective, indiehomecollective.com 7—‘Cruise’ tote by Moncole x Cabbas, $495 from Crane Brothers, crane-brothers.com 8—‘Straight’ chair by George Nakashima for Knoll from Studio Italia, studioitalia.co.nz 9—Rug, $2040 (2m x 3m) from The Ivy House, theivyhouse.co.nz. Edited by Amelia Holmes.
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SEASONAL SENSATIONS WARM DESIGN PIECES TO HELP CREATE A WINTER OF CONTENT.
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1—Napoli knit, $295 from Crane Brothers, crane-brothers.com 2—Vase by Monmouth Glass, $150 from Monmouth Glass, monmouthglassstudio.co.nz 3—‘Problem Solver Correcting Masque’ by May Lindstrom, $120 from The Tonic Room, tonicroom.co.nz 4—Moroccan silk and wool throw, $235 from Indie Home Collective,
indiehomecollective.com 5—‘Line’ wall-mounted light, $398 from Douglas and Bec, douglasandbec.com 6—Vintage folding side table, $175 from Flotsam & Jetsam, flotsamandjetsam.co.nz 7—‘Sherazade’ rug by Laudani & Romanelli for Driade, $5995 (3m x 2m) from Indice, indice.co.nz 8—Hardwood side table, $595 from Indie Home Collective, indiehomecollective.com 9—Jacket by Tigerlily, $200 from tigerlilyswimwear.com.au. Edited by Amelia Holmes.
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Neri & Hu present their updated version of the Chinese lantern in their new product range, Bai. Paper becomes blown glass, wires become solid metalwork finished in aged bronze and the candle becomes an LED engine. The traditional lanterns hide what is inside, whereas Bai puts the inner workings on public display. All elements of this contemporary design are executed
Home Magazine_June/July_2015 1
with rich quality materials and craftsmanship. Bai has just arrived in store at ECC and is a beautiful addition to the Parachina range.
www.ecc.co.nz Since 1909
Auckland Wellington Christchurch Sydney Melbourne Brisbane Milano
Classic Concept Design
Mike Thorburn Managing Director, ECC
15/05/15 9:56 am
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ONE-PIECE WONDERS SOMETIMES A SINGLE PIECE IS ALL YOU NEED TO TRANSFORM YOUR SPACE.
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1—‘Chimbarongo Single Lamp’ by Alvaro Catalán de Ocón for PET Lamp, from $898 from Backhouse, backhousenz.com 2—‘Lucenera 507’ floor lamp by Catellani & Smith, $2245
from ECC, ecc.co.nz 3—Vintage chair by Ercol, $145 from Flotsam & Jetsam, flotsamandjetsam.co.nz 4—‘Pipe’ shower by Marcel Wanders for Boffi, $9190 from Studio Elemento, boffi.co.nz 5—‘Line’ side table by Douglas and Bec, $490 from Douglas and Bec, douglasandbec.com 6—‘Shimmer Mobili’ table by Patricia Urquiola for Glas Italia, $3950 from ECC, ecc.co.nz 7—Earrings by Zelda Murray, $480 from Penny Sage, pennysage.com 8—’Untitled’ 2014 artwork by Oliver Perkins, $3600 from Hopkinson Mossman, hopkinsonmossman.com 9—‘Mr Market’ bag by Deadly Ponies, $440 from Deadly Ponies, deadlyponies.com. Edited by Amelia Holmes.
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COFFEE CENTRAL A NEW CAFFEINE HUB FOR THE CITY OF CHRISTCHURCH.
Development may feel like it’s taking forever in central Christchurch, but the coffee options just broadened with the opening of Supreme’s new South Island headquarters. The Supreme team worked with architect Jessica Barter of Bureaux to convert a building that has served as a Land Rover dealership and, more latterly, as the Chinese goods emporium Hop Yick. Barter synthesised both these historical influences as she developed the café’s design: the powder-coated steel furniture and splashbacks reference the robust elegance of old Land Rovers (as do the canvas bar fronts), while the soft grey palette and grid patterns routed into the ash cabinetry fronts and wall panels were inspired by an old Hop Yick ledger book left in the building. Yes, Supreme has outlets elsewhere – Auckland, Melbourne, Wellington – but Christchurch represents a significant investment, not only because it’s the company’s first café with a full kitchen (there are plans to open in the evenings in Christchurch, too). Barista training facilities, a roastery and the South Island team’s offices are also in the building, only slightly separated from the main café space by frosted glass panels. And while Supreme’s Auckland location, also known as Good One, is justly proud of its improvisational aesthetic, here in Christchurch things are intentionally built to last. “The most important thing was to give the people of Christchurch something that felt like a home, that was cool and crafted and permanent,” Barter says.
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SUPREME SUPREME 10 Welles Street, Christchurch 03 365 0445 coffeesupreme.com
01—02—The design by Bureaux picks up on details from the building’s history as a Land Rover showroom and Hop Yick Chinese goods emporium, including the cabinetry’s grid pattern, inspired by a ledger book left behind at Hop Yick. The furniture was custom-designed by Bureaux and Supreme’s Al Keating for the project. 03—A barista gets to work. 04—The Supreme team in the office behind frosted glass panels that separate them from the cafe. 05—A custom-made newspaper rack. 06—The exterior of Supreme’s new cafe, roastery, barista training facilities and South Island headquarters. Photography by Simon Devitt.
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DESIGN EMBASSY NEW ZEALAND DESIGN HAS A NEW HOME IN THE CITY OF LIGHTS.
With the move of Moaroom to a space near the Marais, New Zealand design has a new Paris base. The company, which was previously housed in a rather chic former garage near the Place de la Republique, now has a street-front space in which to showcase the work of designers including David Trubridge, Simon James, Nat Cheshire, Jamie McLellan, Jakob + MacFarlane (see their sculptural LED ‘Float’ right) and Moaroom’s co-founder Roderick Fry, whose ‘Pi’ table was a finalist in our 2014 Design Awards. Their new location, near the Marché d’Aligre, was a historical locus of furniture-making and now, Fry says, “we’re one of half a dozen contemporary design projects revitalising the fine furniture tradition in the area”.
MOAROOM 7, rue Emilio Castelar 75012 Paris moaroom.com
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HOME FRONT SIMON JAMES EXPANDS HIS RESIDENTIAL SHOWROOM SPACE.
Simon James’ Auckland showroom has a generous new residential focus, thanks to an expanded and renovated groundfloor space (left) that showcases the firm’s offerings for the home. Alongside James’ own designs – including his ‘Hex’ pendant (hanging at left), which won our Design Awards in 2013 – are creations by New Zealand designers Nat Cheshire, Jamie McLellan, Phil Cuttance, Cameron Foggo, Gidon Bing and Jason Whiteley, as well as the best of imported brands including Massproductions, Established & Sons, Secto and Swedese. SIMON JAMES DESIGN 61 Upper Queen Street Newton, Auckland 09 377 5556 simonjamesdesign.com
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Designed for the discerning buyer
Image indicative only.
Wynyard Central is a series of apartments and townhouses with a bespoke level of quality and design, set in a prime waterfront location. With a meticulous attention to detail and specified well beyond industry standards – including a very high level of acoustic attenuation – it offers effortless comfort and style. The luxury residences will be settled on the edge of one of the world’s most beautiful harbours and at the heart of Auckland’s most vibrant and developing new area, Wynyard Quarter. To the discerning buyer, Wynyard Central delivers the perfect blend of quality, sophistication and lifestyle. To view the display suite and for further information contact Willis Bond & Co. Willis Bond & Co: 09 307 0722 | www.wynyardcentral.co.nz
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CALDER CALLING A MODERNIST GREAT INSPIRES NEW FURNITURE AND LIGHTING FROM DOUGLAS AND BEC.
Auckland design studio Douglas and Bec’s new ‘Line’ collection revels in its pared-back curvaceousness. Partly inspired by the work of sculptor Alexander Calder – especially the way he combined a sense of playfulness with weighty materials – the collection marks a move from Douglas and Bec’s customary use of timber to a palette of glass, brass and steel. “It’s the same visual language but put together with new materials,” says designer Bec Dowie, who created the collection with her father Douglas Snelling and a team of local artisans. It includes floor and table lamps, pendant lights (see left) and side tables in smoky grey, matte white and pink.
DOUGLAS AND BEC 9 St Mary’s Road Ponsonby, Auckland 09 551 3685 douglasandbec.com
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NEXT STEPS DESIGNER DAVID MORELAND TAKES ON A NEW ROLE.
New Zealand designer David Moreland – a regular finalist in our Design Awards – has joined the team at Aucklandbased Citta Design, where he’s already expanded the brand’s range by creating a selection of furniture and lighting pieces. His latest designs feature his trademark economy and attention to detail and include ‘Shift’ lights (the floor lamp is $459, at right, and the table lamp is $289, bottom right), ‘Terrain’ and ‘Courbe’ pendant lights ($79.90, top right) and handsome oak ‘Radial’ side tables ($390, right), dining chairs ($389, right) and shelves (from $99.90, right). Available at Citta Design stores in Auckland, Hamilton, Wellington (and in the new Christchurch store in June), as well as online and from stockists nationwide. cittadesign.com
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ANCHORS AWEIGH GUBB AND MACKIE’S NEW STORE BY JAMIE MCLELLAN BLENDS A HOST OF NAUTICAL INFLUENCES.
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Designer Jamie McLellan (a previous winner of our Design Awards) tweaked the nautical heritage of the Gubb & Mackie clothing label when designing the interior of its new Auckland store. The label started out as a naval tailor in 1949, which prompted McLellan – this is the furniture and product designer’s first interiors project – to use materials with strong nautical associations in the fitout. The store’s thoughtful details include shelving and a counter in solid sapele mahogany, custom-designed brass coat hangers, and Yves Klein’s ‘Ultramarine’ blue from Drikolor on the store’s back wall. The lighter tones of ash dowels used for the clothing rails also pop up in McLellan’s ‘Lumber’ and ‘Baby Lumber’ stools in the space. In a setting this immaculate, it’s no wonder the clothes look good.
GUBB & MACKIE 35B Vulcan Lane Auckland 09 302 1949 gubbandmackie.com
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01—Furniture and product designer Jamie McLellan created the interiors for Gubb & Mackie’s store in a heritage building in Auckland’s Vulcan Lane. 02—‘Ultramarine’ blue by Drikolor packs a punch and sets the naval tone in line with the menswear retailer’s heritage. 03—The counter and shelving are solid sapele mahogany. The ‘Spar Junior’ light on the counter is also by McLellan. 04 McLellan’s ‘Lumber’ stool sits behind the mahogany counter. 05—06 Ash dowel is used for the clothing racks, which have custom-designed coat-hangers, and in the display units in the centre of the space. Photography by Toaki Okano.
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SUPER CITY AUCKLAND’S WATERFRONT IS DOING DENSITY WELL.
Auckland’s flurry of apartment development is yielding some potential architectural standouts. Wynyard Central, just behind the city’s North Wharf, is designed by Architectus (the firm that also designed this magazine’s first-ever Home of the Year in 1996) and includes townhouses, a five-storey group of pavilions containing apartments on each level, and a larger apartment building (see artist’s impressions at left). The community – along with nearby 132 Halsey Street, an apartment building by Athfield Architects – is being developed by Willis Bond & Co, who have a long history of recognising the value of good architecture in high-density developments. They also promise to show Aucklanders that density done well needn’t be scary at all. wynyardcentral.co.nz 132halsey.co.nz
D:11
FLOATING WORLDS NEW ZEALAND’S NEXT VENICE ARCHITECTURE BIENNALE TEAM IS ANNOUNCED.
From one watery location to another: the NZ Institute of Architects has selected the team to represent the country at the 2016 Venice Architecture Biennale. Led by Dr Charles Walker, an associate professor at AUT, the group will create an exhibition using the title ‘Future Islands’. Physically, the exhibition will take the form of a series of floating, island-like forms that will host digital projections of real and imagined New Zealand architecture. “Islands have always provided real sites for different ways of living, and imaginary sites for possible ways of living differently,” says Walker. “Historically, they have inspired romantic and utopian narratives, and they have always been, literally, places of discovery.” It may help that this aquatic theme is being presented in Venice. This will be New Zealand’s second time at the architecture biennale.
venice.nzia.co.nz
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www.halo-nz.co.nz
3576 J.I. Home FP V6.indd 1
0800 HALONZ
1/05/15 3:08 pm
D:12
TWENTY OF THE BEST A SPECIAL ANNIVERSARY FOR OUR HOME OF THE YEAR AWARD.
HOME celebrated the 20th anniversary of our Home of the Year award and the announcement of the 2015 winner and finalists in an Auckland architectural icon, the elegant grand foyer of Grierson, Aimer and Draffin’s 1929 Auckland Museum. The Home of the Year 2015 winner was Richard Naish of RTA Studio, whose family home in the Auckland suburb of Grey Lynn has been admired by lots of people, and assailed, along with this magazine, by a few commenters on the Stuff news website (one of our favourites: “HOME magazine is an average publication, with average photography” – a sentiment with which we would like to politely disagree). Naish took home the $15,000 first prize generously provided by our Home of the Year award partner, Altherm Window Systems, becoming the 20th winner of the award. You can browse all 20 previous winners in the special Home of the Year section of our website, as well as our short web films of Naish’s home and many other winners.
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homemagazine.co.nz 01—Architect Richard Naish’s family home in Auckland won this year’s Home of the Year. 02—Naish at home with his children. 03—Mark Ryan of Alitech, Rochelle Taylor of Altherm, HOME editor Jeremy Hansen, Richard Naish and Shane Walden of Altherm at the awards. 04—The foyer inside the Auckland Museum where the awards were held. Photography by Patrick Reynolds and Sarah Grace.
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M A K E R E L A X AT I O N A R I T U A L A toast. To unwinding and making every moment one to truly savour. From the next generation of winemakers comes a range of wines perfectly crafted for now. Enjoy our VNO playlists. Work. Play. Stop. Unwind.
Please enjoy responsibly
soundcloud.com/vno-wines
9785-M2-VNO Relax ATL 2015 FQ 297x225.indd 1
4/7/2015 3:26:51 PM
D:13
DESIGN MINDED FISHER & PAYKEL’S HEAD OF DESIGN MARK ELMORE PREPARES TO JUDGE OUR ANNUAL FURNITURE DESIGN AWARDS.
HOME You’re the judge for our furniture and lighting Design Awards in our next issue. What will you be looking for in the winner and finalists? MARK ELMORE Fresh thinking, clarity, passion for detail and respect for materials. Each year we notice the overall standard of entries rises, and more designers are successfully appealing to New Zealand consumers, as well as cracking the export market with their furniture. How do you tackle the issues of distance at Fisher & Paykel? We think the issues of distance are positive for us. Our designers travel regularly to gain perspectives and insights. And, digitally speaking, everything is so close and immediate now. In New Zealand we have the opportunity to immerse ourselves in other cultures, but also to step back from these and gain unique perspective from the edge of the world.
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Design is a profession that is changing constantly. How do you stay abreast of change and ensure you are designing products that meet contemporary consumer needs? It sounds simplistic to put the customer at the centre of everything, but to be successful you need to live that out in every aspect of your business. We spend a lot of time with customers both inside and outside our business, understanding the life lived around our products. When you deeply understand where people see value and design for this, you stay relevant to them. What is good design, in five words or less? Engaging, enduring, beautiful, simple.
Look out for the Design Awards in our next issue and on homemagazine.co.nz fisherpaykel.com
01—‘Parison’ pendant light by Cheshire Architects for Resident, the 2014 winner of our Design Awards. 02—‘Handmade’ range for Paper Plane by Timothy John, a finalist in 2014. 03—‘Pi’ table by Roderick Fry, a 2014 Design Awards finalist. 04—Another finalist: the ‘Duffel’ ottoman by Tim Webber. 05—Mark Elmore, Fisher & Paykel’s head of design and our 2015 Design Awards judge. Photography by Toaki Okano.
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We’re looking for New Zealand’s best new furniture. WIN A $3000 APPLIANCE OF YOUR CHOICE FROM FISHER & PAYKEL.
SEND ENTRIES TO designawards@bauermedia.co.nz
Our Design Awards 2015 seek the most exciting new furniture and objects for the home. This includes ceramics, glassware and tableware or any similar item that can be displayed and used in an interior setting. Entries are welcome from established artists and designers, as well as newcomers to the field. Entrants must submit up to five images (from a variety of angles) of the furniture or objects they have designed with a 250-word statement about the project and its designers.
COURIER Design Awards, HOME, Bauer Media, Shed 12, Cityworks Depot, 77 Cook Street, Auckland 1010
MAIL Design Awards, HOME, Bauer Media, Private Bag 92512, Wellesley Street, Auckland 1141
All entries must be received by 5pm on Friday June 12, 2015. A judging panel will choose finalists’ submissions to view in person before choosing the winner. The works of the winner and finalists will be published in our August/September 2015 issue. For terms and conditions, please see homemagazine.co.nz
The ‘Pick Up Sticks’ chair by Simon James, a finalist in our 2014 Design Awards. Photograph by Toaki Okano. Styling by Kendyl Middelbeek.
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HOME + BACKHOUSE
D:14
INSPIRED DESIGN MICHELLE BACKHOUSE OF BACKHOUSE INTERIORS REVEALS HER FAVOURITE DISCOVERIES FROM THE MILAN FURNITURE FAIR.
01. ‘Remo’ chair by Konstantin Grcic for Plank
02. ‘Fly’ light by Ferruccio Laviani for Kartell
03. ‘Kabuki’ floor lamp by Ferruccio Laviani for Kartell
Celebrated German designer Konstantin Grcic continues Plank’s tradition of producing exceptional wooden furniture. Made of laminated, bent plywood, ‘Remo’ is both lightweight and robust with construction that requires mechanical expertise and hand finishing. ‘Remo’s’ defining characteristic is an interlocking joint that attaches the seat and back to a horizontal back rest.
I couldn’t resist including this original iconic design from light master Ferruccio Laviani. The ‘Fly’ suspended ceiling light, designed in 2002, has been reissued in a stunning new range of finishes, including muted greys and metallic, and a new smaller model. With the release of the updated versions it will be a welcome addition to the lighting collection.
This new floor lamp by Ferruccio Laviani has the appearance of delicately worked lace, is a beautiful shape and emanates a captivating light – a statement piece and a stand-out from the fair. Described as neo-baroque, it is made from injected polymer thermoplastic, which is dyed and finished in a soft white. I am having the first one off the production line!
04. Kartell by Laufen A highlight of Milan design week was the opening of the very first Kartell by Laufen mono-brand retail store in the heart of Milan’s Brera district. This exciting concept is revolutionising the way we interpret bathroom design. Bathrooms are showcased in unexpected thematic and chromatic moods, with exquisite craftsmanship, technological advancements and breathtaking design.
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HOME + ECC
D:15
LIGHTS FANTASTIC ECC’S MIKE THORBURN ON THE MOST EXCITING NEW DESIGN ITEMS HE TRACKED DOWN IN MILAN.
01. ‘Seymour’ sofa system by Rodolfo Dordoni for Minotti
02. ‘Nostalgia’ by Dima Loginoff for Studio Italia Design
03. ‘Superloon’ by Jasper Morrison for Flos
04. ‘Heit’ by Piet Boon for Piet Boon Collection
05. ‘Buster Bulb’ by Massimo Buster Minale for Buster + Punch
Minotti has long appreciated the flexibility of the modular sofa, sometimes offering 50-plus configurations. This year they’ve thrown a curved element into the mix of the ‘Seymour’ sofa system. The sinuous curves express a modern approach to classicism. New yet timeless, Italian yet international, elegant yet relaxed – everything I love about the Minotti style.
Mixing gold, copper and silver in clusters of pendants is definitely in vogue. We saw it with Tom Dixon’s ‘Melt’ pendants at Buster + Punch, and again at the Studio Italia stand. ‘Nostalgia’, featuring beautiful blown-glass shades in three classic shapes, was displayed in lovely cascading and linear configurations. Mix and combine to your heart’s content.
The surprising thing about ‘Superloon’ is how thin the disc of light is – a great example of how LED technology is leading to products that wouldn’t have been possible several years ago. ‘Superloon’ is dimmable and has an adjustable colour temperature so that the effect is like that of moonlight. I think it has the makings of a design classic.
Architect Piet Boon is in hot demand for his luxurious yet comfortable furniture range. I sunk down into the squidgy softness of the ‘Heit’ armchair in his showroom and couldn’t get up. The frame is wrapped in Italian saddle leather and the cushions come in leather or a range of exquisite fabrics.
This is the most elegant execution of an LED light bulb I’ve seen. The stand had 1000 bulbs illuminating a blacked-out space with a huge chandelier of individual bulbs as the centerpiece. The glass comes in gold, smoked and crystal-finished with a satin metallic sheen and looks great off or on. They are paired with copper, smoked and steel fittings.
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HOME + STUDIO ITALIA
D:16
FAIR CHAIRS STUDIO ITALIA’S VALERIA CARBONAROLAWS ON HER TOP FINDS FROM THE MILAN FURNITURE FAIR.
01. ‘Crono’ armchair by Antonio Citterio for Flexform
02. ‘Soffio’ table by Antonio Citterio for Flexform
03. ‘Delfino’ armchair by Erberto Carboni
04. ‘Sydney’ sofa by Jean-Marie Massaud for Poliform
05. ‘Zeus’ sofa by Antonio Citterio for Flexform
The ‘Crono’ armchair is another creative idea of designer Antonio Citterio, who has realised this model with a luxurious solid wood frame and woven hideleather back. The ‘Crono’ armchair is an original and refined seat, able to match any kind of sofa and enhance the space in which it resides.
This is part of a new collection of consoles, dining and occasional tables designed by Antonio Citterio for Flexform. The steel base, which is available in the new gold finish as well as bronze, satin or burnished, is complemented by a table top in marble or wood.
Designed in 1954 by Erberto Carboni, the ‘Delfino’ armchair is a significant example of the ‘organic’ furniture that developed in the fifties and which often draws its inspiration from nature. This armchair is a group of flowing shapes which gives the body continual support with its sinuous lines.
‘Sydney’ is a sofa with a very original aesthetic. With it, Poliform explores new creative possibilities in Massaud’s combination of pure geometry and great comfort. There is the option of timber elements to further personalise the configuration to each individual space.
The ‘Zeus’ sofa is marked by its irregular shape and an informal and cozy look which makes it suitable for a range of settings. The sofa has been created for relaxation and is fabulously comfortable.
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HOME + IMO
D:17
SMART SYSTEMS SAM HAUGHTON OF IMO INTRODUCES THE COMPANY’S NEW STORAGE, SEATING AND KITCHEN-SYSTEM DESIGNS
01. ‘Baker’ stools by IMO
02. ‘ABC’ containers by IMO
03 & 04. ‘KXN’ kitchen by IMO
The long-awaited arrival of Baker’s new sibling – the new 450mm high stool – is here. A versatile family of stools, ‘Baker’ can now be enjoyed bench height for breakfast at the kitchen island, dining height for lunch at the café and bar height for a tipple at your favourite local.
A range of containers to keep work and living spaces clutter free. It’s perfect for desktop essentials and to keep house and cooking tools within easy reach, the sink tidy, or to sort playroom chaos. It includes a paper tray, folder tray, utility caddies and containers. A small caddy includes drainage for airflow and quick drying. Made from powder-coated zinc, it has solid beech handles.
We applied 20-plus years of experience making storage systems to create the ‘KXN’ modular kitchen system. The elegant freestanding kitchen provides a more subtle aesthetic than built-in cabinetry and gives you freedom to personalise your layout, whatever the size or budget. Island modules are available in three widths and various configurations for easy planning and efficient organisation.
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The electro-galvanized powder-coated steel fronts and frames come in matte colours; fronts are humidity, water and heat resistant and won’t swell or warp. They are recyclable and use no toxic glues. Prices include installation and appliance integration; no last-minute surprises. ‘KXN’ hosts your choice of appliances and fittings and is easily retrofitted with accessories, drawers and cupboards or reconfigured to meet new needs.
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HOME + ARTISAN FLOORING
D:18
FLOOR SHOW ARTISAN FLOORING’S GREG MCLEOD KEEPS AN EXPERT EYE ON THE LATEST FLOORING TRENDS.
01. ‘Nomad’ range
02. Vintage Moldovian Kelims
Woven in Agra, India, using a double-twist Persian knot, the ‘Nomad’ collection features both a selection of vibrant colour tones and a more neutral palette, using an almost tribal luxe pattern which adds a unique style to any interior. We have a range of colour and sizes in our Auckland showroom, and custom sizes and colours are also available.
Moldovian or Bessarabian kelims were originally woven in what is now known as the region of Bessarabia in Romania. They vary from 30 to 70 years in age and are woven with 100 percent handspun wool. Originally used as wall hangings, these pieces replicate those from the famous weaving regions of France, renowned for their tapestries, aubussons and savonneries.
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03. ‘Floral Storm’ by Florence Broadhurst A selection of Florence Broadhurst’s legendary designs have been translated into exquisite hand-knotted rugs. Made in Nepal with Tibetan highland wool, Chinese silk, natural hemp, nettle and aloe fibres, Artisan Flooring is proud to distribute this collection exclusively in New Zealand.
04. ‘Janka Splashed’ by Jan Kath
05. Rewoven kilims
It’d be hard to surpass the opulence of this design from Jan Kath’s ‘From Russia With Love’ collection. Lavish floral wreaths and magnificent roses form the basic pattern, with motifs reminiscent of traditional fabric. The collection is also inspired by carpets made in Karabakh and southern Russia around 1900, their patterns made with bright Tibetan highland wool and Chinese silk.
These vibrant kilims are made by artisan weavers in eastern Turkey using yarns reclaimed from old tribal yurts, some of which are overdyed in vibrant contemporary tones. The yarns are comprised of hand-spun wool, cotton and goats’ hair. They’re sturdy and resilient, their geometric designs reflecting the simple folkloric traditions of the weavers.
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MIT3 M MIT IT3 T3 T 34 45 450 50 5
3450MITOutlander201 2015-05-14T11:08:54+12:00
You and new Outlander. You’ve never looked so good.
Whether you’re pulling up at the school gates or gliding under the lights of a smart hotel, you’ll always arrive in style. With the choice of 5 or 7 seats, petrol or diesel, 2 or 4 wheel drive and stunning styling, new Mitsubishi Outlander suits you perfectly. Visit mmnz.co.nz or call 0800 54 53 52 to book a test drive. For full Diamond Advantage terms and conditions visit www.mmnz.co.nz
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SMOOTH THE WAY
GET IN TOUCH WITH TACTILE TABLE SURFACES LIKE MARBLE AND BRASS. 04
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01—‘All Circle’ table in black stain, $998 from Douglas and Bec, shop.douglasandbec.com 02—‘Loren’ table in burnished and antiqued brass by Draga e Aurel for Baxter, $8960
from Cavit & Co, cavitco.com 03—‘Tama’ in Nero Marquina marble by EOOS for Walter Knoll, $15,719 from Matisse, matisse.co.nz 04—‘Orlando’ table by Roberto Lazzeroni for Flexform, POA from Studio Italia, studioitalia.co.nz 05—‘Ciceron’ table by Boiler, POA from Cavit & Co, cavitco.com 06—‘Slit’ table in brass by Hay, $1146 from Cult Design, cult. co.nz 07—‘Giano’ table by Antonio Citterio for Flexform, from $8900 from Studio Italia, studioitalia.co.nz 08—‘Loren’ table in iron and copper by Draga e Aurel for Baxter, $7360 from Cavit & Co, cavitco.com. Edited by Sam Smith.
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CONTEMPORARY RUGS OF DISTINCTION
source mondial carpets, rugs & sisal
p h o n e : 09 377 3068 - www.sou rc e m on dial.c o.n z
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SHOW A BIT OF LEG 03
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SIDE TABLES THAT FLAUNT THEIR ASSETS WITH ELEGANT EASE.
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01—‘Panda’ table by Paola Navone for Cappellini, $5475 from Matisse, matisse.co.nz 02—‘Pylon’ table by Tom Dixon, $5485 from ECC, ecc.co.nz 03—‘Don’t Leave Me’ table by Thomas Bentzen for Hay, $469 from Cult Design, cult.co.nz 04—‘Tray’ table by HAY, $595 from Cult Design, cult.co.nz 05—‘Journal’ table by Cameron Foggo for Nonn, $4728 from Simon James Design, simonjamesdesign.com 06—‘Albino’ table by Salvatore Indriolo for Horm Italy, $1475, from UFL, ufl.co.nz 07—‘Fauno’ table by Roberto Lazzeroni for Flexform, from $3800 from Studio Italia, studioitalia.co.nz 08—‘Miles’ table by Niels Bendtsen for Linteloo, $5160 from ECC, ecc.co.nz 09—‘CH417 Tray’ table by Hans J Wegner for Carl Hansen & Son, $1630 from Cult Design, cult.co.nz. Edited by Sam Smith.
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VIEW THE COLLECTION AT WWW.JAMESDUNLOPTEXTILES.COM
Home_JuneJuly2015_RHP.indd 1
5/12/2015 4:35:34 PM
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WOOD WORKS
OAK, WALNUT, TEAK: A RANGE OF SOLID SIDE-TABLE CHOICES 04
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01—‘Zio’ table in oak by Marcel Wanders for Moooi, $5545 from ECC, ecc.co.nz 02—‘Maze’ tables by Christian Lyon for Matsuoka, $5580 (large) and $4455 (small) from Cavit & Co, cavitco.com 03—‘Ilary’ table by Jean-Marie Massaud for Poltrona Frau, $7415 from Matisse, matisse.co.nz 04—‘All Circle’ table, $1680 from Douglas and Bec, shop.douglasandbec.com 05—‘3000 Njord’ table by Kusch + Co, $600 from Backhouse, backhouse.co.nz 06—‘Anemos’ table by Antonio Facco for Cappellini, $16,069 from Matisse, matisse.co.nz 07—‘Mexique’ low table in walnut by Charlotte Perriand for Cassina, $4673 from Matisse, matisse.co.nz 08—’G-Plan Quadrille’ nesting tables in teak by R Bennett, $750 from Mr Bigglesworthy, mrbigglesworthy.co.nz. Edited by Sam Smith.
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INV15002HNZ_DL 2015-05-14T14:43:23+10:00
Dozens of dance lessons...
BUT ONLY ONE STAINMASTER
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© 2015 INVISTA. All rights reserved. STAINMASTER and the STAINMASTER family of marks and logos are trademarks of INVISTA.
AGE OF INNOCENCE A star columnist returns with a question: what happened to gracious apartment living? TEXT:
Douglas Lloyd Jenkins Brian Culy
PHOTOGRAPHY:
It may surprise most people to discover that the design problems of domestic architecture are not much taught at architecture schools. Perhaps it is because houses are thought of as simple equations, easily solved. This might explain the imprint of the modernist cookie-cutter approach to houses and the lack of well-designed alternative dwellings. A friend looking for an apartment is despairing of what is on offer. Endless cramped, soulless boxes, with badly designed open-plan spaces, punctured with large ranch sliders in the sky. At the end of a long, frustrating day, I send an image from a recent Victoria University of Wellington architectural the sis and she fires back. “That’s it, that’s what I’m looking for! Why won’t someone build that for me?” The maker of the image in question is Hamish Byrne, a recent student of Victoria University’s School of Architecture. The image is from his master’s thesis, dealing with the design of apartment buildings and the notion of ‘roomness’. He admits ‘roomness’ is not a word to be found in any dictionary, but one con jured to capture the feeling one gets from being in a carefully considered room. We probably best understand this as ‘good bones’. In searching for a new home, one can often overlook the décor interventions of the previous owner if we can perceive the presence of good bones. Bryne’s question: how would one build ready-made good bones into a new, purpose-built apartment building? Searching, as young architects do, for a philosophical or theoretical starting point, he stepped over recent theory, past local heroes Group Architects, past favoured imports Mies van der Rohe and Le Corbusier, and alighted on Edith Wharton, author of The House of Mirth, Ethan Frome and The Age of Innocence – great, sprawling novels that deal with the social goings-on of early 20th-century New York. Although the choice might seem unusual, Wharton’s first book, The Decoration of Houses, is still considered to be the founding text of modern interior decoration. However, it is not much used at Victoria’s School of Architecture anymore, nor anywhere else in New Zealand. Wharton wrote the book as a reaction to the vulgarity that she saw in the houses of her wealthy New York neighbours (the Vanderbilts always take the rap) and as a guide to doing things properly. She starts with good bones. Hamish Byrne is cut from vintage cloth. Like so many young, creative New Zealanders he is a relentless searcher of charity shops and auction houses.
As a teenager in Hawke’s Bay he grew up under the influence of the four great William Gummer houses, all of them handsomely detailed without ever being over the top. He longs for a deeper, more resonant set of architectural references than those offered up solely by the contemporary world. Byrne confesses to becoming increasingly interested in the interior aspects of architecture. As a result, he decided to devote his last year of school investigating the design of a modern Wellington apartment building along Wharton-esque lines. Byrne explains that Wharton’s thinking informed many of the great New York apartment buildings of the twenties, those that populate the Upper East Side. These are the apartments that Hollywood (think every Woody Allen film ever made) uses to represent New York living. Byrne’s imagined spaces continue a theme started in pre-war apartment blocks, such as Auckland’s Courtville, the Mayfair flats in Parnell (themselves by Gummer & Ford) or Wellington’s Blythswood. All still sought-after residences, but no longer much referenced by New Zealand architecture. This is something he’d like to see change. A one-bedroomed apartment is, Byrne speculates, unlikely to be occupied by a family. The owner, even the younger tenant, will have acquired objects, art work, furniture of value and importance to him or her, and want to show them off. He steps over individual style choices and provides a backdrop designed to work for the collector of antiques, contemporary art, or simple charity shop finds. He makes no apology for re-introducing wall moldings to frame wall spaces. “People need structure when starting out with decorating,” he says. “A blank wall can be intimidating.” At the same time, he reintroduces mantelpieces and provides copious bookshelves for books and favoured objects. Such a project might at first seem like an exercise in pastiche. Byrne is unfazed. He got that criticism fairly regularly in school ‘crit’ sessions. These apartments are no McMansions in the sky. Byrne has thought carefully about the intended occupant, New Zealanders who might live outside the norm. Byrne recognises there may be no developer waiting to build his new model apartments, but there are more than a few people looking to move into something just like it. Although New Zealanders have been talking for some years about the need for high-density housing, a well-designed apartment is a rare commodity, even in virtual form. Hamish Byrne would like to change that.
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Below Old-world grace still has its place in contemporary apartments, argues Hamish Byrne, who created this rendering to illustrate his point. Below left The Belmount estate in Hawke’s Bay, designed by William Gummer and completed in 1918, has the kind of elegance Byrne admires. Below right and bottom Byrne, photographed at Belmount, wrote a master’s thesis which argues for the return of gracious, well-designed apartment living.
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Past Lives Interiors get earthy, with natural colours, antique furniture and serious Arts and Crafts connections. / Katie Lockhart PHOTOGRAPY / Harriet Were STYLING
Wall colour—‘Clay’ by Drikolor, drikolor.com. Artwork—‘Relief Study’ 2014 by Dan Arps, courtesy of the artist and Michael Lett, michaellett. com. Bed—‘Caravan’ cot by Kalon, $1295, and latex mattress, $399, both from Nature Baby, naturebaby.co.nz; vintage bed sheets, stylist’s own; wool check fabric from The Fabric Store, thefabricstore.co.nz; ‘Blackthorn’ fabric by William Morris from Textilia, textilia.co.nz. Banana pillow by Thing Industries, $115 from Douglas and Bec, douglasandbec.co.nz. Accessories—Oak milking stool circa 1890, $145 from Country Antiques, 09 630 5252. Cotton and linen baby socks by Ophelia Mikkelson, $28 from Muck Floral & General Store, muck.co.nz.
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Wall colour—‘Clay’ by Drikolor, drikolor.co.nz. Artwork—‘Infinity Scroll’ 2013 by Stella Corkery, courtesy of artist and Michael Lett, michaellett.com. Furniture–Circa 1900 British Arts & Crafts Liberty School oak chair (back to wall), $4000, and circa 1900 Orkney Islands Arts & Crafts chair (back to camera), $5000, both from Art & Industry Antiques, 09 630 0310; ‘Stool #43’ by Donald Judd (used as side table), courtesy of Michael Lett. Accessories—‘Boalum’ table lamp (on floor) by Gianfranco Frattini and Livio Castiglioni for Artemide, $1255 from ECC, ecc.co.nz; ‘Olio’ teapot by Barber & Osgerby for Royal Doulton, royaldoulton.com; vintage cup from Global Village Antiques, 09 420 9149.
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Wall colour—‘Clay’ by Drikolor, drikolor.co.nz. Artwork—‘Animated Grey’ 2013 by Stella Corkery, courtesy of the artist and Michael Lett, michaellett.com. Accessories—From left: aluminium bowl by Fort Standard, $165 from Douglas and Bec, douglasandbec.com; circa 1930 hand-painted Dutch Gouda jug (used as vase), $700 from Art & Industry Antiques, 09 630 0310; French provincial chopping board, $225 from Country Antiques, 09 630 5252; ‘Athens’ jug by Clarice Cliff, $900 from Art & Industry Antiques, 09 630 0310.
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The view of the home from the road. Despite the huge amount of glass addressing the dramatic views, the Ashworth family’s industrialstrength hideaway reveals little of what goes on inside.
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PARADISE HILL BALANCING BREATHTAKING VIEWS AND A FAMILY’S PRIVACY. TEXT:
Martin Williams
PHOTOGRAPHY:
Simon Wilson
When you have a blended family of three children aged 11, 14 and 18, you need space. And lots of it. Luckily, for parents Vicki and Hugo Ashworth, and children Lucy, Ange and Ollie, there’s no shortage of space in this modern Auckland home. For the Ashworths, the challenge with this pet project lay in working with their architect to create a home that not only afforded each family member their own personal area, but also brought them together – a challenging prospect for any architect, especially when the plan is to split the family over four levels. When the Ashworths bought the site four years ago, they were living overseas and the sheer challenge of the build was not yet fully apparent. Sheer being the adjective in point. “We saw the site online and for lack of a better word, just fell for it,” says Vicki. “It was all about that view.” Facing north at a steep 33 degrees, enough to scare off many a builder as the Ashworths found, the site posed more than a few challenges for the expats. But, the Ashworths took it in their stride and, 205 truckloads of concrete later (only about 100 more than
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Light, airy and no need for intercom. “The kids might be three floors away, but shout loud enough in the hall and they’ll hear you.”
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Left Hugo and Vicki Ashworth. Above The home offers spectacular water views, and feels a long way from the city.
budgeted), they had foundations. “Early on, I think we both knew we were in for a ride with this one,” says Hugo. “But, once we started, we knew the only way out was up.” And boy did they go up. And down. Made from concrete, sandstone and steel, the Ashworths’ split-level home is of the industrial ilk, in some places sitting on piling reaching more than 11m deep. Yes, it’s imposing. Yes, it’s big. But for this family, it’s just right. The top level is Mum and Dad’s “private getaway floor”: No kids allowed. With wraparound windows on the west, north and east sides revealing bush and sea, this master suite almost feels more lookout than bedroom – think Swiss Family Robinson meets RitzCarlton. “I’d be lying if I said I could see everything from up here, but like most mums, I’ve got a pretty good idea of what’s going on most of the time,” Vicki says. Up top you can also find the first of three balconies and Vicki’s reading snug. Styled conservatively, the main living level, where Vicki and Hugo spend the majority of their time, again takes full advantage of the northerly aspect with
“We can all spread out as much as we like but, equally, Hugo and I can spend most of our time on the top two floors without ever feeling that the house is too big for us.” uninterrupted views of the Waitemata. A basaltwalled entranceway opens onto a tiled open-plan living space which, framed by ocean blue behind, serves as the family’s focal point and common area. And despite what is today a relatively conservative stud height, the space possesses an honesty and openness, probably thanks in no small part to the fact this room alone is bigger than many ordinary houses.
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“If there was a unifying design story,” says Hugo, “it would be the interplay between light and shade, in and out.” With blacks and greys throughout the entrance and floors, simple white walls are a welcome contrast and help the space feel generous, without ever feeling gratuitous. As Vicki said, it’s all about those views. But the problem with views is that, to have them, you need glass, and when you build a home whose north face is almost completely built with the stuff, things get warm. Fast. And that, according to Hugo, is sort of the whole idea. With double-glazing and either polished concrete or tiles throughout, the home boasts enough thermal mass to be almost completely independent in
the heating department. If anything, heat is more the issue on this hill. But Hugo was on top of that one, too. The house is designed so that whole sections of wall can be rolled away, opening the home to the cool sea breeze, and thanks to the overhead decks, can be left open almost full-time. And when nature’s air-con needs a hand, the fully integrated, industrial-style air-con system does the rest. “We planned to make the most of the breeze off the harbour – that said, it’s pretty hard not to up here,” Hugo says. The kids have their own level below the living rooms. With three double bedrooms and one spare, plus cinema and rumpus, space abounds. But the real ingenuity of the design is the overwhelming sense of privacy – something Hugo stipulated as a primary design consideration. To help achieve this, the Ashworths cut the house into the volcanic hill as much as possible rather than extending up and out. Not the conventional choice, but it worked surprisingly well. And despite being flanked by mature trees on three sides, this four-floor mega-house possesses a tangible sense of lightness.
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This page Hugo took personal charge in the construction of this basaltwalled fireplace in the family lounge area. Left The kitchen is located next to the staircase connecting the home’s various levels.
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It’s a home that brings the family together. But not too much. An internal staircase on the eastern side accesses all four levels, and though it comprises more than 64 steps top to bottom, nothing ever feels too far away – so long as you’re not returning from the gym, says Hugo. Luckily, as forward-thinking as the Ashworths are, for those like this journo who might be inclined to rest the legs on the odd occasion, an internal lift runs up the middle of the house, opening on the staircase landings – which on the lowest level opens on what’s aptly named the “fun room”. Here, you can find the bar and, of course, the pool – which, unlike decks one and two, is fully visible from above. With more than 15m in vertical space between the living area and pool, this was one of Vicki’s non-negotiables. Such is the scale of this build that even with three kids, Mum, Dad and frequent add-ons in the house, somehow it never feels crowded, but equally avoids feeling empty, a testament to careful, considered design and of course, the joys of a big family.
Designed to roll away in two-metre sections, the front on the lowest floor can be opened almost completely, and it still complies with regulations thanks to glass balustrades built into the wall.
Family violence can happen in any home. Last year alone, police made more than 100,000 family violence investigations across the country, in every kind of neighbourhood. And these are just the incidents we know about. If you suspect someone in your community is experiencing violence, please don’t ignore it. No matter what street you live on, family violence is not OK. For more information on how to help, visit areyouok.org.nz Editor’s note This story was developed by IT’S NOT OK in partnership with HOME magazine to highlight the issue of family violence, and urge people to seek ways to prevent it. It’s an important cause that we are eager to support. The couple featured are actors and have been used for illustrative purposes only. –Jeremy Hansen
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PRESENTS
Interiors Now 68. LIGHT AND LUXURY IN AUCKLAND’S HOBSON BAY 82. REJUVENATING A CANTERBURY SHEPHERD’S COTTAGE 94. THE SECRETS OF DECORATING FROM A SUITCASE 106. STONE AND NATIVE TIMBER NEAR WANAKA 118. A NEW ZEALAND EXPAT’S NEW YORK LOFT
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Cast Away Inspired by historic gun emplacements nearby, architect Julian Guthrie creates a clifftop home for the ages. TEXT
/ Henry Oliver
PHOTOGRAPHY PRODUCTION
/ Patrick Reynolds / Amelia Holmes
The home by Julian Guthrie features its main living areas below street level, with bedrooms contained in the dramatic projecting elements above.
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While space is a luxury, says architect Julian Guthrie, the success of a large home is in creating a connection between all its parts. At the hub of the home, the openplan kitchen (designed in conjunction with Penny Hay) and indoor-outdoor areas are easily connected. Solid oak carpentry and raw brass detailing feature in the kitchen. The outdoor furniture is from Coast.
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Left A custom-made skylight at the entry illuminates an artwork by Judy Millar. To the left, at the top of the stairs, hangs a piece by Ralph Hotere. Right The home’s family living area looks out to the swimming pool and cabana. The suspended concrete box overhead contains the main bedroom. The roof of the cabana is covered in thousands of pebbles so that it recedes into the landscaped environment when viewed from above. The ‘Extrasoft’ sofa in the living area is by Piero Lissoni for Living Divani.
Fearing a Russian invasion in the late-1800s, twin military installations were built on North Head, in the Auckland suburb of Devonport, and across the harbour on Bastion Point, the now-famous headland between Okahu Bay and Mission Bay. The installations were expanded during World War I and remained operational until after World War II. One of the gun emplacements on Tamaki Drive, below Bastion Point, remains to this day. Two levels of heavy concrete, its three walls recede into the cliff-face while its front opens to the harbour, ready for action. More than one hundred years later, this concrete shell is one of architect Julian Guthrie’s inspirations for a new house above Hobson Bay, just minutes away from Bastion Point. The luxurious home is full of contrasts. The immensity of the concrete contrasts with the fineness of the detail, while its closed street front – heavy walls, fences and gates – is a complete counterpoint to the openness of the north face overlooking the Waitemata Harbour. From the road, the house looks like a street-level modernist home with a penchant for privacy. There’s no clear sign that the house extends downward, towards the cliff. There are only the slightest glimpses of the postcard-perfect Auckland view looking due
north over a pohutukawa-covered cliff and down to Hobson Bay, the ribbons of Tamaki Drive and the eastern line railway, out over the harbour towards the twin volcanoes of North Head and Mount Victoria. As we tour the house, Guthrie tells me that he wanted the descent from street level into the living area to be gradual so as not to feel “subterranean”. The result is a series of reveals. Entering the house, you descend into the lower floor’s living space via a staircase that turns at a right angle on a landing halfway down. The landing is your first sight of the view, framed by an internal bridge running east to west. Before continuing down into the heart of the house, you can see an almost hidden stairway leading back up to the level on which you entered, where the bridge connects two hallways. Continuing the descent, you arrive in the hub of the house – a lustrous kitchen (designed in collaboration with interior designer Penny Hay), two large living spaces, two courtyards and three imposing chimneys (one in the courtyard and one in each living space) which anchor the house. The spaces flow together effortlessly, the indoors separated from the outdoors by floor-to-ceiling sliding glass that opens onto the courtyard and lawn. “The clients wanted a flow of different living spaces,” Guthrie says. “They
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Drapes soften the concrete wall in the sitting room and frame an artwork by Richard Killeen. To the right is a diptych by Andrew McLeod. The ‘Groundpiece’ sofa and ‘Plain’ side table are both by Antonio Citterio for Flexform from Studio Italia. The cushions on the sofa are from Siena. The ‘Thomas’ armchairs by Flexform and ‘Grace’ dining chairs by Emmanuel Gallina for Poliform are all from Studio Italia. The ‘Fortuny Studio 76’ floor lamp by Venetia Studium is from ECC. The floor rug is from SF Design and the top rug is from Artisan Flooring. A ‘Prometheus’ light by Christopher Boots from Inlite hangs above the dining table from Ashton Grove. The candelabra is by Muse Design.
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This page Refined details, such as custom-made brass and wooden hand rails, soften the concrete finishes. A self-contained guest room resides on the third level, up a second flight of stairs.
Right The bridge divides the children’s rooms to the east from the main bedroom to the west. Below the bridge is a sculpture by Michael Parekowhai. Behind it is an artwork by Judy Millar. Jane Carolan from Venia helped the owners choose the interior furnishings.
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do a lot of entertaining and the children have a lot of friends around, so it wasn’t about having formal rooms or special spaces, but trying to get flow within the house and in the indoor-outdoor area.” Beyond the courtyards and a moat of swamp grass standing in for fencing, an infinity pool is perched on the cliff’s edge, melding into the water below at certain angles. “The pool forms part of the view,” he says. “We were trying to keep the sense of a series of horizons. – so you’ve got the pool, the layer of pohutukawa on the cliff, the lines of the railway cutting through the bay.” Next to the pool is a cabana, with an entertaining area. From the vantage of the second floor, you see that the cabana is roofed with a steel tray filled with thousands of pebbles so, from above, it becomes “more of a landscape element than a roof, not really a building but something else.” The lower floor is dominated by concrete, giving the house a cool weight and permanence, but also bringing the outside in to open the interior to the cliff. “Concrete’s been my obsession since university days,” Guthrie explains. “I think in the landscape the concrete works really well. It’s quite neutral. When you look back from the waterfront, this house really just recedes.” Guthrie realised that neutrality fit the clients’ brief perfectly: “They wanted a house that was
timeless – obviously it’s contemporary but also uses the brute form and a neutral palette. It’s a building that should have longevity. It’s very classic modern more than very now.” The squareness of the concrete looks sharp and clean. Much of it was prefabricated and cast to give it a timber grain, adding character to what might otherwise look industrial at such scale. Its bulk is balanced by exquisitely refined door handles, taps and rails. The carpentry is all solid oak, the detailing all raw brass that will take on a marbled patina. On the first floor, level with the entrance, are four bedrooms – the three children’s rooms to the east, the main bedroom to the west over the bridge. The bridge, a cage-like enclosure of geometrically patterned steel, gives a sense of containment, while keeping the view unobscured. Up another floor is a self-contained spare bedroom. On these floors, the masses of concrete give way to stark white plaster walls, unfinished and slightly rough, with a texture that mirrors the grain of the concrete. With this lavish bunker, you get the sense that Guthrie has answered his own Zen koan: mastering the unmasterable, perfecting imperfection, turning a most unwelcoming structure – a gun emplacement – into a luxurious family home.
Above The imposing fireplace is one of three throughout the home. The ceramic bowl on the kitchen island is by Gidon Bing and the ‘Tactile’ vase is by Gamfratesi for Menu, both of which are from Simon James Concept Store. Above right The flow of the living areas from indoors to outdoors is enhanced by glass sliders that maximise the views across Hobson Bay to Devonport, Rangitoto, and east to the Orakei boatsheds that line the water’s edge. Far right The ensuite reflects detailing present elsewhere in the home. The linen towels by Society are from Siena. Right The cabana bathroom.
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“The pool forms part of the view. We were trying to keep the sense of a series of horizons – so you’ve got the pool, the layer of pohutukawa on the cliff, the lines of the railway cutting through the bay.”
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DESIGN NOTEBOOK
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Q&A with Julian Guthrie
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Entry Kitchen Family Living/dining Library Bathroom Games room Lawn Pool Courtyard
Main bedroom Ensuite Bedroom Bedroom Bedroom Bathroom Study Guest suite
This is a big home – how do you maintain architectural control on a large canvas like this? Space is the greatest luxury, but the success of a large home is to create connection between all the parts of the house, both horizontally and vertically, and an easy circulation. How did you want the interior spaces to feel? And what makes a successful interior for you? In this home we wanted the interiors to have a calm, contemplative quality with a subtle but rich material and textural palette. I think a successful interior is true to the architecture of the building and of the people who live there. The best interiors develop over time and transcend passing fashions. What are the three things about the house that most please you? The timber grain in the concrete, both from rough-sawn timber and plywood formwork, has given a beautiful character and patina to the concrete surfaces. I love everything about the kitchen – not only its materials and details, but also its relationship to the exterior courtyard and the feeling of being under the suspended concrete form above. And my greatest reward is the feedback from my clients of how wonderful the home is to live in, and to have won the children over from their fear of moving into a concrete bunker!
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Right Guthrie describes the interiors, seen here in the main bedroom, as having a “calm, contemplative quality”. Far right Teak sliding shutters are boxed in concrete at the west wing of the home.
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AWA R D
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R E S I D E N T I A L
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CO M M E RC I A L
I N T E R I O R S
POWERSURGE.CO.NZ
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Land’s End On Canterbury’s Banks Peninsula, a magically restored, century-old shepherd’s cottage has things to teach us. TEXT
/ Jeremy Hansen
PHOTOGRAPHY
/ Simon Devitt
The cottage sits on a farm hilltop with views northwards towards the horizon.
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Above The cottage’s fireplace surrounds and ceiling beams still hold the initials carved into them by shepherds who stayed in the cottage during mustering. On the mantle is ‘Sunrise’ by Christchurch artist Mehrdad Tahan, a representation of daybreak at nearby Pigeon Bay. Right The cottage is defined by its modest scale, with low ceilings and just three small windows to frame the sea views.
Some architects approach their work an article of faith. Just as there are Catholics and Protestants, there are modernists and traditionalists, groups who generally stay true to their respective creeds. Some of them are purists who could never imagine deploying a radically different architectural vocabulary in their work, as if doing so would risk some sort of excommunication. Andrew Patterson is not one of these architects. He has designed some of New Zealand’s most assertively contemporary buildings (including New Plymouth’s almost-complete Len Lye Centre and the Christchurch Botanic Gardens Visitor Centre, which opened last year), yet here on Canterbury’s Banks Peninsula, he has also restored a petite, century-old shepherd’s cottage in a way that betrays little suggestion of architectural ego – or even of modern intervention. Doesn’t he see this as a contradiction? “I’m agnostic,” Patterson says with a shrug. “I just like space and light. Wouldn’t it be really dull if the world was all the same?” The evidence of his diverse tastes is now scattered all over the farm that the shepherd’s cottage calls home. The cottage is one building in a range of luxury accommodation options Patterson has designed on Annandale coastal farm. Further down the four-wheeldrive track that leads to the farm’s outer extremities is
Seascape, a small, ultra-modern getaway that feels like the lair of a glamorous villain from a James Bond film (it featured on the cover of our June/July 2014 issue). Just over the hill in the centre of a picturesque valley is a contemporary-but-classic farmhouse that Patterson designed that was a finalist in our 2014 Home of the Year award. Earlier, Patterson designed the restoration of Annandale’s original homestead. All in all, this group of buildings makes for an impressively varied portfolio. An outsider might find it hard to comprehend that all these projects were led by the same architect. Annandale is owned by Mark Palmer, a New Zealander who lived in the United States for 35 years before purchasing the 4000-acre farm (which boasts 10km of coastline) and commencing work not only on the aforementioned buildings, but on an extensive project to rehabilitate the land and farm. There was much to do. Patterson started work on the main homestead before he and Palmer turned their attention to the other buildings, which were developed over a five-year period. The shepherd’s cottage stands in picturesque solitude on an isolated hillside about 20 minutes’ drive down the track from the homestead. A row of macrocarpa trees shelters the back of the cottage from southerly winds. The building had been
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Low ceilings and rich timber details make the cottage interior feel like a warm embrace. Patterson opted for a pragmatic approach to the restoration, creating a kitchen more suitable to contemporary needs. He likens cooking in the small space with another person to dancing.
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Above left Sunlight casts the shadow of a windowframe on the timber floor. Above right The large sofa in the living room allows views of the ocean. Left The ground-floor rooms have been subtly reconfigured to make the kitchen and bathroom fit contemporary expectations.
long abandoned when Palmer purchased Annandale and was no longer habitable, except for animals with four legs. “It had sheep running through it,” Patterson recalls. “But basically the form was there.” He didn’t want to change the fundamentals of the structure (apart from making it meet modern-day expectations of comfort) and essentially stuck with the footprint. The only major change was the addition of a new window under a gable upstairs to create a bedroom in what was an attic. A staircase was relocated from the farm’s original homestead and fitted intact to connect the upper and lower levels of the shepherd’s cottage. Rather than follow the current fashion of clearly differentiating contemporary insertions from the original structure, Patterson fudged the boundaries. “We mixed new elements by making them look old,” he says. His rationale is that vernacular buildings such as the cottage were progressively adapted by their original owners anyway, and that this is just another in a series of tweaks to make the structure function successfully for the next generation. There were risks in this approach: renting the shepherd’s cottage costs $570 a night in the off-season, but it would be hard to imagine anyone wanting to do so if the restoration had burnished it to too
high a sheen, creating a building that felt like an ersatz reproduction instead of the real thing. Patterson has walked a fine line, making the cottage comfortable without destroying its sense of authenticity. He and his team sourced old materials that would feel authentic in the building, re-purposing them as kitchen cabinetry, walls and floorboards. The rich materiality of the interior – the lovely grain of the timber details, and the strong rhythm of the beams overhead – means it never feels as if additional decoration is necessary. (The building won prizes in the Sustainability and Heritage categories at the NZ Institute of Architects’ Canterbury Architecture Awards). It is difficult to imagine a contemporary architect designing a building like this from scratch. The cottage is tiny, with ceilings so low you almost suspect a tour group to arrive in search of Bilbo Baggins. There are only three small windows addressing the spectacular sea view, and many people would have to crouch to look out of them. All of this seems to fly in the face of what we now consider appropriate levels of light, space and outlook. Yet the cottage feels like the definition of cosy, without any of the cloying cuteness that word implies. The tightness of the living space, which still boasts its original fireplace, is like being wrapped in a warm
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Above left The outdoor claw-foot bath, which was relocated from the homestead, provides the chance to soak up the endless aspect of the sea. Above right Old materials were sourced for their authenticity and re-purposed for the walls and floors. Right The old staircase leading up to the bedroom came from the farm’s homestead and was fitted intact. The bedroom wss previously an attic space accessible only by drop-down ladder.
The tightness of the living space is like being wrapped in a warm blanket. blanket, a more secure space in which to wait out a storm than a grand, glassy building, no matter how well-constructed. “We all want to have a seamless change between inside and out,” Patterson says, “but sometimes it’s fun to protect yourself from the outside. As soon as you walk out the front door you can be in a salt-laden gale and see for miles in every direction.” The stark contrast here between indoors and outdoors reminds us what shelter is really about. The building’s small size has the added (if illogical) bonus of making it feel less likely that the weather could damage it. It’s almost as if it is too tiny to be noticed by a passing storm.
The small scale of the cottage’s interior can teach us other things. The contemporary demand for more living space often seems insatiable, but bigger buildings cost more to construct, and too many people blithely trade off quality of materials in order to get more space. Small structures like this can remind us that there are surprising pleasures in petite rooms. “It’s better to have a space that’s too small than too big,” Patterson says. The little kitchen, he says by way of example, “means everyone loves cooking there, because you have to cook together in a way that’s like dancing together.” The preservation of scale is probably the purest aspect of the cottage’s rehab, a reminder of the beauty inherent in a simple interior that holds us close. You get the sense, from talking to Patterson, that this delights him, too. It’s as if he feels that the diversity of his output gives him a certain kind of freedom. “It always makes me laugh how people want to put rules on things all the time,” Patterson says. “I love modernism but we don’t have to do it all the time. We do some very contemporary buildings but that doesn’t mean you can’t appreciate the others. It’s just about celebrating space and the human condition.”
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1. 2. 3. 4. 5. 6. 7.
DESIGN NOTEBOOK Q&A with architect Andrew Patterson
Verandah Dining/living Kitchen Bathroom Outdoor bath/shower Terrace Bedroom
What sort of shape was the cottage in when you first visited? It was in shocking condition. You wouldn’t have believed it. Basically it had sheep running through it. But it had some big pieces of timber, good timber. The form was still there.
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How did you decide what to do with it? We didn’t change the structure much. We put in a new window upstairs facing the sea. We stuck closely to the original room configuration. We introduced new elements but made them look old – we searched for materials from the time that were authentic. The peninsula had a lot of totara originally, so much of the original timber was that. Restorations can be fraught with complexity. How did you decide to handle this one? There’s a fundamental heritage dilemma. Heritage in the last 20 years has moved to the point where you’re expected to create an obvious division between new and old. There are lots of buildings being restored with elements added that are obviously new. We don’t believe in that. We see a continuity in buildings, and it’s okay to build in their original style. In our work we often do a different methodology, where we invent a different history for the buildings. We imagined the Axis Building [a refurbishment in Auckland] not as an old Nestlé factory but that it was designed in Gotham City. At D72 [also in Auckland], we imagined New Zealand where the treaty had been seriously honoured for Maori, and imagined what effect that would have had on our architecture. The shepherd’s cottage imagines a world where shepherds were quite well-paid and respected and had beautiful surroundings.
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Right Sitting on an expanse of clipped lawn, the cottage faces seaward. Far right The home’s only bedroom is situated on the upper floor. Reservations to stay in the cottage can be made at annandale.com.
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NEW ISSUE S I M PLY YO U L I V I N G
68+
INSPIRING ROOMS
BEDROOM
focus
HOW TO CREATE THE ULTIMATE SANCTUARY
W I N T ER 2015
TEXTILE TRENDS
24 pages of uplifting winter interiors
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ON SALE NOW Untitled-2 1
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Quick Fixes Shifting (numerous times) from New Zealand to London and New York, designers Jenny Miles and Nik Clifford perfect the art of creating interiors with a few treasured things. TEXT
/ Sam Eichblatt
PHOTOGRAPHY
/ Emily Andrews
Jenny Miles of Hardhat Design at the window of her top-floor apartment in a typical row house in Brooklyn, New York.
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If you were to be stranded on a desert island, which three things would you take with you? We pose this rhetorical question as a way of imagining what, in the clutter of practical, sentimental and valuable items that fill our lives, is the bare minimum we’d need to stay healthy and, hopefully, happy. Jenny Miles and Nik Clifford have been answering this question, in various ways, since they met in London 18 years ago. The couple, who live and work together as Hardhat Design, a boutique creative agency, recently signed a lease on this light-filled apartment on the top floor of a typical row house in Brooklyn, New York City – although you wouldn’t know it, looking at the thriving shared garden and sense of place they’ve already created. Over the last two years, Miles (a Brit), and Clifford (a New Zealander), have been setting up camp – and office – in various spaces in Auckland, London and New York as work, life and the protracted application process for their studio’s American business visa dictated. As a result, they’ve become extremely practiced at not only travelling light but also maintaining their mobility without becoming rootless. They make interiors with a carefully edited range of key objects. “We can’t afford to be extravagant,” says Miles, “But we’re clever with what we’ve got. We’ve learned
to be because we’ve travelled a lot, and for more than just a week at a time. If you do that often enough, you start to realise what’s important to you, and what makes a place a home really quickly.” As anyone who has landed in a new city or neighbourhood will attest, you can waste jet-lagged hours trying to connect to wifi and wondering where to go for decent coffee. So, along with work paraphernalia such as paper swatches, Pantone books and laptops, the pair pack a set of Global knives, non-electrical coffee-making equipment (a hand-grinder and Chemex), a cocktail shaker and mixing glass, a set of travel-sized bitters, small-but-good speakers and a projector that can be hooked up to a laptop. Miles sometimes brings a good pillow and a wool throw that can be used as a shawl or blanket, and, for decoration, some little toy tin horses, which once belonged to her brother. “When we land, we’re at home, and we’re at work. It’s all go. It feels like everything we need is there,” says Clifford. “We once brought a whole set of spices over from London. The guys at the border were like, ‘You know we’ve got spices here, right?’ But it’s those crazy little details that make things a lot easier.” No-one familiar with Hardhat’s craft-based, detail-conscious work will find this surprising.
Below Nik Clifford sits in the living area on a sofa from West Elm in New York, with hand-made cushions and a blanket bought at an antique shop in Paeroa. The ‘2’ behind the sofa is a vintage metal gas-station sign from ABC Carpet & Home, New York. Right. The artwork on the wall is by Martin Basher. The rope foot stool is from Triangle Sea Sales, a nautical store on Long Island. The bag is by Miss Crabb, and the arrows are from a flea market in upstate New York.
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The artwork on the wall is by Dane Mitchell. The antler sconce light on the floor is by Jason Miller from The Future Perfect. The photo is a 1930s print of Jenny’s father modelling for his mother’s knitwear company. The yard sticks were purchased at a flea market in upstate New York and the blue planter is by Bitossi Ceramiche.
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The metal-topped pastry table was bought at an antiques store in England. On top is a jug from an army surplus store in Auckland. The axe above it is from Best Made, New York. The pot is by Doug Johnston and was bought from his studio sample sale in Brooklyn. The antlers are from A&G Merch, Brooklyn.
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Living a peripatetic life has encouraged Clifford and Miles to refine the essentials they need to get by in work and play, from spices and a cocktail shaker to a Pantone book and a Chemex coffee maker. Miles describes the framed vintage coffee sign they bought at a Brooklyn flea market in Williamsburg as “a bit of a joke because we’re really into it and know quite a lot about good coffee since rebranding Coffee Supreme a couple of years ago!”
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“We can’t afford to be extravagant, but we’re clever with what we’ve got. We’ve travelled a lot, [and] you start to realise what’s important to you, and what makes a place a home really quickly.”
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Coffee, food, drink and design are both business and personal matters; the designers are best known in New Zealand for an award-winning rebrand for Coffee Supreme, which covered everything down to handdrawn illustrations on takeaway cups, and their work with boutique brands such as design store Douglas and Bec, fashion label Miss Crabb and natural beauty purveyors the Tonic Room. In 2008, the couple left the east London art scene for the relative calm of Auckland, Clifford’s hometown. They established themselves in a former industrial space behind a shop in Herne Bay, built a mezzanine bedroom platform, and worked and socialised on the ground level. They quickly made connections in the local creative community. Many of their clients became friends, or vice versa, and for the last three summers they’ve organised a community fête alongside local buddies including artist Gavin Hurley, Cameron Woodcock from Flotsam & Jetsam, Douglas and Bec’s Rebecca Snelling, and the teams from Coffee Supreme and eatery Coco’s Cantina. They continue to work for New Zealand clients and spend a few months in the country each year. When they arrived in New York, they took a similar DIY tack – even though, at the time, their lease wasn’t certain. They hung lights, which Clifford assembled
with components bought locally, and covered the cheap bathroom cabinets with tongue-and-groove sheets. They found old parquet floor tiles in a reclamation yard in Queens, sanded them and laid them over the bathroom tiles. “It looks 10 times better and the whole thing cost us about $60,” says Miles. Their neighbourhood, in a traditionally Italian enclave just east of central Williamsburg, has proved fascinating and welcoming. “If people ever ask me if Italian Americans actually say ‘fuggedaboutit!’ I can tell you they do,” laughs Miles. “They all know each other, and there are a lot of old people who own houses here. It feels like a lot of things have stayed the same in a borough that’s changing really fast.” As well as getting to know the neighbours, they’ve conceived a project to hand-paint signage as a gift to local shopkeepers. “There are some beautiful old signs around here. It’s authentic and down-to-earth,” says Clifford, who is also hoping to track down the man who is rumoured to be the last gilt window-lettering expert in Brooklyn. “There’s something to be said for bringing back some of the crafts that are dying out.” Respect for tradition has been their guiding star as they roam the world, says Miles. “We feel like we’re connecting and building foundations, both with our neighbourhood and our relationships with clients.”
Below Miles and Clifford on a regular walk to their local coffee shop, Kinfolk 90. Left The metal-rimmed laundry bin from ABC Carpet & Home is clad in vintage fabric. The mirror was bought on Trade Me.
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DESIGN NOTEBOOK Q&A with Jenny Miles and Nik Clifford of Hardhat Design.
What’s the most challenging place you’ve lived and worked in? JENNY MILES We once sublet a place we called the Nihilist’s Apartment. It was very minimal, just a wok, two bowls and a couple of beanbags. We found a cheap Ikea couch from someone down the block, plants from the Union Square greenmarket and lots of Jewish votive candles from the dollar store. In a week it felt like home. What are the advantages of spending part of the year in different countries? NIK CLIFFORD We like mixing things up, which forces you to reassess what you really want. It pulls you in ways that can be quite unexpected, and that’s been really good for us creatively. With each move we’ve had to assess who were are, what we stand for, and where we fit into the market. We always want to feel like we’re in a position of growth, because it’s too easy to get comfortable and play it safe. Tell us about your local studio at Makeshift Society. JENNY MILES It’s a membership-based coworking space and tool library that started in San Francisco, and recently opened an outpost in Brooklyn. I read about them on DesignSponge, and saw their Kickstarter funding campaign. Instead of money, we offered them our time, but it turned into a fantastic proper rebrand job. It made sense to be in that space; it’s beautifully designed, in a great location, and has a similar community-building ethos to us.
Top The yellow desk lamp in the far corner is by Douglas & Bec. Middle right Clifford made the yellow cage lamp that hangs in the bedroom. The blanket on the bed is from Coast. Middle left Le Creuset and All-Clad pots and pans hang in the kitchen next to a metal fruit and vegetable holder from Flotsam & Jetsam. Miles enjoys a sunny spot in the living room.
Bottom right A Place of my Own by Michael Pollan is inspiration for the off-grid cabin the couple is building on 11 acres of land in the Catskill Mountains in Upstate New York. Bottom left The vintage flash cards on the wall came from a flea market in Williamsburg.
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Stone Age A home near Wanaka by Richard Naish features an interior made entirely of warm native timber and local stone. TEXT
/ Jeremy Hansen
PHOTOGRAPHY
/ Patrick Reynolds
The home sits on a hill in Emerald Bluffs, an environmentally conscious development on the western shores of Lake Wanaka.
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Inside the home, walls of locally sourced schist meet a ceiling of sustainably harvested Southland beech and recycled rimu floors. The exterior cladding of recycled totara is also expressed on the interior walls. From the living area, which is sparsely furnished with antique armchairs, fullheight doors lead to a terrace facing northwest.
Naish has devised an interior of native timber and stone that suggests a deep connection to the surrounding landscape.
Richard Naish’s work often tweaks its context: his 2015 Home of the Year-winning design, in our last issue, was a thoroughly contemporary family dwelling that nonetheless referenced the scale and roof forms of neighbouring villas. The home on these pages, however, is not surrounded by a closely knit neighbourhood of old timber homes, but the vast alpine landscape surrounding Lake Wanaka. Naish, so accustomed to inserting new structures into dense and varied neighbourhoods, had to look for inspiration in a very different setting. As he examined the site, Naish honed in on “the way the schist drives out of the ground in Central Otago, the uplifting of those blocks of rock” and fashioned the home around an abstracted version of this. At the entrance, a large schist wall rears up and juts northwards, an architectural rendition of a natural landform that establishes a platform for the upper floor of the timber-clad home and what Naish describes as the “subterranean entry sequence”. Behind a heavy door, there’s a fireplace and a couple of armchairs for removing boots, and a storeroom for stashing ski and fishing gear. Then, a sharp turn to the right leads up a stair to the main floor. A vast schist wall, washed in daylight from a skylight, acts as the home’s main axis and anchors it to the hill behind. There are many homes in beautiful landscapes that are focused so deferentially outwards that they forget the importance of creating an interior that rises to the occasion of its setting. In a region where the weather can sometimes be hostile, a home’s interior needs to offer a deep sense of shelter to its occupants. Here, Naish has done just that, devising an interior of native timber and stone that suggests a deep connection to the surrounding landscape. The 350-square-metre home’s main floor is, in effect, a capacious two-bedroom apartment (there’s also a self-contained one-bedroom flat on the lower level). A dining area and sitting room are separated by a hefty double-sided schist fireplace. The kitchen has an island bench bordering the dining area, with appliances and the preparation area partially concealed in a generous space behind it. There’s a small library and TV area on the northwestern side. Full-height glass doors open onto a petite eastern terrace sheltered by the hill behind, while a larger terrace lies northwest, its doors inviting afternoon sun deep into the home. The interior palette is one of sumptuous natural beauty. The walls of local stone are accompanied by a ceiling of sustainably harvested Southland beech,
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Top left The view through a window from the dining area looks northwest through the manuka. Top right Looking southwest across the home’s schist terraces. Above Panels of honeyed tawa lighten and enclose the kitchen. The stools were designed by Arrowtown-based Ed Cruikshank. The ‘Glass Lens’ pendant lights by Tom Dixon are from ECC. Opposite A schist axial wall embeds the home into the hill behind it and forms the edge of the long hallway. It is illuminated by a skylight above.
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Opposite A view from outside the home’s guest flat, looking up the hallway stairs to the main living floor. Top Naish was inspired by ridges of schist in the landscape, so created an architectural version of this that also established a platform for the home. In this view, the path leads to the home’s main entrance. Above The table and benches in the dining area are by Ed Cruikshank.
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Below A series of terraces made from local schist look north to the mountains and lake. Opposite Apart from peaks of skylight, the home virtually dissolves into the landscape. Treble Cone ski field can be seen in the distance.
a floor of recycled rimu, and kitchen panels of honeytoned tawa. The exterior cladding of recycled totara is also expressed on the walls indoors. These materials work together in remarkable harmony, creating a warm and tactile cocoon. “The home was very much about the location,” Naish says, “using nature and local timber and materials and local stone. It felt like a natural response.” Because of this, the home barely needs furniture: a couple of vintage armchairs in the living room, and a large table and benches in the dining area by Arrowtown-based Ed Cruikshank are all that seems to be required. The owners live overseas – they purchased the property after living in Auckland for a few years – but spend about six months a year at the home. They are fly-fishing enthusiasts and enjoy running, cycling and bird-watching. Their own environmental bent fits perfectly with that of Emerald Bluffs, the development on Lake Wanaka’s western shores where their home is located. Only seven building sites feature on what has become an ambitious land rehabilitation project. Emerald Bluffs’ founder, John May, has overseen the planting of more than 100,000 native trees there – many of them rare species endemic to the area – as well as removing wilding pines, eradicating pests, restoring wetlands and extending a public lakeside
walkway. A photovoltaic array on the development provides solar energy to the homes built there. In 2012, Naish designed a carbon-neutral home for Emerald Bluffs that won the Future Projects – Housing category at the World Architecture Festival (the home has not yet been built). While the home on these pages isn’t carbon-neutral, it is heavily insulated and is highly energy efficient. Emerald Bluffs’ environmental covenants also require the homes to blend into the landscape as much as possible. To do this, Naish’s design nestles behind a screen of existing manuka shrubs, and just below the highest point of the slope behind it. From some of the surrounding hills, only the little peaks of skylights are visible, where the roof line flicks upwards to pull westerly light into the interior. The home’s placement means the views from inside are enormously varied: northwest across the lake from the living room, northwest through the manuka to nearer hills, westwards from the main bedroom towards Treble Cone skifield. In this country, where timber frames and cladding dominate, it feels unusual to visit a home of such solidity. But the sense of permanence is entirely appropriate for this majestic setting – a home for the ages, made from the materials that sprang from the land around it.
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DESIGN NOTEBOOK
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
Q&A with Richard Naish of RTA Studio
This is a very different setting to your own Auckland home, and many other buildings that you’ve designed. How did you decide on the architectural approach you were going to take? I was inspired by the way that the schist drives out of the ground in the Central Otago region, and the uplifting of those blocks of rock. It’s quite a literal reference to the landscape, and I used it as a way to establish a new architectural landscape to place the house upon. That also set up the opportunity to have a metaphorical subterranean entry sequence. The house is anchored to the east with a heavy axial wall which is backed into the slope and clad in local schist inside and out – it’s a strong organising element.
Entrance Guest kitchen Guest room Hall Living Dining Kitchen Ensuite Main bedroom Guest room Guest bathroom Steps to spa Library Terrace
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Lower Level
How did you decide on the interior approach? This house was very much about its location, so it was about using nature and local timber and materials like stone and beech. It felt like a natural response. The ceilings are sustainably harvested Southland beech, the floors are recycled rimu and the wall panelling in the kitchen is New Zealand tawa. The exterior cladding is recycled totara. We wanted to use lighter-toned timbers on the interior and get a bit more light reflectivity – the clients were concerned they didn’t want it to be overbearing with darker tones.
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Right The main bedroom has a generous window seat for mountain views, reading and contemplation. Far right The ensuite bathroom has a window allowing views from the tub. For more on this space, see our bathroom design feature on p.150.
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Loft Life On Manhattan’s lower west side, a New Zealand tech investor teams up with expat architect David Howell to create a luxe loft retreat. TEXT
/ Sam Eichblatt
PHOTOGRAPHY
/ Emily Andrews
Built as a warehouse in 1889, Cobblestone Lofts was converted into apartments in 2000. The red brick façade faces south and the building is located where Vestry St merges into Laight St in TriBeCa.
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The aspect through the living room windows looks east towards Soho. The original warehouse beams have been painted white, a contrast to the gleaming black floorboards. Somewhere in between that palette lies the polished grey-stone fireplace. The oil-on-burlap artwork on the dining room wall is ‘Doble Imagen’ by Manolo Valdés. The dining table from BDDW has a walnut-and-bronze wishbone base. It’s surrounded by dining chairs by Milo Baughman (circa 1970s), reupholstered by John Hutton Textiles. Above the table is a tear-drop chandelier from Info Lighting in Los Angeles. The ‘CB-50’ leather lounge chairs are by Craig Bassam and Scott Fellows from Suite NY. The sectional sofa is from the ‘Jagger’ series by Minotti. The coffee table is by BDDW.
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Above The floating side tables by the custom-made bed in the main suite are by BDDW. The silk carpet is custom-made from the House of Tai Ping. Right From the shell of a soulless developer fit-out, the collaboration between client, architect and interior designer has produced a home with warmth and character, one that suits the owner’s tastes and lifestyle. The artwork above the sofa is ‘Micrografia’ by Juan Genoves.
When some people hire an architect, it’s to begin cautiously realising a long-held dream. Within the dynamic of New York’s high-stakes realestate culture, however, some hire architects to go further, faster. The polished loft apartment on these pages in the Manhattan district of TriBeCa belongs to expat New Zealander Grant Biggar, and was renovated by his compatriot, David Howell, founder of New Yorkbased architecture and interior design studio DHD. The “triangle below Canal” is, in reality, more of a parallelogram of prosperity, a slice of Lower Manhattan residing within an intersection of money and fame, with Wall Street financiers sharing the dream of affluent bohemia and top-billed celebs as they stroll its photogenic cobbled streets. With its jaw-droppingly huge former artists’ lofts, TriBeCa commands the city’s – and therefore, the country’s – highest real-estate prices. Prices even resumed their upward trajectory, says Howell, a mere month after 9/11, the bleakest event in the city’s history, which occurred on the neighbourhood’s doorstep. Biggar, a financial technology investor and advisor, graduated from Auckland University and lived in Sydney and London before moving to New York in 2010. When he bought the apartment it was liveable,
as you’d expect a pricey loft to be, but its developer fit-out left much to be desired. Howell, who was introduced through a mutual friend and originally came on board to help Biggar re-do the floors, saw that, with the incumbent architect based outside New York and unfamiliar with the city’s Byzantine approvals process, the rest of the job was going too slowly. The architect, who originally hails from Havelock North, has a 20year track record largely spent working on the luxury townhouses and lofts of Manhattan. A new project to gut-renovate the loft was born. “What I liked about David is that he’s an artist and an architect,” Biggar says. “He was also very much the project manager on this – it’s right in the sweet spot of what he does. My taste is modern, uncluttered and clean – but equally you want an apartment to feel warm and inviting, so that was his skill, to balance both of those aims.” There were two sides to their venture. The first was the human story of one man creating a home to meet his particular needs. “He loved the things about the apartment we all love,” says Howell. “It was an open space, and it had a rawness and a Manhattan sophistication – but it needed help. It didn’t have the soul it needed. It wasn’t cosy, and it didn’t represent his lifestyle. It was an empty shell.”
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Above The silkscreen-on-linen artwork is ‘Matisse Como Pretexto’ by Manolo Valdés. The ‘Hepburn’ bed is by Matthew Hilton for De La Espada. Left The ‘Canopy’ lamp over the island is by Francesco Rota for Oluce from Karkula and signals the ‘kitchen zone’, which sits between the loft’s entrance and the living areas. The kitchen’s location informed a design that makes it integral to the living areas, yet still very much its own zone. The ‘Alto’ counter stools are by Powell & Bonnell for Dennis Miller.
The layout, in particular, was flawed. The first thing Howell did was to analyse the oval floor plan and sight lines. Originally, the door to the master bedroom was halfway through the kitchen, effectively splitting it in two. Moving it gave the kitchen area cohesion and opened up the entrance to the apartment, but also gave an unimpeded view diagonally across the apartment to the light pouring in from its broad banks of windows. This ostensibly small adjustment dictated the rest of the plan. Howell’s other key move was to create a circular path through the apartment. “Wherever that exists, I want to enhance it, so when you’re walking through your apartment you’re never getting to a dead end or retracing your steps,” he says. “This happened to have that flow where it was possible. It’s always a journey. It’s a nice way to occupy space.” Working with interior designer Steffani Aarons, architect and client added the aesthetic elements: a material palette of exposed wooden beams painted white, gleaming black-stained floorboards and an oversized fireplace of highly polished grey stone – a grand feature repeated in one of the entrance walls. Biggar was particularly involved in this process, hitting the taste-making luxury furniture showroom BDDW in Soho most Saturdays. “It’s a nice time,
because the client can share the process and do their own selecting and buying. That was very much Grant’s experience – and he wasn’t timid about it, he was up for anything,” says Howell. “It was like he had a birthday every weekend. One day, he carried back this enormously heavy bronze table with a buddy – physically carried it across the bottom half of Manhattan. I loved that.” The second side to the renovation process was the investment angle. Renovations in most other cities, says Howell, exist as an expense item on the balance sheet. In this astoundingly resilient market, they pay for themselves, and then some – and therefore make perfect sense for his business-savvy clients. “These projects are possible because once you renovate them they’re simply worth so much more, so our model is to provide really good design ideas the client can enjoy while they own the apartment.” Wall Streeters generally arrive around age 25, sow their oats, develop a career and start a family before they’re out of the city in their mid-40s, he says. “Everyone inevitably sells the apartment. They’re custodians of the space, not an owner. It’s the culture of New York. It’s not a heritage home in the Hawke’s Bay for three generations of your family – it’s a temporary dwelling in an evolving society in an exciting city.”
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The renovation opened up an unimpeded view diagonally across the apartment to the light pouring in from its broad banks of windows.
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From the entrance of the home, the journey through the apartment leads into the living area from the kitchen. The ‘Captain’s’ mirror and console table are from BDDW.
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DESIGN NOTEBOOK
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Q&A with New York-based New Zealand architect David Howell.
When you’re working with such high-end real estate and large budgets, what’s your usual approach? My main concern is preserving the things that made my client buy and occupy this space. My first questions are always, “Why did you buy this? What did you like about it? And how do we maximise that?” I don’t come along with any agenda of what it should look like. Observe, listen, repeat.
Main bedroom Main ensuite Bathroom Entry Bathroom Laundry Kitchen Living room Dining Bedroom
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Are there differences to the design process working at this level? Grant’s life is pretty broad, and he specifically asked for his bathroom to feel like a spa in a hotel. [You can see more of the bathroom in our special bathroom design section, starting on p.150. The kitchen also features in our kitchen design focus, starting on p.130]. One of the common traits with all my clients is that they often send me images of hotels, hotel lobbies and hotel bathrooms where they’ve really enjoyed staying. That’s where they get their shared experiences. It’s not an experience of owning properties, so much as travelling extensively, and experiencing the residential luxury which is hotel living.
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Right The living area is flooded with light from two sides of the building. Far right A print by Manolo Valdés sits on top of the builtin desk.
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Perfecting motion made in Austria
27 Dalziel Place Woolston, Christchurch ph: 03 379 4984 info.nz@blum.com
The high-quality solutions from Austrian fittings manufacturer Blum can be enjoyed the entire lifetime of your kitchen and make many tasks easier. Imagine being right in the middle of cooking and having the utensil or oil you require right at your fingertips and easily located in a matter of seconds. Blum’s ergonomic and intelligent solutions make tasks like cooking a breeze.
www.blum.com/ideas
simone.traber@lighthouse.de Phone +49 8382 27730-25 Simone Traber
New Zealand
HOME
225 x 297 mm
bleed: 5 mm
LIGHTHOUSE.de
More information
Cabinetry—Alno 'Starline Handless' range with satinglass doors in 'Platinum Blue' and white from German Kitchens. Benchtops— Stainless steel and American oak. Appliances—Miele from German Kitchens. Flooring— American oak by Hermpac treated with WOCA oils from Design Denmark. Tapware— Astini Celino brushed stainless steel pull-out rinser and mixer from German Kitchens. Lighting—Lights above the table are ‘Beat’ by Tom Dixon from ECC. All other lighting from Inlite. Table—From Fandango, London. Chairs—Dining chairs by Egon Eiermann and Arne Jacobsen from Fandango, London. 'Falcon' easy chair by Sigurd Ressell.
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KITCHENS
K:01
A COOK'S COMPANION BERGENDY COOKE OF BC&A MAXIMISES UTILITY AND VIEWS IN A KITCHEN RENOVATION. KITCHEN 01:
LOCATION:
ARCHITECT:
BRIEF:
Kitchen renovation
Bergendy Cooke with Damian Hannah of German Kitchens
Wellington
To design a beautiful, functional kitchen for passionate cooks
PHOTOGRAPHY:
Paul McCredie What were you asked to achieve with this kitchen? BERGENDY COOKE The clients are passionate cooks and wanted a kitchen that functioned with ease, was durable, as well as being beautiful. They were particular about a quality fitout and chose high-specification European manufacturing. They worked with designer Damian Hannah of German Kitchens on the finishes of the units and aligned fittings to correspond with details within our plan. How do you balance the needs for a kitchen to be functional and good-looking? The balance is equal. Kitchens are undoubtedly a central focus and should be considered aesthetically with more care than the purchase of a piece of furniture. But at the same time, equal weight should be given to how they wear on a daily basis, their ease of use, and minimising or deleting superfluous details. With an extensive selection of well-designed, durable fittings and finishes, there's no reason to compromise. When choosing finishes it is the integrity of the material that we hold in highest regard. We like and use materials that have a history of durability and that age well. Kitchens are tactile and we are continually in contact with their surfaces – they should be approached with that in mind, especially dual-purpose areas, such as an island, which is often used as both a work space and an informal eating scenario. How did you decide on the best spatial arrangement with the living area and views? Dictated by the confines of the existing exterior env-elope of the house, we worked with the intention that the main living area embraced the 180-degree views. This area was not substantial, so it was important to be efficient with the layout. This led to a simple, linear open plan, orientated to the north and accommodating the main living, dining and kitchen. To con-trast, an intimate, secondary living space opposes the vast expanse of views.
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KITCHENS
FORM AND FUNCTION RICHARD NAISH DESIGNS THE KITCHEN IN HIS AWARD-WINNING HOME. KITCHEN 02:
LOCATION:
ARCHITECT:
BRIEF:
E-Type House
Richard Naish, RTA
PHOTOGRAPHY:
Patrick Reynolds
Grey Lynn, Auckland
A relaxed space for the demands of a family of five
Did designing this kitchen [in the 2015 Home of the Year] for your family home make it any easier to cater to your requirements? And if so, what were those requirements? RICHARD NAISH Kitchens are always very personal things – what works for some will not work for others. I designed this kitchen to be very much a space that works for our unique family needs. It is open to be social with some enclosed space to make the inevitable mess, but relaxed enough that everything can be on open shelves and easily accessible when there might be a rush on for breakfast!
K:02
Cabinetry—Woodstar with handles and hardware from Heritage Hardware Appliances— Rangehood, cooktop, oven, dishwasher and fridge by Fisher & Paykel. Wall tiles and slate benchtop—Artedomus. Sink— Franke Tapware—Methven. Island, shelving and pendant lights—Custom-made by RTA Studios and Demac Metal Fabrications. Flooring—Concrete.
With plenty of natural light from adjacent windows, how did the palette of warm, dark tiles and cabinetry come about? Because there is so much natural light flooding in from the north and the east, we were able indulge in a darker, wamer palette of materials – hence the use of black tiles and cedar wall linings. How does the kitchen relate to the adjoining room beyond the island? It really is just one room – a dining room with a kitchen in it or a kitchen with a dining table in it.
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KITCHENS
K:03
TILES OF STYLE MALCOLM WALKER ARCHITECTS CREATE A WORKING KITCHEN. KITCHEN 03:
Reynolds/McLintock House ARCHITECTS:
Malcolm Walker and Gabrielle Luong
PHOTOGRAPHY:
Patrick Reynolds LOCATION:
Grey Lynn, Auckland
BRIEF:
A cook's kitchen
What kind of kitchen were you asked to create and how did you respond to the brief? MALCOLM WALKER [Homeowners] John [Reynolds] and Claire [McLintock] are great cooks and were very engaged – they’d been living with a very poor kitchen for years and knew what they wanted. It’s great working with informed clients. It’s a kitchen for working in; it's not a fashion accessory. What constraints did you work within, and how did you manage them? The kitchen wall is close to the boundary and is a fire wall, hence no windows. We’ve made a feature of this by tiling it and having ‘buried’ windows at each end. The wall and tiling extends beyond the windows to give the effect of a ‘floating’ wall and lessen its massiveness. It’s fun. John created a feature with artfully placed tiles. Did this lead the rest of the palette? The tiling is art. John is very good. It’s actually made up from three different tile sets, fully designed on paper and then laid out on the floor for the tilers to work from. It did their heads in! It’s a great example of client and architects working together. I love it. The palette is more one of compatible and complementary materials, rather than of colour. Originally, the tiles were to be blue-based and I think that would have been equally successful.
Benchtop—Stainless steel. Stone island—Quartzite from Italian Stone. Cabinetry—Leslie AJ & Co. Handles—Katalog. Cabinetry hardware— Blum Tapware—Dornbracht. Lighting—ECC. Oven—Gaggenau. Cooktop—Wolf from Eurotech Design. Fridge—Jenn-Air. Bar stools— ‘Giro' stools by Fabio Bortolani for Lapalma from ECC.
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K:04
KITCHENS
HEART OF THE HOME A LUXE FAMILY PAD HAS A KITCHEN IN THE MIDDLE OF THE ACTION. KITCHEN 04:
PHOTOGRAPHY:
Hobson Bay House
Patrick Reynolds
ARCHITECT:
LOCATION:
Julian Guthrie with interior designer Penny Hay
Auckland
BRIEF:
A connected space
What were you asked to achieve with the kitchen? JULIAN GUTHRIE A generous space for both preparing and eating family meals and entertaining, and a scullery with a small home-office area. The space needed to be in the middle of the action relating to the interior and exterior living spaces, with a view to the pool area and harbour beyond. The hob bench is unusual in that the exterior glass doors behind go into a cavity, allowing the bench to serve direct to the exterior, with a stainless-steel finish to the external face. The result is wonderfully streamlined with concealed work spaces and a butler’s pantry. Where is the bulk of work done? All the spaces are used but the primary cooking and prep is done in the main outer kitchen area, with all the main appliances including fridge-freezer. The scullery bench gives additional prep area and space for stacking mess, pantry and further equipment and storage. The scullery is quite open to the main kitchen allowing easy flow between and natural light.
Island benchtop—'Fusion' marble from SCE Stone & Design. Hob benchtop—Stainless steel by de Bruin-Judge. Cabinetry—Solid oak and stainless steel with brass detailing by de Bruin-Judge Island tapware—Perrin & Rowe in raw brass from In Residence. Fridge— Sub-Zero integrated fridge. Cooking appliances—Gaggenau ovens, induction hob and rear-riser extract all from Kouzina. Scullery tiles—White glazed subway tiles from SCE Stone & Design. Lighting—Viabizzuno tracks from Inlite. Wall finish—Ambitec plaster. Flooring—Silver travertine from SCE Stone & Design.
What are the aspects with which you are most pleased? I love everything about the kitchen – not only its materials and details, but also its relationship to the exterior courtyard and the feeling of being under the suspended concrete form above.
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K:05
KITCHENS
REACHING NEW HEIGHTS A NEW YORK LOFT KITCHEN BY DAVID HOWELL BLENDS IN WELL. KITCHEN 05:
LOCATION:
ARCHITECT:
BRIEF:
Loft apartment
David Howell, DHD
PHOTOGRAPHY:
Emily Andrews
TriBeCa, New York
To design a kitchen that works within its large loft space
What kind of kitchen were you asked to create in this home, and how did you respond to the brief? DAVID HOWELL The previous kitchen layout was problematic as it had a door to the main bedroom in the middle of the main kitchen area, so the first design move was a complete layout change. It’s a TriBeCa loft so the kitchen needed to correspond to the scale of the overall space. We enlarged it to accommodate an island, complete with a small ice sink for champagne for when the owner has parties. The design avoided any over-head cabinets or other kitchen elements because it was so visible and integral to the rest of the public spaces. What were the constraints you were working within, and how did you manage them? The main constraint was that you have to walk through the kitchen to get the main loft living space. The large pendant over the island signalled the ‘kitchen zone’, so it didn’t feel like you were actually entering the kitchen itself. What is your advice for making a kitchen a successful part of an open-plan living space? Try to make it not look like a kitchen. For example, we have an art ledge rather than head-height cabinets. Make it somewhere that you want to hang out and be different to the other living zones – the kitchen island is a great place to be even if you aren’t cooking. Use lighting to create atmosphere – the placement of the large orange light creates a warm focus.
Cabinetry—Custom-stained rift-cut white oak by Boldger Woodworking. Benchtop and splashback—Caeserstone. Tapware—Dornbracht. Handles—Linnea. Bar stools—‘Alto’ by Powell & Bonnell for Dennis Miller. Lighting—‘Canopy’ lamp by Francesco Rota for Oluce. Sink— Franke. Appliances—integrated Sub-Zero fridge and Sub-Zero wine fridge, Miele wall oven, Wolf cooktop, XO Ventilation extractor.
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KITCHENS
K:06
CONTAINED, CONNECTED A KITCHEN IS EMBRACED WITHIN AN OPEN-PLAN FAMILY LIVING SPACE. KITCHEN 07:
LOCATION:
ARCHITECTS:
BRIEF:
Rammed Earth House Assembly Architects
PHOTOGRAPHY:
Simon Devitt
Wanaka
A social kitchen in an open-plan living space
What’s your advice for making the kitchen a successful part of an open-plan living area? LOUISE WRIGHT The kitchen is like the nerve centre of the house and this open-plan living space. It works well when its functional role combines with a good social set up. In this case, it’s next to the dining table and close to the lounge. From the main bench you can be talking to people at the dining table or window seat, and can see out to the north lawn and barbecue area, reach through the servery window to a courtyard space, see across that space towards the kids’ bedrooms and easily pop out into the kitchen garden for ingredients. How did you respond to incorporating but containing the kitchen in this family home? In this case we provided a kind of shroud around the kitchen bench. It acts as a standing bar, hiding dishes and mess, and the unit also contains extra storage. The kitchen is also well connected to the outdoor areas and views. The beautiful timber of the bar is a good backdrop to the dining table which, despite being in an open-plan area, feels like it’s in its own special space. What are the best ways to keep the budget under control when designing a kitchen? Keep the size down to maintain quality in the materials, and keep the pantry and storage within the main kitchen.
Cabinetry—FSC Sapele veneer and lacquered cabinetry. Appliances— All by Fisher & Paykel. Handles—Assembly Architects. Benchtop—FSC Sapele laminated by Kings Fourth Generation Woodworking. Tapware— ‘Tahi’ by Methven. Appliances—All by Fisher & Paykel. Flooring—Black concrete in ‘Float’ finish by Peter Fell. Lighting—'Unfold' pendants by From Us With Love for Muuto, and 'Coral' light by David Trubridge.
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K:07
KITCHENS
HIDDEN GEM A DISCREET KITCHEN WEARS A NATURAL MATERIAL PALETTE. KITCHEN 08:
LOCATION:
ARCHITECT:
BRIEF:
Emerald Bluffs House Richard Naish
PHOTOGRAPHY:
Patrick Reynolds
Wanaka
A contained kitchen with a social aspect
This kitchen is largely hidden from view, a room within a room. What was your thinking behind its concealment? RICHARD NAISH The client wanted a kitchen that was mostly enclosed so that cooking could go on without spilling out into the dining space. One key opening was made on the western side so the mountain view could be enjoyed from within. There is a south-facing skylight above to drop an abundance of natural light into the room and allow natural ventilation.
Benchtop—Engineered stone. Splashback—White-painted glass. Appliances—All by Fisher & Paykel. Lighting—'Glass Lens' pendant lights by Tom Dixon from ECC. Walls—Tawa veneer panels in kitchen. Ceiling—Sustainably grown southland beech linings. Stools—Cruikshank.
How does the kitchen function within its surrounding space, and with the island bench and seating? The island bench is placed so that some preparation can occur outside the kitchen room to allow a more informal use, but mostly this allows the gathering of people around the kitchen for sociability and drinks. There is a Fisher & Paykel CoolDrawer in this island to stock drinks. How did you choose the material palette? The palette of materials extends from the rest of the house – all sustainably grown or recycled New Zealand native timbers complemented by neutral white engineered-stone bench tops and white back-painted glass slashback.
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KitchenDayBlum-deleted5619_144 2015-05-22T10:02:38+12:00
HOME + BLUM
SUPER ORGANISED BLUM’S AWARD-WINNING, LIFECHANGING KITCHEN INNOVATIONS. In order to craft tailor-made technology and superior design, Blum has visited customers in their homes all over the world to understand their everyday needs. Whether you have a limited amount of space or particular storage needs, Blum has created an extensive range of quality products to store and access all your kitchen provisions, neatly and efficiently. LEGRABOX drawer system LEGRABOX is a drawer system designed to provide smoother running action, higher weight-loading capacity (70kg) and more storage space than ever before. The LEGRABOX drawer has a new, thin (12.8mm) matte finish, the most sophisticated technology, is beautiful in appearance and has been awarded more than five international design awards. SPACE TOWER pantry system Creating extra space is easy with Blum’s SPACE TOWER. Available in any size to suit your storage or space requirements (from 27.5cm up to 1.2m wide), it has five full-extension drawers to ensure everything is easily accessed from all three sides. With BLUMOTION soft-closing technology, the drawer pull-outs run smoothly and close softly, even when heavily laden (each drawer holds up to 70kg). AMBIA-LINE cutlery inserts Blum’s cutlery inserts provide the perfect storage solution to one of the most accessed drawers in the kitchen. The new AMBIA-LINE accessories for LEGRABOX have been designed with both function and aesthetics in mind. AMBIA-LINE is availa-ble either in colour-matched steel or a wood décor. The essentials at hand Keep often-used utensils and cookware close to the hob with Blum pull-outs for quick access to pots, pans and lids. If you really enjoy cooking, ensure you have space for specialised utensils, or if a narrow pullout suffices, use the remaining space for other items.
Top The SPACE TOWER pantry system has hightech hardware for smooth and soft-closing and is easily adapted to individual storage requirements. Middle LEGRABOX becomes an integral part of your home design – elegance for all your custom-built cabinetry, from wardrobes to bathrooms. Right Blum’s cutlery inserts are configurable to your individual requirements and the width of your drawers.
Blum® 09 820 5051 | 03 379 4984 blum.com/ideas
CS6272_HOME_JunJul15_EvolutionofSurfaces_FP_1 2015-05-20T10:09:16+12:00
HOME + CORIAN
Left The contrasting elements of the kitchen joinery topped off with Corian® Clam Shell come together to deliver a cohesive look and feel. Right The dark timber veneer “anchors” the light coloured yet solidly constructed Corian® benchtop.
TAKE ME TO THE TOP WITH CORIAN® Corian® 0800 CORIAN | 0800 267 426 corian.co.nz Kitchens By Design 09-379 3084 kitchensbydesign.co.nz
WHEN IT CAME TO APARTMENT LIVING, THESE CLIENTS KNEW IT WAS TIME TO ‘RIGHT SIZE’, NOT DOWN SIZE. When Sue Gillbanks of Kitchens By Design arrived at the top floor of a penthouse apartment overlooking Takapuna Beach on Auckland’s North Shore, she immediately understood that a superior kitchen design with clever use of space in a confi ned area was a must. The clients had just moved from their large family home in order to “right size” for their retirement years. Enlisting the team’s help at Kitchens By Design, the clients were reassured that they were getting a unique made-to-measure kitchen, something very special indeed. When it came to the brief, the clients had a particular look in mind, a contemporary, classic style that would not date. Corian® Clam Shell instantly met their requirements. The clients were long-time supporters of Corian®, having previously used it in their kitchen, and they
understood its longevity. They also loved the colour and movement of Clam Shell, which brought out warmth and light, enhancing the timber veneer cabinetry. A classic and sophisticated look was instantly achieved by having a chunky bench and waterfall end. A few tricks of the trade had to be carefully considered within the project. Neither the plumbing nor ducting could be moved because it was a top floor apartment. Also, good lighting was a must as the kitchen space had no window. LED strip lighting and a natural-looking colour palette led by the Corian® all helped to bounce the much needed light around the space. Kitchens By Design was established in 1989 and is a team of professionals working to design, manufacture and install your kitchen and other lifestyle spaces in the home. The team brings a wealth of knowledge and experience which ensures that expensive renovation mistakes can be avoided. They will make your overall experience fun and incredibly rewarding, making you feel on top of the world!
HOME + KITCHENS BY DESIGN
01
03
02
DESIGN MINDED
Kitchens by Design 09 379 3084 kitchensbydesign.co.nz 7 Melrose Street Newmarket, Auckland
THE TEAM AT KITCHENS BY DESIGN TAILORED THESE THREE KITCHENS EXACTLY TO THEIR OWNERS’ NEEDS. 01 Traditional with a twist designed by Maggie Gardner This kitchen was designed to inspire customers visiting Kitchens by Design’s Newmarket showroom and inform them that it’s okay to mix old traditional features with new. This kitchen is a fun twist on the traditional, incorporating modern aspects such as the paint colours, LED lighting and Metalier ‘Smoky Bronze’ rangehood cover. Engineered Silestone ‘Pulsar’ has been used on the benchtops, which is a style that suits contemporary or traditional. 02 Renovation designed by Shane George The owners of this property, built in the 60s and last renovated in the 80s, were after a space that provided
better functionality. In reconfiguring the kitchen, the designer borrowed space from the adjacent lounge to create a scullery, now positioned behind the appliance wall, as well as installing a 4.5-metre long bench along the side wall. The new island replaces a curved one, providing better flow, while at the same time the cantilevered top permits seating from both sides. 03 Family sanctuary designed by Sue Gillbanks This kitchen needed to be both stunning and practical for its owners, as it formed a natural hub in their family home. The island top is made from granite and stained oak. Hidden behind bi-fold pocket doors, a pantry area provides a sink, hot water tap, and power points for small appliances. This kitchen won the 2014 National Kitchen & Bathroom Association Certified Designers Society Best Kitchen award.
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HOME + STUDIO ITALIA
01
03
02
EYES ON THE PRIZE Studio Italia 09 523 2105 studioitalia.co.nz 25 Nugent Street Grafton, Auckland
STUDIO ITALIA’S NEW RELEASES COVER ALL THE LATEST AWARDWINNING KITCHEN TRENDS. The results are in At the recent Architizer jury awards, the ‘Phoenix’ kitchen by CR&S Poliform won first prize in the kitchen cabinetry section and was awarded second place by the jury in the A+ popular choice awards (Architizer is one of the world’s most popular architecture websites). The kitchen range, which is part of the Varenna family offered exclusively in New Zealand by Studio Italia, perfectly embodies all the current kitchen design directions. Here are some of the latest developments: 01 Thin benchtops The Varenna kitchen features stainless steel and Corian benchtops that are only 6mm thick – a sleek detail perfectly
engineered with all the technical detail required to manufacture a benchtop so thin. 02 Organic finishes The ‘Phoenix’ kitchen offers the option of solid Canaletto walnut timber doors that have an extensive finishing process which includes scratching and brushing the surface to create an organic, undulating finish. 03 Table elements Whether at bench height or dropped down to suit a dining chair, a place to eat in the kitchen and socialise with the cook is enduring. Varenna kitchens are constantly coming up with new ways to achieve this. Also, note the recessed cabinet handles: Having proved popular for numerous years, the idea of the recessed handle is further explored in the ‘Phoenix’ kitchen model. It adds to a sleek, clean kitchen look that won’t date.
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FRIDAY 7 AUGUST
$75
Thanks to our sponsor, Blum.
+ PRESENT
kitchen day
A day of design briefings and expert advice on the latest kitchen innovations guided by HOME editor Jeremy Hansen
2015
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HOME’s Kitchen Day is an exclusive day-long series of briefings on the latest developments in kitchen design, as well as expert advice on how to make the most of the home’s most important space. Get up to date with the newest information on materials, hardware, appliances and ergonomics. Numbers are limited to 50, so book your tickets now.
OUR GUEST SPEAKERS
Nicola Chan
Sue Gillbanks
Nicky Duggan
Joanna Hoeft
The kitchen designer presents her take on the latest European kitchen design materials and trends.
BLUM
KITCHENS BY DESIGN
EVOLUTION OF SURFACES
Blum’s expert on new drawer and hardware technology and designing an efficient, ergonomic kitchen.
The kitchen designer on how she gets the best for her clients, and on contemporary kitchens that work.
The kitchen design expert on the latest kitchen trends and new developments in countertops.
STUDIO ITALIA
HOW TO BOOK Book your tickets online at eventopia.co/kitchenday2015. Each ticket costs $75 and includes lunch and our all-day kitchen design experience. For information, contact Liezl Hipkins-Stear, lhipkins@bauermedia.co.nz or 09 308 2873.
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BATHROOMS
B:01
A HAVEN OF CALM ARCHITECT JULIAN GUTHRIE HAS SPACE TO PLAY WITH ELEMENTS OF SUBTLE LUXURY. BATHROOM 01:
LOCATION:
ARCHITECT:
BRIEF:
Main-bedroom ensuite Julian Guthrie with interior designer Penny Hay
PHOTOGRAPHY:
Patrick Reynolds
Hobson Bay, Auckland
A restful room that reflects design elements used throughout the home
The bathroom appears spacious – how did you respond to the luxury of space? JULIAN GUTHRIE The bathroom is generous but not at all huge. It’s contained in a central block within the main bedroom suite and is designed so the sliding doors can be left open. A luxury of the space was being able to have the shower and the toilet contained in their own cubicles, separated with glass screens so the vanity can remain open to the room. What was the feel you wanted to achieve in this bathroom? A subtle sense of luxury and a soothing, restful space. We wanted the materials and design elements to reflect those throughout the home, and yet also give the space some unique qualities. What are the key elements to successful bathroom design? Beautiful, enduring materials and an ergonomic layout. Bathrooms are the most expensive rooms, so choosing timeless fixtures and finishes is wise. Good storage is important, too, so it always looks as good as the day of the photo shoot!
Vanity sink, top and splashback—Custom-made terrazzo by Terrazzo + Stoneworks. Cabinetry—Solid oak by de Bruin-Judge. Tapware—Raw brass taps by Perrin & Rowe from In Residence. Mirrors and cabinets—By de Bruin-Judge. Lighting—LED recessed strip light to ceiling and below vanity from Inlite. Towel rail—Raw brass Hawthorn Hill from In Residence. Walls and flooring—Flooring, shower and toilet cubicle walls in Silver travertine slab from SCE Stone & Design. Door hardware extracts—Halliday Baillie. Shower doors— Custom-made, steel-framed tinted glass.
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BATHROOMS
B:02
NATURALLY NURTURED A BATHROOM BY RICHARD NAISH OFFERS A REJUVENATING REFUGE. BATHROOM 02:
LOCATION:
ARCHITECT:
BRIEF:
Emerald Bluffs House Richard Naish
PHOTOGRAPHY:
Patrick Reynolds
Wanaka
To design for rest, relaxation and contemplative views
This is a snug space with a shower at one end and a bath at the other. How did you decide on the best spatial arrangement? RICHARD NAISH The bathroom is entered in the middle of the space with the vanity ahead of you. The bath sits at the south end of the room to enjoy mountain views beyond the property while bathing and the shower at the other end has a floor-to-ceiling window to allow a private outlook to the vegetation and mountains beyond. Having no visible neighbours affords these luxuries that one couldn’t do in a more urban setting. The palette is warm and uses the same cabinetry as the kitchen. What made you choose the remaining features? Like the kitchen, the use of neutral white was chosen for the bath and vanity to contrast with the backdrop of warm timber. The stone floor and wall tiles have similar colouring to the rough schist and natural tones of the tussock. What do you think constitutes a well-designed bathroom? Other than the non-negotiable requirement that it is utterly functional, I think a bathroom – maybe more so than any other room in a house – has the opportunity to offer a sense of romance and rejuvenation. In the case of this bathroom we have attempted to provide this with a connection to the outdoors. The luxury of outdoor privacy has allowed us to invite nature into the room – the stone and timber linings help reinforce that connection.
Tiles—Travertine from Artedomus. Veneer linings— Sustainably grown tawa. Vanity—Custom-designed by RTA Studios. Tapware—Methven. Flooring—Recycled rimu Wall lining—Recycled totara. Ceiling— Sustainably grown Southland beech.
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B:03
BATHROOMS
TROPICAL RETREAT A BATHROOM BY BERGENDY COOKE HAS A GREEN ASPECT. BATHROOM 03:
Renovated bathroom ARCHITECT:
Bergendy Cooke, BC+A
PHOTOGRAPHY:
Paul McCredie LOCATION:
Wellington
BRIEF:
Light and lushness
What were the constraints you had to work within and how does your design respond to them? BERGENDY COOKE As with the kitchen (see p.130), our constraints were working within the original exterior structure. The location of this ensuite was on the southern side of the house, so gaining natural light was always going to be a priority. Initially we intended on making use of an existing skylight that was located over the main entry of the house. We wanted to use it asymmetrically to light the entire shower area. However, structural issues prevented us from taking this approach, so we inserted a new, larger skylight instead, which brought even more light to the shower area. A window to the garden made a strong connection to the outside green, an alternative experience to the large vistas viewed from the main living area. Talk us through the placement of the bathroom’s key features. The key feature of this space was light. Within the shower alcove y ou are lit from above, creating a sensation of showering outside, while light via the window over the basin makes a direct connection to the lush garden which is enhanced by the dark palette of materials. What was the feel you wanted to create in this bathroom? A hidden, lush jungle.
Vanity—Natural French oak with Duravit sink. Tapware—Paini Cox from Metrix. Tiles—Mosaic wall and floor tiles.
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BATHROOMS
B:04
UNIFIED FRONT A BATHROOM WITH A MONOCHROMATIC APPROACH. BATHROOM 04:
Rammed Earth House
ARCHITECTS:
Assembly Architects
PHOTOGRAPHY:
Simon Devitt LOCATION:
Wanaka
BRIEF:
Form and function
What were your design objectives when creating this bathroom? LOUISE WRIGHT We incorporated a Japanese-style bathing experience with a wet-area shower next to the deep custom-made bath for a sitting, soaking experience. To ensure that there is natural light in the bathroom, and a view out from the shower and bath, there is a glazed sliding door next to the shower. To blend the bath into the wet area, the walls and floors are all in mosaic tiles. What are key elements to designing an enduring bathroom? The placement of key items, such as basin or vanity, toilet, shower and bath, to best suit the circulation is important. Position the shower and bath areas for some view out, the toilet in a private space and use enduring materials. We like to design the bath as it’s usually the most prominent feature in the room. Where in the house is this bathroom and what were the spatial constraints on its design? The bathroom is adjacent to the kids’ bedrooms and is next to the laundry. It was constrained to fit within a narrow zone that contains an ensuite, a wardrobe and the laundry. The width was set and the length divided among those other functions to suit. Additionally, the bathroom is east facing, so direct sunlight is limited.
Tiles—‘Cinca’ 25mm x 25mm porcelain mosaic tiles from Artedomus. Shower rail and head—Methven. Bath—Designed by Assembly Architects and custom-made in concrete with Ardex waterproofing and ‘Cinca’ 25mm x 25mm mosaic tiles.
HOME NEW ZEALAND / 155
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B:05
BATHROOMS
LOFTY LUXURY DAVID HOWELL DESIGNS A HIGH-END BATHROOM WITH A SPA-LIKE FEEL. KITCHEN 05:
LOCATION:
ARCHITECT:
BRIEF:
Loft bathroom
David Howell, DHD
PHOTOGRAPHY:
Emily Andrews
TriBeCa, New York
To create a bathroom that feels like a hotel spa
What was the feel you wanted to create in this bathroom? DAVID HOWELL The sense of luxury by scale [the client specifially asked for his bathroom to feel like a spa in a hotel] – I wanted it to feel spacious. In Manhattan we accept a lot of compromise – one of the things we accept is windowless bathrooms. To compensate, I chose to make this room as big as possible in height and scale.
Wall and floor tiles—Porcelain from Stone Source. Vanity benchtop and bath—Marble in 'Stellar White' from Stone Source. Cabinetry—Custom-made in 'White Oak' stain by Boldger Woodworking. Tapware—'Axor Citterio M' by HansGrohe. Towel rail and accessories— 'RL' series by Boffi.
What do you think constitutes great bathroom design? It’s about creating a space where you want to enjoy being naked. What design components in the bathroom reflect other aspects of the home? I think it’s the same design thinking – I don’t distinguish design between private and public zones of a home or apartment. I design for my client so it’s all one single unified concept.
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CS6282_Home_June-July15_Classifieds_1 2015-05-20T10:13:36+12:00
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HE0615_Subs-deleted56193_160 2015-05-22T13:21:17+12:00
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This offer is valid for delivery in New Zealand before 02 August 2015 to subscribers quoting M1506HAE by phone or online at magshop.co.nz/home/M1506HAE. This subscription offer cannot be used in conjunction with any other offer. Prize includes delivery only – installation is not included in prize. Prize will be sent to the bill payer. Winners will be contacted after 02 August. Winner must be at bill payer address to receive prize and sign for it. Prize is a freestanding dishwasher. Once processed, all subscriptions are non-refundable. Rates include GST and postage. Please allow 6 weeks for delivery of your first magazine. For overseas subscription rates visit magshop.co.nz. For full terms and conditions refer to magshop.co.nz.
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MY FAVOURITE ROOM Film festival curator Tracey Lee loves the garage of her home in Titirangi, Auckland. “Although it’s an open garage, this is my favourite room. Designed and built by master builder John Baker for his new bride in 1963, it was his first and only residential build. ‘People always talk about what they’ll do “next time”,’ John told me. ‘I did everything I dreamed about doing, just the way I wanted – I never needed to build another house.’ His commitment is evident in every inch of the house, but best exemplified in the garage interior, a combination of industrial and organic materials: the steel beams that hold up the house and cantilevered balcony; the stone retaining wall; the native timber batten ceiling; the framed PHOTOGRAPHY
glass wall that brings you face to face with the largest kauri on the property as you pull in. Jake Gorst’s film The Nature of Modernism celebrates embracing natural materials, location and nature. I love that Baker, on the other side of the Pacific, did the same under the canopy of Titirangi’s lush rainforest, in his Stubbies and with his unabashed excitement for the new.” The Resene Architecture & Design Festival is curated by Clearly & Co and is in Wellington May 28-June 10, Dunedin June 11-21 and Christchurch June 25-July 8. For more information, visit rialto.co.nz / Simon Devitt
162 / HOME NEW ZEALAND
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On sale now MT0615Metro Home Ad.indd 1
20/05/2015 12:46:15 p.m.