HOME NZ Oct / Nov 2013

design directions

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DESIGN DIRECTIONS 70.

84.

96.

106.

118.

COMPOUND INTEREST

TOGETHER AGAIN

SHINE ON

ART SPACE

An Auckland villa is reinvented by architect Guy Tarrant

The world-beating First Light house now calls Hawke's Bay home

Brian and Kate Butler’s elegant Los Angeles apartment

PERFECT PROPORTIONS

Athfield Architects design three ingenious family homes

An Auckland home designed for family living by Nicholas Faith

contents

Photography / Simon Devitt

ART & DESIGN 17.

HOW A CITY WORKS

New life at Auckland's CityWorks Depot 21.

NEW DESIGN

Our latest design finds 26.

OFF SCREEN

Online retailer Everyday Needs opens an Auckland store

28.

THE SUGAR CLUB

40.

POWER PRINTS

Peter Gordon matches easy-going luxe with a remarkable outlook

Karen Walker's homewares come to Auckland

31.

MOVING IN

45.

THE FUTURE WAS THEN

EXTRAS

HOME's new book celebrating mid-century architecture

128.

BATHROOMS

54.

BUILDING COMMUNITY

138.

SUBSCRIPTIONS

Hawke's Bay's refurbished Museum and Art Gallery 34.

HOME COOKING

A Christchurch restaurant is revived by Herriot + Melhuish 36.

LIVING IN HARMONY

Californian interior and furniture designer Barbara Barry 38.

HOME FRONT

Nanette Cameron's design retrospective

8 / HOME NEW ZEALAND

Bold, beautiful spaces

Author Lloyd Jones joins forces to build a library on Bougainville

Subscribe and save

60.

FUTURE PROOF

All the details on HOME’s upcoming design store tour

Christchurch's remarkable Cardboard Cathedral

140.

STYLE SAFARI

146.

MY FAVOURITE BUILDING

Barnaby Bennett on Christchurch's Arcades

Editor Jeremy Hansen

Art Director Arch MacDonnell

Our fashion feature in this issue at Geyser in Auckland’s Parnell was photographed by Jackie Meiring and styled by Amelia Holmes. For more, see p.100.

Inhouse Design

Senior Designer Sarah Gladwell

Inhouse Design

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

Inhouse Design

Editorial Assistant Fiona Williams Digital Artist Zarko Mihic On our cover, a home on Auckland’s Takapuna Beach by Athfield Architects. Photo by Simon Wilson. Styling by Amelia Holmes, using a ‘Husk’ chair by Patricia Urquiola for B&B Italia from Matisse, a rug and bookcase from Studio Italia, a ‘Knight’ floor light by David Moreland from Simon James Design and a cloche and cushion from Everyday Needs.

T A H P H H O M0 7 1 0 1 3

Subscription Enquiries www.magshop.co.nz 0800 MAGSHOP or 0800 624 746

Contributors Andrew Barrie Jo Bates Peter Carter Simon Farrell-Green Amelia Holmes Frances Morton Christine Thomas Sae Young Lee

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

Photographers Emily Andrews Richard Brimer Peter Carter Simon Devitt Guy Frederick Sarah Grace Russell Kleyn Paul McCredie Toaki Okano Sharrin Rees Patrick Reynolds Mike Rooke Mark Smith David Straight Manja Wachsmuth Simon Wilson

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Be in to

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Commercial Sales Manager Liezl Hipkins-Stear

Advertising Auckland Stuart Dick

Classified Advertising Kim Chapman

sdick@bauermedia.co.nz +64 9 308 2937 Liezl Hipkins-Stear

classifieds@xtra.co.nz +64 7 578 3646

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Brand Manager Ingrid Frisk

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Postal address HOME New Zealand Bauer Media Group Private Bag 92512 Wellesley Street Auckland 1141 New Zealand

Strategic Sales Manager Stuart Dick

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Editorial Office Bauer Media Group 90 Wellesley St West Auckland New Zealand

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HOME New Zealand is subject to copyright in its entirety and the contents may not be reproduced in any form, either in whole or in part, without written permission of the publisher. All rights reserved in material accepted for publication, unless initially specified otherwise. All letters and other material forwarded to the magazine will be assumed intended for publication unless clearly labelled “not for publication”. We welcome submissions of homes that architects or owners would like to be considered for publication. Opinions expressed in HOME New Zealand are those of the contributors and not necessarily those of Bauer Media Group. No responsibility is accepted for unsolicited material. ABC average net circulation, 12 months to 31 March 2013: 12,457 copies ISSN 1174-863X

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CONTRIBUTORS SARAH GLADWELL

A graphic designer at Inhouse, Sarah worked on our new book, Modern: New Zealand Homes from 1938 to 1977 (find out more on p.45), as well as this issue of the magazine.

ANDREW BARRIE

The University of Auckland architecture professor wrote about Christchurch’s just-opened Cardboard Cathedral, by Japanese architect Shigeru Ban (p.60).

As well as working on this issue, you and Arch [MacDonnell at Inhouse] have designed our new book, Modern. What did you enjoy about designing the book?

Without a doubt, poring over the beautiful photographs of these stunning homes. Working on HOME and this book, I’m totally in awe of the sheer amount of outstanding architecture there has been in New Zealand over the last century. It’s very inspiring, and we’re very proud of the book.

How significant is it that New Zealand has a Shigeru Ban building?

Ban is one the most famous architects in Japan and indeed around the world.

I’d suggest he’s the most internationally significant architect ever to work in New Zealand, so his building will undoubtedly become a landmark in our architectural history. It is attracting huge attention from the international architecture media.

What was your involvement in the Cardboard Cathedral?

I’ve known Shigeru since I first arrived Do you have a favourite home, or to live in Tokyo in the late 1990s, and homes from the book, and why? helped bring him to New Zealand for The Uren House in Raumati, designed the first time for a lecture tour in 2009. by the late Reginald Uren in 1965, is a When he started work on the cathework of art. It could still be used now dral, he asked me to create a book on as the set of a super-stylish 60s film. its design and construction. He and I’m also captivated by the Robertson his assistant came once a month House in Glendowie, Auckland, during the project and I’ve travelled to designed by Ivan Juriss. It’s beautifully Christchurch dozens of times with crafted with delightful details and I them. The book, Shigeru Ban: love all that wood. They are just two of Cardboard Cathedral, is being pubthe many inspirational moments in the are more C S 4book, 8 2 but 7 _there HO Mplenty E_ O c t– itN o v 1 lished 3 _ 6by1Auckland O n s lUniversity o w R dPress2 and is set to come out early next year. does feature 24 homes, after all.

PETE CARTER

Pete travelled to Bougainville to visit a new library (p.54) after helping writer Lloyd Jones raise money for it (Jones used the area as the setting for his book Mr Pip, now also a film).

How did you end up being involved in the library-building project?

I met Lloyd soon after moving to New Zealand 16 years ago. We became friends and he asked me to be on the trust he was setting up to build the library – I think my business background filled a gap on the board. Most of our work on the trust is fund-raising and I got a bit fed up and decided I wanted to get my hands dirty and go and help build.

What difference is the building making to the community there?

We’ve been open for a few months now and there is a steady stream of people coming through. Xzannjah Matsi, the young girl who plays Matilda in the Mr Pip film, said she and friends from the high school were hanging out there after school. That’s great to hear, a library being a cool place to hang out. The local community are starting to get involved too: Philippa Robinson, the VSA librarian, and Allan Gioni, the library 2 0 1manager, 3 - 0 have 9 - started 2 5 T a1series 5 : 2 8 : 4 5 + 1 2 : 0 0 of public talks on site.

Above Designer Sarah Gladwell modestly allows her dog Pippi to star in this shot.

Left Pete Carter (middle) and Andrew Barrie (bottom).

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A new book from HOME and Random House Twenty-four New Zealand homes that dared to embrace the future.

ORDER YOURS NOW AT THE SPECIAL PRICE OF $70 (including postage within NZ) FROM MAGSHOP.CO.NZ/MODERN

Photography / Mark Smith

N E W ZE A L A N D H OM ES FROM 1938 TO 197 7

Photography / Jeremy Toth

Get the latest online homenewzealand.blogspot.com @homenewzealand, @_jeremyhansen facebook.com/home.nz.mag

EDITOR’S LETTER

My weekends have lately been consumed with a project I'm delighted to tell you about now: a gorgeous new book we've created with Random House that showcases 24 of the country's best modernist homes. You'll recognise some of these marvellous mid-century creations from previous issues of HOME – our features on these groundbreaking dwellings have always been so popular that it seemed like a no-brainer to collect the best of them into a single volume – while others have been newly photographed especially for the book. Designed by Arch MacDonnell and Sarah Gladwell at Inhouse (who also design every issue of our magazine) and featuring superb photography and writing from HOME's family of smart contributors, the book is a tribute to the homeowners and architects who bravely embraced modernism's possibilities and discovered a better way of living as a result.

I'm struck by the enduring relevance of the homes in the book. Even though most of them are over 50 years old, there is still a lot they can teach us. Their compact, efficient planning is a rebuke to ballooning contemporary notions of how much living space we require, and their rich interiors of timber and stone and daring insertions of colour look as fresh and inviting today as when they were first created. I also like the view of mid-century New Zealand the homes collectively offer: they show it as a place of ingenuity, creativity and sophistication not limited to the main centres, but spread throughout locations as diverse as Auckland, Hamilton, Thames, Hawke's Bay, Whanganui, Wellington, Hokitika, Christchurch, Dunedin and Alexandra.

The book is in stores from November 1. I'd like to say a big thank you to the owners of the homes in the book and those who contributed to it. We're very proud of this new creation, and hope you enjoy it very much.

Jeremy Hansen, Editor

Pay attention now, because there's a lot going on. A couple of weeks ago, the NZ Institute of Architects announced that, for the first time, New Zealand will have a presence at the 2014 Venice Architecture Biennale.

The Institute is calling for expressions of interest for the project by October 11 – see nzia. co.nz for more information. In this issue we're also calling for entries to our 2014 Home of the Year award, to which we're delighted to welcome Altherm Window Systems as our partner once again. Oh, and one more thing: don't forget to buy your tickets for our Style Safari, a daylong series of design briefings in Auckland's best stores guided by yours truly on October 18. Check p.140 for details on how to book.

We look forward to seeing you there.

HOME NEW ZEALAND / 15

LINE AND FORM

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Above At CityWorks Depot, customers comfortably park up outside Scratch bakery and Brothers brewery to enjoy the morning sun.

Right What were effectively service sheds couldn't be better suited to the tenants who have signed up to share their wares here, including Al Brown's Best Ugly bagelry.

HOW A CITY WORKS No longer threatened with demolition, a group of industrial sheds now houses one of Auckland’s hottest precincts.

TEXT / Jeremy Hansen PHOTOGRAPHY / Simon Wilson

Allow us to introduce you to HOME’s new home.

In August, we moved (along with our colleagues from Bauer Media Group) from our old offices into chic new premises at Auckland’s CityWorks Depot, a group of late-1960s industrial sheds that has suddenly become one of the city’s most interesting areas. Designed by

DESIGN

architect Ewen Wainscott, the sheds were used as service depots for the city’s fleet of buses, trucks and construction equipment for 40 years. More recently, the giant sheds lay unused, lying dormant behind a fringe of ragged greenery. For a while they were threatened with demolition so they could make way for a mixeduse development called Rhubarb Lane.

Since that project was abandoned and the block sold, the site’s new owners have embarked on a more incremental but no less ambitious strategy: to use the old buildings as the basis for establishing a dynamic new city quarter. The sheds are now home to advertising agencies and architecture firms, coffee roasters and cafes, a craft beer brewery, an artisanal bakery, a hair salon named Dry & Tea, Michael Van de Elzen’s terrific Food Truck Garage eatery and Al Brown’s Best Ugly bagels store, with more tenants to come. “This place is extraordinary in Auckland,” says Nat Cheshire of Cheshire Architects, who brainstormed ways to make CityWorks work with the site’s new owners, Tournament Parking. “It’s a site from which the city was built. There’s none of that large-scale stuff left in the city centre anymore.”

From the outset, the idea was that CityWorks’ reincarnation would be based on people who made things.

Three Beans roasts its own coffee. Brothers Beer brews its own product. We make magazines. You get the

HOME NEW ZEALAND / 17

Right Freshly made bagels at Best Ugly spill forth at the open-plan bakery that introduces customers to how it's all done – from kneading to eating.

Far right All signs once pointed to demolition of the old service depot.

Fortunately, those plans were scrapped and a part of Auckland's industrial heritage remains intact.

Above HOME's new home is Shed 12 on the western side of CityWorks, shown here with its big door closed.

Right Shed 5 cafe is located at the Wellesley Street front of the building, behind which sits a hub of creative business – from architects to jewellery designers.

CityWorks Depot 90 Wellesley Street, Auckland

18 / HOME NEW ZEALAND

Below Scratch artisan bakery prepares – as you would expect – baked treats on-site from scratch.

Right Like many other CityWorks residents, Three Beans coffee roaster takes a paredback approach to fit out, focusing on the business at hand.

Right Inside, the sheds remain largely true to their form and have attracted the likes of Brothers brewery, which typifies the vibe of businesses that now call CityWorks home – casual in appearance but quite serious about what they do.

Far right The stairs at Bauer Media's reception area lead to a new mezzanine that almost double's the publishing company's usable space within the extransport depot.

idea. “No call centres – we wanted delivery trucks, noise and action,” is how Nat puts it. None of the sheds have been drastically altered (our shed, converted by Cheshire Architects and outfitted by Gaze Interiors, is a very tall, almost cathedral-like space which now has a large mezzanine floor), nor have there been major attention-getting additions outside, apart from a fetching metal sunshade that Cheshire Architects designed.

Pedestrian space happily co-exists with cars, with crowds from the brewery and eateries regularly colonising the carparks. The buildings can get a little hot sometimes and a little cool at others, but nobody seems to mind. The light inside them is beautiful.

“The great lesson from this place is that the software is more important than the hardware,” Nat says. “We knew that if we could build the right community for these exciting buildings, we wouldn’t need to overburden the place with design.”

A few more precincts like this, and you’ve got a truly lively city. The success of CityWorks Depot shows how much good can come from working with a city’s existing fabric. Grand new schemes are well and good, but here on Wellesley Street there’s a different kind of grandeur: a sense of history, and a pride in re-using these great structures in productive, sociable ways that their original designers could never have forseen.

HOME NEW ZEALAND / 19

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SOFT EDGE HARD LINE New design items whose strong lines we love.

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1 / Mid-century Japanese vase, $160 from Mr Bigglesworthy, mrbigglesworthy.co.nz 2 / Geneva 'WorldRadio', $449 from Simon James Concept Store, store.simonjamesdesign.com 3 /'Gentle' chair by Front for Porro, $1790 from Studio Italia, studioitalia.co.nz 4 / Eclectic by Tom Dixon marble and brass pestle and mortar, $390 from Simon James Concept Store, store.simonjamesdesign.com 5 / 'Guscio' sofa by Antonio Citterio for Flexform, $18,800 from Studio Italia, studioitalia.co.nz 6 / 'Losanges II' rug by Ronan and Erwan Bouroullec for Nanimarquina, $5960 from UFL, ufl.co.nz 7 / 'Host Tavolo' table by Rodolfo Dordoni for Poliform, POA from Studio Italia, studioitalia.co.nz 8 / 'Wireflow' light by Arik Levy for Vibia, made to order from ECC, ecc.co.nz Edited by Amelia Holmes.

HOME NEW ZEALAND / 21

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WELL ROUNDED Design finds with curves in all the right places.

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1 / 'Halo' pendant in satin brass by Paul Loebach for Roll & Hill, $18,715 from ECC, ecc.co.nz 2 / Eclectic by Tom Dixon candles, $250 each from Simon James Concept Store, store.simonjamesdesign.com 3 / 'Spin' stool by Swedese, $1130 from Simon James Design, simonjamesdesign.com 4 / 'Ukiyo' table by Tomita Kazuhiko for Moroso, $855 from Matisse, matisse.co.nz 5 / 'Foliage' chair by Patricia Urquiola for Kartell, $3116 from Backhouse Interiors, backhousenz.com 6 / 'Xabier' mirror by Made Goods, $2500 each from Cavit and Co, cavitco.com 7 / 'Zabuton' chair by Nendo for Moroso, POA from Matisse, matisse.co.nz Edited by Amelia Holmes.

22 / HOME NEW ZEALAND

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There are no wallflowers in this spring collection.

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1 / 'Woop Dee Doo X' tea towel by Tom Polo for Third Drawer Down, $42 from Douglas and Bec, douglasandbec.co.nz 2 / 'Prisma' seat by Alexander Lotersztain for Derlot Editions, $1200 from UFL, ufl.co.nz 3 / 'The Golden Chair' by Nika Zupanc for Moooi, $1555 from ECC, ecc.co.nz 4 / 'Shadowy' chair by Tord Boontje for Moroso, $4455 from Matisse, matisse. co.nz 5 / 'Urbanhike' table by Marcel Wanders for Moooi, $3215 from ECC, ecc.co.nz 6 / Stationery holder by Daniel Emma, $62.50 from Douglas and Bec, douglasandbec.co.nz 7 / Eclectic by Tom Dixon sheet-brass paper clips, $25 for six from Simon James Concept Store, store.simonjamesdesign.com 8 / 'Drake' mat by Sophie Aschauer for SerpentSea, $485 from Simon James Concept Store, store.simonjamesdesign.com 9 / Greta von Nessen lamp, $1350 from Mr Bigglesworthy, mrbigglesworthy.co.nz Edited by Amelia Holmes.

24 / HOME NEW ZEALAND

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OFF SCREEN Online homeware retailer Everyday Needs opens an Auckland store.

INTERVIEW / Jeremy Hansen PHOTOGRAPHY / David Straight

Right Everyday Needs' new store on Auckland's Ponsonby Road allows fans of the online store the opportunity to handle the range of artisanal homeware. The offerings include a 'Type 75' lamp

by Margaret Howell for Anglepoise (right) and Japanese copper teaware (far right).

HOME Everyday Needs has been selling objects online for almost four years. What made you want to also have a shop?

KATIE LOCKHART It was always my intention to have a storefront one day. Last year when we opened our appointment-only showroom to the public on Saturdays we learnt that our customers really loved being able to experience our products first-hand. I had always had this space in my mind as being perfect for Everyday Needs, and it became available recently.

How would you describe Everyday Needs' aesthetic?

It’s a mix of the hand-crafted and the well-crafted. A lot of our items have been made the same way for centuries, which in a way dictates how they look. But not all of the items are traditional – we also have well-crafted contemporary items such as our Martino Gamper chopping boards and the woollen blankets by Forestry. We select products that we believe will enhance everyday living and perhaps become future heirlooms.

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You've recently been on a sourcing trip to Japan. What are some of the new items you discovered there and are selling in your store now?

Japan has been a brilliant source of products for us. On this trip some of my favourite finds were striped cotton towels and Hinoki soap dishes made by the Claska Do Store. The biggest highlight for me was in Kyoto when we stumbled across the man who makes our Shuro brushes – he had the most amazing store I have ever been in, filled to the brim with brushes of every description, all made by him and his wife. The window display was simply a broom and a pot plant.

How do you decide what to stock, and how do you find the items?

In the beginning it was more about what I liked and couldn't find locally. Now it is more about creating a broader range of household goods. In the long term our intention is to focus on working with local craftspeople to help us make some of our own products.

Everyday Needs 2 70 Ponsonby Road Ponsonby, Auckland 09 378 7988 everyday-needs.com

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Below The design brief was for the room not to compete with the harbour view. The bar and dining room are furnished with custommade sofas from UFL, 'Febo' chairs by Antonio Citterio for Maxalto from Matisse, and custommade ottomans from David Shaw.

Right The design interprets Art Deco influences and has a bar of which Josephine Baker would have approved.

The 'New Ronda' dining chairs are by Lievore Altherr Molina for Andreu World from UFL. The carpets in the bar and dining room were custom-designed by Jasmax.

ROOM WITH A REALLY GOOD VIEW Peter Gordon’s new restaurant matches easy-going luxe with a remarkable outlook.

INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Manja Wachsmuth

HOME Was it hard to be conscious of what The Sugar Club looks like, rather than looks out upon?

PETER GORDON I didn’t want it to be the best-looking New Zealand restaurant but the best-looking restaurant that happens to be in New Zealand. Some thought it should be a homage to New Zealand but that didn’t interest me – you’re looking at New Zealand through the window.

The brief to the architects was that nothing was to compete with the view.

I also asked them to look at the film I Am

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Love, starring Tilda Swinton. That was gorgeous and chic and elegant. Jasmax really researched the film and they nailed it completely. The tiles in the bathroom are based on a design by Sonia Delaunay – a book on her work is open on a coffee table in the film. Portholes appear in the house in the film and the architects have introduced them in the design as well.

How was this brief received?

JUDY COURT, JASMAX Peter had mentioned the movie so Jonathan [Goss, codesigner] and I went out and got it.

The home in the film is from the 1930s, so we looked at towers from that era like the Empire State Building. Peter said he could envisage fashionable 'it' girls sitting at the cocktail bar, so we thought of Josephine Baker, the 'it' girl of her time.

JONATHAN GOSS, JASMAX It was trying to reinterpret a lot of those influences, and finding furniture that suggested Art Deco without being period pieces. We didn't want to go retro or follow a style, but just find details which suggested a link to that era.

There’s an elegance to the space, but you’ve tried not to make it too formal, correct?

PETER GORDON I have tried to remove the stuffiness but still make it elegant. I was trying to do that in everything here. The food is elegant but also international, all small plates that you can have two or more of in an evening. The napkins aren’t stiff, starched white cotton but have a floppiness about them. That said, we worked hard on every detail. There’s lovely brass detailing around various things, beautiful cabinetry, and a gorgeous crackle-glaze ceiling that took so long to do it added a week to our opening date. Now I think I’m so lucky. It’s the most beautiful restaurant I have ever been to. It’s all I could have wished for.

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COMFORT AND SPACE With loads of space, hidden storage compartments, roof racks and flexible seating configurations, the Carens quickly transforms from a comfortable family vehicle to a roomy station wagon when there’s stuff to shift.

This page The Hawke's Bay Museum and Art Gallery's refurbishment included the restoration of its original 1937 Louis Hay-designed wing.

D:07

MOVING IN After a long refurbish­ment, the Hawke’s Bay Museum and Art Gallery reopens with a renewed focus on design, art and architecture.

INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Richard Brimer

HOME The Museum and Art Gallery have been closed for almost three years. What have you done to the complex?

DOUGLAS LLOYD JENKINS, MTG DIRECTOR I have this thing about letting each generation of architecture speak for itself and do its own style thing. Our architect Richard Daniels’ thoughts were the same. We’ve restored the 1930s building, designed by Chicago school devotee Louis Hay and we’ve respected the 1970s style of the Guy Natusch building that houses our much-loved theatre. Richard linked these two older, once-problematic buildings with his startlingly elegant new wing. It feels like one complete complex with an evolving style.

How did you decide your new structure should relate to the city’s Art Deco architecture?

We wanted to reflect the idea of Art Deco but not its appearance. Like its 1930s neighbours, the new structure is a decorated box – pristine, white and classical in form. The difference is that our building has contemporary decoration – a distinctive new graphic work by designer Rakai Karaitiana, as well as an impressive Sara Hughes artwork soon to come. No visitor will stand outside our front door and ask ‘is this an Art Deco building?’ By providing a sympathetic contrast we have lifted the whole city into a different place – Napier’s CBD is much more than Art Deco.

HOME NEW ZEALAND / 31

Below left The gallery's new wing on Napier's Marine Parade, designed by architect Richard Daniels.

Top right Works by Denys Watkins (left) and Juliet Pater (right) feature in MTG's opening exhibition.

Bottom left Heritage details in the 1937 wing have been restored as part of the project.

Bottom right MTG director Douglas Lloyd Jenkins in the building's new wing.

What are the strengths of the institution’s collection, and how does the renovated building play to these strengths?

One of the strengths of the collection, and of our approach, is quite simply its ability to track our devel­ oping sense of style as New Zealanders and understand what this means to the culture. The Hawke’s Bay Museums Trust collection is deeply rooted in the decorative arts and design, but has significant and beautiful fine art collections – some of them international in origin, some local, all distinctively and stylishly ours.

Collectors will need to know our collection and know it well. Stylists should come for inspiration. The collection

32 / HOME NEW ZEALAND

simply shines in our new galleries and display spaces.

The impressive Taonga Ma¯ori and Archive collections are brought to light in new and sometimes radical ways.

We’ve made commitments to dedicated gallery spaces for these collections, and to maintaining challenging exhibition programmes.

Your opening show examines the role of the home in New Zealand art history. How has the home been represented in art – and what are some highlights in the show that illustrate this?

LUCY HAMMONDS, CURATOR If you think about the house itself in New Zealand art, people like Sir Peter Siddell

Right Now known as MTG (an abbreviation of 'Museum, Theatre, Gallery'), the new wing has windows looking out onto Napier's Marine Parade.

or Brent Wong might immediately spring to mind.

What we wanted to do in this project was delve a little deeper – to think about what houses and homes might say about New Zealand culture and our lives. When you start really drilling down into those words, the whole history of New Zealand art comes alive in new ways.

How does it feel to have the new spaces open?

DOUGLAS LLOYD JENKINS Hawke’s Bay now has the gallery it deserves – one that can show off one of the country’s finest collections, which Hawke’s Bay people have been busy assembling for more than 150 years. We feel immensely proud to have delivered this gallery.

MTG Hawke’s Bay 1 Tennyson Street, Napier mtghawkesbay.com

HOME NEW ZEALAND / 33

D:08

HOME COOKING

Sala Sala 1 42 Papanui Road Christchurch 03 355 5932 salasala.co.nz

A Christchurch restaurant by Herriot + Melhuish is giving adaptive re-use a good name.

INTERVIEW / Jeremy Hansen PHOTOGRAPHY / Russell Kleyn

Right A glimpse through a window into Sala Sala's kitchen, where black-stained plywood meets white weatherboards on the building's exterior.

Below right The restauran­t's post-quake relocation from the central city to a 1950s home on Papanui Road was facilitated by new city council rules.

HOME How did this project come about – and what's changed in Christchurch to allow eateries in former residential buildings?

DUVAL O'NEILL, HERRIOT + MELHUISH Sala Sala was a very popular inner-city Japanese restaurant before the quakes, so it was imperative for the owners that the business be re-established not just for the many loyal customers but the dedicated staff. Temporary relocation to the suburbs has become the norm for many businesses, facilitated by the council's temporary accommodation provisions, which have assisted displaced businesses in getting up and running again.

There are a number of rules associated with this to maintain a balance within the existing neighbourhoods.

What kind of a mood did you want to create here?

This building was a two-storey 1950s residential dwelling, with a number of small compartmentalised rooms. We wanted to ensure a level of comfort and craft with a clear focus on the cooking

34 / HOME NEW ZEALAND

experience as a long room. We wanted to maintain the essence of the house, but with some subtle interventions such as the black-stained plywood board-and-batten elements that act as counterpoints to the white weatherboard backdrop of the original house. We’re just pleased to be able to have been associated with bringing Sala Sala back to the people of Christchurch.

Is the range of post-quake dining options in Christchurch expanding?

It was limited to begin with but Christchurch people have become pretty accepting and adaptable to the various temporary dining options that are spread around the city – as well as the journeys to get there. There’s actually a really good range of dining options available now and while the critical mass is still in the suburbs, we are seeing some reinvention of central-city dining options which is great. There is a lot to be said for the organic redevelopment of a city, and this tends to be led by small businesse­s.

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The S House, Auckland, by Glamuzina Paterson Architects.

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D:09

Below American furniture and interior designer Barbara Barry.

Right An interior by Barbara Barry that showcases her classic modern style.

LIVING IN HARMONY Californian interior and furniture designer Barbara Barry plans a New Zealand visit.

INTERVIEW / Jeremy Hansen PHOTOGRAPHY / David Meredith

HOME What

makes a good room? thinking about creatin­g a room I like to think of the mood I want, how the space should feel. What makes a good room for me is compositio­n and harmony of colour, just as in a painting.

BARBARA BARRY When

You design furniture and interiors.

Could you describe your creative process – where an idea comes from and how it grows into a finishe­d piece?

My ideas come from my own life and

36 / HOME NEW ZEALAND

the lives of my clients – I find them the best teachers. I always begin an idea with a drawing and if I like it I add some watercolour. From there it goes to a scaled drawing and, if I still like it, to full-scale. The prototype is then made and that is the exciting part. It is a wonderful thing to see an idea come alive.

Your interiors and furniture convey a sense of being deeply calm and self-assured. Is this a reflection of your personality?

Well, that is a lovely thought and I would like it to be true. Our surroundings are reflections of ourselves and serve as our refuges. That thought alone is a driving force for calm interiors.

How would you describe your own home? Were you a difficult client to work for?

I would describe my own home as an oasis. Tucked into the green hills of Beverly Hills, it is serene and private. I was a difficult client in that I saw it as an opportunity to bring together everything

that I have learned. It is a large house and I wanted it to flow harmoniously from room to room in quiet tonal textures. I am happy with the way it evolved and I love spending time there.

Which other designers or architects do you admire and respect?

I adore the work of British architect John Pawson – he touches on that yearning to live like a monk. I believe many of the New Zealand architects are leading the way in defining the modern movement.

I also respect the work of the recently deceased British designer David Collins and love the work of British decorator Nicholas Haslam. I remember fondly the impact the Californian designer John Dickinson had on my work as well as that of John Saladino.

Barbara Barry is coming to New Zealand in November as a guest of Cavit & Co. For more information, visit cavitco.com

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

ENTER NOW

HOME OF THE YEAR 2014 FIRST PRIZE $15,000 The judges of HOME New Zealand’s Home of the Year award are looking for excellence and innovation in New Zealand residential architecture. The winning architects will receive a $15,000 cash prize. Entries are due at 5pm, Thursday December 12, 2013.

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

A shortlist of homes will selected by our judging panel and visited in February.

ENTRY FORM Name/s of designers Postal address Email address Phone (daytime)

(mobile)

Clients’ names (for office use only) Clients’ postal address Address of property entered (if different from above)

Client’s email address Client’s phone (daytime)

(mobile)

I agree to the terms and conditions of this competition Designer’s signature Client’s signature Send your entries to HOME New Zealand Home of the Year Award POST Bauer Media, Private Bag 92512, Wellesley Street, Auckland 1141 COURIER Bauer Media, Shed 12, CityWorks Depot, 77 Cook Street, Auckland 1010.

ENTRY CONDITIONS 1 Instructions on how to enter form part of the terms and conditions of entry. Entry implies acceptance of the terms and conditions. 2 The competition is open to anyone with a project that has been built recently in New Zealand, except the employees of Bauer Media and Altherm Window Systems, their immediate families, dealers and agents. 3 Only fully completed and furnished New Zealand homes or renovations are eligible for entry. Projects must be unpublished and not committed for publication in a mainstream commercial publication during 2013/14. What constitutes a mainstream publication is up to the judges’ discretion. 4 Bauer Media and HOME reserve all first rights to publication of all entries, and also to publicity and/or promotional activity, including television coverage. 5 Bauer Media reserves the right to photograph, film and otherwise record all entries and judging processes, including architects, designers and any associated parties (notwithstanding Condition 6) for promotional purposes and related projects. 6 Homeowners’ names and addresses must be supplied at the time of entry but may be withheld from publication, promotions and publicity at the owners’ request. 7 Collaborative projects must be acknowledged on the entry form by listing all parties involved. 8 It is the responsibility of entrants to seek the consent of all design parties and homeowners involved. 9 Entries must be received by 5pm, Thursday December 12, 2013. 10 The winning designer or designers of the Home of the Year 2014 will receive a $15,000 cash prize.

Judging will take place in February 2014. A cheque will be presented at an award function in April 2014. The winner and finalists in the award will feature in the magazine’s April/May 2014 issue. The judges’ decision is final; no correspondence will be entered into.

HOME NEW ZEALAND / 37

D:10

Right As well as being an interior designer, Nanette Cameron styled numerous magazine shoots for New Zealand Home Journal in the 1970s.

Below Nanette in 2006 in her former home in Pakuranga, Auckland.

HOME FRONT An influential interior designer’s work is celebrated in a new exhibition.

INTERVIEW / Jeremy Hansen PORTRAIT / Mark Smith

Nanette Cameron: Objectspace Master of Craft O ctober 18 - December 17 Objectspace,

8 Ponsonby Road, Auckland objectspace.org.nz

38 / HOME NEW ZEALAND

HOME What has made Nanette Cameron’s work so influential?

RACHEL CARLEY, DESIGN WRITER She has been, and continues to be an advocate for design in all its diverse forms. For the last 47 years Nanette has been teaching a part-time interior design course at Te Tuhi Centre for the Arts in Pakuranga, Auckland. She is an extraordinary design educator who commands huge respect from her students and loyalty from her graduates. She contextualises interior design practice within a broader network of social and cultural influences, moving away from primary discussions of ‘surface treatments’ toward a detailed interrogation of the diverse ways people consider and inhabit the interior.

She started out in interior design when it was hardly even a thing in New Zealand. What kind of challenges did this present?

When Nanette worked as an interior designer for Hurdleys in Auckland’s High Street in the 1950s and 60s there was a preference for “Remuera Green”

among her clients. Conservative choices were favoured over new, vibrant designs produced by textiles companies such as Marimekko, which Nanette favoured. If contemporary designs were used they tended to be confined to kitchens and children’s bedrooms. Nanette’s interior design for her own home in Glenmore Road, Pakuranga, demonstrates her nuanced approach to producing interior designs for living.

Interior design is sometimes regarded as being slightly frivolous work. Does Nanette's long career present a counter argument?

Certainly. Nanette’s professional career has been dedicated to giving weight to interior concerns and making links between the interior design, architecture and fine art communities within Australasia.

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This page First launched with Myer in Australia, Karen Walker's homeware range includes beach towels (left), bed linen in her signature prints (below), crockery (below left) and cookie cutters (bottom).

D:11

POWER PRINTS Karen Walker’s homeware range gets its own Auckland space.

INTERVIEW / Jeremy Hansen

The Department Store 1 0 Northcroft Street Takapuna, Auckland karenwalker.com

40 / HOME NEW ZEALAND

You started this range almost two years ago with Myer in Australia. How has the range been received across the ditch?

KAREN WALKER This is its third season and it’s been extremely successful for them.

Myer are delighted and are wanting to expand the range further.

HOME

How has the range expanded and changed since you launched it?

We release new products every three months. Our aesthetic is always optimistic, and the products are fun. Our winter collections are always very tight and entirely focused on bedding. Our summer collections are more about gifting – for our first summer range [in late 2012] we did beach towels and crockery as well as bedding and this summer we’ve expanded into all sorts of areas including a bike in association with Tokyo Bikes, thermoses and lunch boxes, votives, cookie cutters, chocolates and champagne glasses. For summer 2014/15 we’re working on an even wider range, and are super-excited about it.

Which pieces are you most pleased with?

I always love the beach towels, but I’m really looking forward to baking cookies with my daughter using the new cookie cutters – and also taking my new bike out for a spin.

Will the range only be availabl­e at The Department Store, or online and in Karen Walker stores elsewhere?

The full range will be available at The Department Store, and a selection will be available online and in other Karen Walker stores.

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That’s why every year more than 15,000 students choose Massey University for distance learning.

ENROL NOW OR FIND OUT MORE AT MASSEY.AC.NZ/HERE

D:12 At Ponsonby Central Market, our table of kitchen design experts discussed the ways kitchen design has changed, and how Fisher & Paykel's "distributed appliances" approach is transforming kitchens into truly social spaces.

THE SOCIAL KITCHEN A team of experts brought together by Fisher & Paykel tackles a weighty topic over lunch: what are the defining elements of a good kitchen?

TEXT / Jeremy Hansen PHOTOGRAPHY / Sarah Grace

Fisher & Paykel fisherpaykel.com

There is no better place to talk about kitchen design than in the kitchen itself. We recently discussed kitchen design with a handful of experts over lunch at Auckland’s Ponsonby Central Market: architect Evelyn McNamara, Sky City executive chef Paul Jobin, Taste magazine editor Emily Simpson, and Fisher & Paykel chief refrigeration designer Mark Haydon.

We all agreed that kitchens have changed immeasurably: what was usually an unseen annex at the back of a house is now the focal point of every home. Nowadays we invite guests into our kitchens, serve wine at kitchen islands, and allow people to see us cooking (as long as we feel everything is under control). Kitchens are often part of an open-plan space, which means checking on something in the oven doesn’t require leaving the room.

Just as important, entertaining is no longer the responsibility of one person – in many households, someone might be handling the food while someone else pours the drinks. This means kitchens need to be flexible spaces in which a number of people can comfortably work at the same time. The old approach of creating a central ‘working triangle’ of fridge, sink and oven is now questioned: if more than one person is working in a space, isn’t it sometimes better that these different functions are dispersed so people aren’t constantly bumping into one another?

Fisher & Paykel's intensive research in this area has led to its "distributed appliances" approach, which has

created exciting new possibilities in kitchen design.

Cooking on Fisher & Paykel's Gas on Glass can be carried out in one kitchen area, a load of pre-dinner dishes can be loaded into a DishDrawer in another, while fresh, crisp salad vegetables are pulled from a CoolDrawer to be chopped elsewhere. A well-designed kitchen with distributed appliances is a friction-free space where friends or family members can work independently and simultaneously. Even fears of a kitchen being messy can be eliminated, as one person can clean the cooking dishes while meal preparation continues in a different zone – all without interrupting a conversation.

All this talk of openness led to a discussion about the popularity of sculleries. These areas are all very well if used as storage spaces or temporary stashes for dirty dishes. But something is seriously wrong when people with a smart new kitchen and end up spending most of their time in small, often windowless rooms out the back – it's like a strange reversion to the Victorian era.

We agreed that if your friends are going to object to a little mess on your kitchen island, they're probably not worth inviting over.

Fisher & Paykel's deep understanding of the way New Zealanders use their kitchens and the mechanics of multi-functional kitchen design means dynamic, collaborative spaces are now entirely within reach. It's a vision of kitchens that are not precious and uptight, but relaxed, entirely flexible and therefore truly social.

ADVERTISING PROMOTION / HOME + FISHER & PAYKEL

At our kitchen design discussion over lunch at Ponsonby Central Market (top, clockwise from left): Fisher & Paykel's Mark Haydon, architect Evelyn McNamara, HOME editor Jeremy Hansen, Taste editor Emily Simpson, Taste reader Cathy Fali, and Sky City executive chef Paul Jobin. The menu, created by Paul, featured rack of lamb with kumara gratin and cauliflower couscous with nigella seed focaccia on the side. Dessert was a fantastic Turkish delight cheesecake.

Modern: New Zealand Homes from 1938 to 1977 is the new book we've created with Random House, featuring 24 fantastic modernist homes.

D:13

THE FUTURE WAS THEN Our new book showcases twenty-four of New Zealand’s best mid-century homes.

We hope you're as excited as we are.

TEXT / Jeremy Hansen

Allow us to introduce the Christmas gift you’ve all been waiting for. Modern: New Zealand Homes from 1938 to 1977 is a handsome, 350-page hardback volume we've created with Random House that features 24 marvellous mid-century creations. Many are favourites from our pages in the last decade or so, while a number are being published in this book for the first time in a generation.

It’s a survey of a wonderful period in architecture, a time when New Zealanders were enticed out of Victorian villages and cottages and into sleek, openplan visions of the future. Between its luscious linen covers, the book showcases the ground-breaking work

of some of modernism’s most important New Zealand practitioners, marvellous homes designed by Ernst Plischke, Tibor Donner, Bill Alington, Robin Simpson, Henry Kulka, Vladimir Cacala, John Scott, Ivan Juriss, Sir Miles Warren, Ted McCoy and many more. That these designs still look so fresh and contemporary now reminds us of how breathtakingly bold they must have seemed more than 50 years ago.

These homes have been elegantly photographed

by HOME’s family of contributors – including Paul McCredie, Patrick Reynolds, Simon Devitt, Mark Smith, Florence Noble, Samuel Hartnett, Becky Nunes and Russell Kleyn – and their significance attested to by

HOME NEW ZEALAND / 45

Top row An opening spread from the book (left) and the linen cover that lies under its jacket. The book was designed by Arch MacDonnell and Sarah Gladwell at Inhouse.

Middle row The book features modernist masterpieces including the 1965 Uren House in Raumati by Reginald Uren (left) and the 1973 Foster House by Sir Miles Warren (right).

Bottom row Inside Wellington's 1958 McKenzie House by Cedric Firth (left) and the 1961–63 Robertson House in Auckland, designed by Ivan Juriss (right).

writers including Douglas Lloyd Jenkins, Julia Gatley, Linda Tyler, Lara Strongman, Andrew Barrie, Adrienne Rewi, Michael Findlay, Bill McKay, Claire McCall and more. The book has been beautifully designed by Arch MacDonnell and Sarah Gladwell of Inhouse, the team that bring you every issue of HOME. The range of homes shows the progression of New Zealand modernism from crisp textbook renditions of flat-roofed form to the movement’s collision with the country’s colonial vernacular, when architects began to experiment with cottage-style roofs over openplan room arrangements. The book features homes from Auckland, Thames, Hawke’s Bay, Whanganui,

46 / HOME NEW ZEALAND

Wellington, Christchurch, Hokitika, Alexandra and Dunedin. Collectively, these design gems demonstrate that, far from being the dark ages, mid-century New Zealand was a place of great imagination and sophistication. It’s a memorable era to which we hope this book pays suitable tribute.

We're delighted to offer Modern: New Zealand Homes from 1938 to 1977 at the special price of $70 (RRP is $75), including free delivery within New Zealand. Visit magshop.co.nz/moder­n to preorder your copy now. The book is in bookstores nationally from November 1.

HOME + MATISSE

D:14

STYLE SAFARI 02

01

ALAN BERTENSHAW The co-founder of Matisse on the special indoor and outdoor pieces now arriving in their showrooms.

01.

02.

03.

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‘Big Table B’ by Konstantin

‘Gaia’ chandelier by William

‘Voido’ rocking chair by Ron

‘Eye-Shadow’ lamp by Marcel Wanders for Cappellini

Grcic for Vitra

When not relaxing comfortably in your outdoor rocking ‘Voido’ chair, it doubles as a sculpture.

Architect and designer Ron Arad has created another playful, organically shaped, all-in-one, moulded polyethylene showpiece for your garden, home or office. This very comfortable sculpture is available in matte for outdoors or glamorous glossy for inside in a range of smart colours.

Produced in a limited edition of just 33 pieces, this synthesis of technology and handcraft is for the discerning collector. At first glance it seems like a 21stcentury update of a Tiffany lamp, but on closer inspection, the design consists of overlapping eyes and pupils in macro format. Marcel Wanders, one of the most significant textile designers working today, has used inkjet-printed patterns that fit together perfectly. The combination of PVC, viscose and lamp light makes a unique and brilliant showpiece.

Grcic for BD Barcelona

Brand and Annet van Egmond for Brand van Egmond

From his design studio in Munich, Konstantin Grcic has extended his ‘Table B’ range with ‘Big Table B’ – still using aluminium extrusions, an industrial technology which combines superior structural properties with an elegantly sleek aesthetic. The ‘Big B’ table has a wider top (150cm) than the ‘Table B’ and is available in silver or black anodised aluminium, laminated oak or a selection of colours. Its apparent simplicity hides complex engineering, offset by manual processes used in its production. The result is a highly crafted, functional outdoor table with all the character of its German designer.

In Greek mythology, at the beginning of time, the earth was created out of chaos.

Overseeing it all was Gaia, the Goddess of the Earth. Dutch design studio Brand van Egmond sees design as an attempt to bring order into the chaos of endless lines, materials and possible combinations.

Inspired by the Greek myth, the designers have integrated the organically formed branches of Gaia as they twist and turn around the sparkling Swarovski crystals, creating a chandelier which is indeed a lighting sculpture.

Arad for Magis

04

03

48 / HOME NEW ZEALAND

05

‘Waver’ chair by Konstantin The outdoor, scuba-diving, sportswear aesthetic gives the ‘Wave’ chair both its smart good looks and the functionality of an outdoor chair. Sporty, colourful fabric suspended over the shaped tubular steel frame, much like a paraglider, offers the flexibility and comfort of a cantilever chair with high-performance, lightweight, minimal bulk and jazzy contrasting neon cushions.

The swivel base is something Grcic took from indoors to outdoors. An outdoor office chair, a horizontal rocking chair: it is movement that comes with comfort.

HOME + STUDIO ITALIA 02

D:15

Join us on our

HOME Style Safari

with Mercedes-Benz October 18.

For more info, see p.140

03

VALERIA CARBONARO-LAWS Studio Italia’s co-founder has plenty of great furniture pieces with which to make the most of summer.

01.

02.

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‘Bitta’ collection by Rodolfo

‘Vieques’ dining table by Patricia Urquiola for Kettal

‘Vieques’ collection by

Patricia Urquiola for Kettal

Urquiola for Kettal

Rodolfo Dordoni’s aim with this range of furniture was to create dense braiding that would still let the air through.

Reminiscent of the braiding of ropes used to moor boats, this collection is named ‘Bitta’ which means ‘mooring’ in Italian. The pieces look lightweight but at the same time like cosy nests in natural colours to sit back and relax.

The ‘Bitta’ range is characterised by a combination of aluminium frames, seats of braided polyester, and comfortable cushions. Teak and stone for the table tops are all completely weatherproof materials.

With an aluminium base available in a large range of colours, the ‘Vieques’ dining table is perfect for outdoor use. It is covered with a polyester powder used in the automobile industry, a finish process that lends superior surface quality and weather resistance. The top is available in either teak or ceramic.

The ‘Vieques’ collection by Patricia Urquiola is characterised by the combination of an aluminium frame available in 32 different colours. The new and revolutionary threedimensional fabric, Nido d’Ape boasts exceptional technical features, created especially for this collection and exclusively for Kettal.

Dordoni for Kettal

04.

05.

‘Maia’ collection by Patricia

‘Park Life’ by Jasper Morrison

Like architecture that is in keeping with its surroundings, the Kettal ‘Maia’ collection designed by Patricia Urquiola has a natural lightness and elegance. The design of the artisanal braiding, the sturdiness of the aluminium frame, and the new fabric collection create a combination that oozes energy. The ‘Maia’ collection is rightly being hailed as one of the most representative designs of this century.

‘Park Life’ is the first collection of outdoor furniture by British designer Jasper Morrison for Kettal. Presented at the 2012 Milan Design Week, the complete family consists of tables, chairs, a sofa and lounger. The lightweight pieces can be easily stacked for transport and winter storage and combine careful ergonomic considerations with a robustness that will ensure these pieces have a long life.

for Kettal

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05

HOME NEW ZEALAND / 49

HOME + CORPORATE CULTURE

D:16

STYLE SAFARI 01

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RICHARD MUNAO The Corporate Culture founder on his favourite designs in store now.

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‘Copenhague’ collection

‘CH28’ easy chair by Hans J Wegner for Carl Hansen & Son

‘A-Joint’ designed and produced

‘Ro’ chair by Jaime Hayon for Fritz Hansen

‘Grashoppa’ floor lamp by

This is an exceptionally comfortable armchair and another example of Hans J Wegner’s genius. It is functional and sculptural with an exceptional finish. It is available in solid wood or upholstered versions.

‘A-joint’, by Sydney designer Henry Wilson, evolves effortlessly and displays a refinement derived from function. ‘A-joint’ is truly democratic (and a bit Antipodean) in its design: a sand-cast, incredibly strong, multi-use joinery system that makes it possible to unite timber legs in up to four different configurations with a sturdy A-frame structure. This is one of Corporate Culture’s newest pieces and will be available in store shortly.

The ‘Ro’ chair was one of my favourites this year – its design allows the beautiful chair to be used in residential, hospitality and commercial environments. It’s also well-priced, comes in a great colour range and reflects Fritz Hansen’s values and design philosophy.

We have the beautiful taupe version now in the showroom.

The iconic ‘Grashoppa’ lamp – which featured in Auckland Art Gallery’s California Design exhibition – was first produced in 1947 and has been relaunched by Gubi. The soft colour palette is ideal for any new or recent renovation.

Stock pieces can be seen in our Auckland showroom.

by Ronan and Erwan Bouroullec for Hay This collection, designed as a commission for Copenhagen University, comprises a range of strong, visually striking stackable wooden chairs, stools and tables. The furniture in this series is designed with a symmetrical trestle frame, providing efficient, beautiful stacking. The chairs were cleverly designed with efficient manufacturing in mind.

by Henry Wilson

Greta Grossman for Gubi

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HOME + SIMON JAMES

D:17

Join us on our

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with Mercedes-Benz October 18.

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SIMON JAMES

For more info, see p.140

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The designer and founder of the Resident furniture label on new arrivals in his store.

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‘Eos’ armchair by Matthew

‘Cross’ extending table

Hilton for Case

Eos is a contemporary collection, lightweight – literally and visually – smartly proportioned and very comfortable. Its slim, clean lines make it a versatile choice for your garden or outdoor space. Certain to inspire leisurely outdoor dining during the long days of summer, this collection was named for Eos, the Greek goddess of dawn and bringer of light. The Eos Armchair is a versatile outdoor chair fully constructed from powder-coated aluminium that won’t rust over time.

Stackable for compact storage, this armchair works well with the square and rectangular tables from the range.

by Matthew Hilton for Case The ‘Cross’ dining table by Matthew Hilton is a fine example of advanced wood-manufacturing techniques. Made from a solid wood base with a veneer top, it has two extendable leaves that are stored in the frame.

The table is large, yet retains a visual balance due to its unusually thick top. The design of the base allows for six to eight chairs, or 12 to 14 when extended. This table is a particularly functional design: sturdy, handsome and built for multiple uses.

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‘Bramah’ Pendant by Michael

‘Tri’ pendant by Resident

Young for EOQ

Studio for Resident

This innovative lighting series encapsulates the design principles of EOQ: rooted in an industrial context, delivering true innovation in a recycled material. It is first extruded then shaped with precision cutting before having the core milled out to create the open structure that delivers such beautiful shadows. Available in both anodised and powdercoated finishes, this fitting comes with a four-metre fabric cable.

Three intersecting brass channels travel inwards, culminating at a central point, to illustrate this classic geometric shape. A recessed and diffused 24V light source reflects off the inside of the channel to deliver a warm, consistent hue. ‘Tri’ is finished in brushed brass and protected by a porcelain-based clear lacquer. Designed by Resident Studio, it is the third member of the popular ‘Geometric’ family, which also contains the ‘Hex’ and ‘Cross’ lights.

‘Elevation’ tables by David Moreland for David Moreland Design The ‘Elevation’ tables come in dining, coffee and side-table sizes. The top finish can either be powder-coated steel or American white-oak plywood.

The oak can be clear-lacquered for a natural finish, or stained black or white to match the powder-coated base. These tables use a combination of hard-wearing materials and soft lines, making them ideal for commercial or residential applications.

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HOME + BACKHOUSE INTERIORS

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STYLE SAFARI

Join us on our

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For more info, see p.140

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MICHELLE BACKHOUSE The co-founder of Backhouse Interiors on the new arrivals in their Auckland and Wellington stores.

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‘Elementary’ chair by Jamie

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‘Manuka’ light by David

‘Mademoiselle Kravitz’ armchair by Lenny Kravitz

for Kartell

McLellan for Feelgood Designs

Trubridge

Simple, understated and refined, the ‘Elementary’ chair seamlessly combines sophisticated design with honest materials to produce a subtle yet perfectly resolved chair.

Designed by acclaimed New Zealand designer Jamie McLellan for Feelgood Designs, the chair has an American oak frame with a laminated seat and back. It features a generous seat and an appealing silhouette and is available in natural, black, white and red stain.

Winner of the 2013 Best Lighting Award at the prestigious American design show, Dwell on Design, the ‘Manuka’ light uses LED lights to distribute its unique pattern across a surface. Inspired by his time hiking in the New Zealand bush, David developed a screen for his bach in Mahanga based on leaf shapes. Amy Lynch, one of his designers, took the idea further and rearranged the shapes to create the delicate, five-pointed Manuka blossoms. The light itself was a natural progression of this screen.

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and Philippe Starck for Kartell Rock ‘n’ roll meets haute couture and makes us smile in Lenny Kravitz’ reinterpretation of Philippe Starck’s classic ‘Mademoiselle’ chair, which was unveiled at the 2012 Milan Furniture Fair. Kravitz draped each chair in an amalgam of exotic textiles that include rock-inspired furs, leathers, fabric weaves and python skins. Starck and Kravitz have a long-standing friendship, from which this collaboration evolved.

‘Zooom’ table by Piero Lissoni A modern table that can be used as an extendable dining or office table, this inventive creation by Italian designer Piero Lissoni for Kartell is set on a sleek and unobtrusive lacquered-aluminum frame.

Its tempered and scratchresistant glass top hides an ingenious extension – a great advantage of the ‘Zooom’ design is that the table’s leafs are stored within. ‘Zooom’ has the ability to extend an extra four feet (depending on the model), allowing you to add more chairs to the table.

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Everyday magic

Left Boats set off from the beach at Pidia village where Mr Pip was filmed. The view takes in Arawa, where the new library is located.

Bottom left A cultural group from the nearby village of Pidia formed part of the performance contingent at the opening ceremony of the library, which was attended by the local community, dignitaries and many of the New Zealanders involved.

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Below The library is known as the 'Haus Stori' – a house containing not only books but acting as a receptacle for the island's tradition of oral story telling.

Bottom Designed for reading, meetings and performances, the open sides of the 'Haus Wind' allow for a welcome breeze.

Right Lloyd Jones, author of Mister Pip.

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BUILDING COMMUNITY

After using Bougainville as the setting for his hit novel (and just-released film) Mr Pip, Lloyd Jones wanted to repay the oncetroubled island. A new library is the result.

TEXT + PHOTOGRAPHY / Pete Carter

Two dozen spear-wielding warriors surround me, the only sound the swish of fans and grass skirts. The sun beats down on the lush green grass, while cloud-veiled mountains rise in the distance. I’m at the opening of the library in Arawa, Bougainville.

The building is the result of an inspiring collaboration between my friend, New Zealand author Lloyd Jones, and a group of volunteers and locals eager to re-establish the island’s cultural life after its traumatic recent history.

The Bougainville Conflict was a decade-long civil war in which more than 10,000 people are estimated to have died. Economic activity came to a halt, and most of the island’s public infrastructure was destroyed. By the time New Zealand diplomats helped broker a peace settlement in 1998, and an autonomous government was established in 2005, literacy rates on the island had dropped from being the highest in the Pacific to the lowest.

The conflict is a central feature of Lloyd’s book, Mister Pip, which is now being released as a feature film directed by Andrew Adamson. After completing the book, Lloyd looked for a way to repay the island for the inspiration it had provided him. He returned in 2009 to consult with locals, including actor and screenwriter William Takaku and Arawa Regional Commissioner James Koibo, who were instrumental in establishing

the Bougainville Heritage Foundation, which oversaw the library project. They were very firm that they wanted not just books, but a library building. Lloyd set up the Bougainville Library Trust the same year, and asked his old schoolmate, Wellington-based architect Paul Kerr-Hislop, if he would design the building.

The brief was for a 'Haus Stori' – literally, a house containing stories, referring not only to the books that would fill the library, but to the island’s strong tradition of oral storytelling. Lloyd casually asked Paul to design the building one day over a cup of coffee. At that stage Paul didn’t even know where Arawa was. Until then, all his architectural projects had been in Wellington, Nelson and, perhaps crucially, an award-winning, offgrid timber house in the Wairarapa.

I’m one of the trustees for the library. Lloyd, Paul and I travelled to the opening together in June. It involved four flights, a wild banana-boat ferry ride and then three-and-a-half hours on rough dirt roads.

As soon as you get off the plane in Buka the sweating starts, and it keeps on coming.

The drive to Arawa is stunning, passing through the bush and skirting beaches on one side while mountains rise to the other. The many rivers are like fast New Zealand mountain streams; the steep terrain and precipitation means there are rarely any water shortages on the island.

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The library has been built on a large, flat patch of lush green grass beside the Arawa school, which is on the edge of town. Rocky, bush-clad cliffs dominate one side. It was designed and orientated so the sun passes over the top from east to west, with the knowledge that the onshore breeze will drift up through the building.

You enter the building by passing between five separate reading fales grouped around a performance area, then ascend a few steps into the open section of the building, known as the ‘Haus-Wind’; a building open to the elements; the most important being a cooling breeze. Double doors open into the book library.

The fales are thatched and the walls of the main structure are covered with black-and-white sak-sak, a woven bamboo. The overall effect is of a compact, contemporary yet still-traditional village.

“The opening was the first time I’d seen the building for myself,” says Paul. “It was an emotional moment.

I was taken aback – it’s beautiful.” These aren’t just the words of a besotted architect.

The library is naturally lit and ventilated, with air flowing through the walls above and below the shelves.

The gaps between the floorboards were widened specifically to allow cooler air to be drawn in and push the hot humid air out.

“Most libraries in the tropics are sealed, climatically controlled units, but when I designed this one there was no power in Arawa,” says Paul. “There is now, but it’s erratic at best. The building needed to breathe to preserve the books. It needed to let the light in, too, yet keep the extreme weather out.”

Local materials were used for 90 percent of the construction. On my first two-week visit to the island in 2012 to help with the building, I went out on a truck into the jungle to collect freshly milled native timbe­r called Vitex, which is rot and borer resistant and doesn't need treatment. It was sawn up with a portable Lucas Mill where the tree had fallen and carted back to be dried before being used in the building. The library doors and librarian’s desk are made from deep-red rosewood. The imported fixtures and roofing iron were shipped in from Placemakers in Levin.

I watched Paul and Barry Binding, the project manage­r, walk around the building together. Barry is from Te Horo and says he loved working with the timber and the local apprentices from Arawa Carpentry, a project established by Volunteer Service Abroad (VSA), who also lent their support to the library.

“To be fair, there were frustrations,” Barry says of the building process, “but it balanced out. I’m really proud of the building. In my last week I had dozens of locals come up and thank me for the library.”

Lloyd is thrilled with the result, believing the building to be a perfect example of a Pacific-style library. Paul hopes the building will be adapted and used as a template of what buildings can become, made by local people with local materials but with modern functionality.

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The opening was attended by hundreds of people. There were ministers of state and church, school children, village cultural groups, a dozen or so VSA workers, the New Zealand police and their local counterparts, some of the young lads who worked on the project and interested locals both young and old. Some watched, seeking shade in the bushes, others stood closer but used brightly coloured umbrellas to keep the sun off. There were speeches, most of them in Tok Pisin, song and dance performances from local cultural groups, and a well-received haka and performance of 'Pokarekare Ana' from the New Zealand contingent.

Then the ribbon was cut and the library was open.

James Koibo, the chairman of the local organisation that now owns the library, invited everyone to look inside. People rushed though the doors, whooping and cheering. It was a spontaneous happy moment, the library literally filling up as the doors opened.

Philippa Robinson is the VSA-appointed librarian who has traded in the rarified environs of the law library of Bell Gully in Auckland to spend a year in Arawa. The library collection is broad and varied – more than 5000 books were sent there in April and it's designed to accommodate 10,000 more. There is a large children's section, as well as young adult and adult fiction, non-fiction and a small reference section. Philippa says small groups of youngsters were coming through the doors a little shyly to start with, sitting on the floor quietly and politely, reading and then replacing the books. Two weeks later, some of these kids have become regulars and the adults are now coming forward.

“The young and old love the picture books but also the non-fiction and reference books are being pored over,” says Philippa. “We're not lending yet as the collection is currently too small. But those who remember the library pre-conflict are asking to borrow.

Lending will come soon, I hope.”

Most of the books are in English, which is taught in schools after Tok Pisin. Most children speak at least three languages by the age of 11, the first being their local dialect. Over time, Philippa aims to have more books in Tok Pisin and to record and publish stories in local dialects.

Can one new building be an agent of change for the people who live on this tropical island? Of course it can’t on its own, but the signs are good that it can be a significant part of the regeneration of literacy, and the recovery of this once-troubled community.

Below Actor Hugh Laurie (centre) stars as Mr Pip in the movie of Lloyd Jones' book, directed by Andrew Adamson (right).

Right Literacy rates suffered during the Bougainville Conflict and villagers have responded enthusiastically to the new library, which includes a large children's section.

Far right Local people helped design and build the library, and 90 percent of the materials used in its construction are local, including the thatching being woven here.

Right Architect Paul Kerr-Hislop inside the well-ventilated library with shelves that will eventually be filled with books.

Bougainville is an autonomous region of Papua New Guinea Area: 9,300 square kilometres Population: approximately 200,000 Capital: Buka, although it's possible this will return to Arawa

A brief history • Bougainville was part of German New Guinea from 1885-1914.

• The island was under Australian administration from 1914-1942 and 1945-1975. Japan invaded in 1942 and the island was an active WWII war zone.

•M ining activities became a catalyst for civil unrest in the late 1980s. A 10-year civil war followed in which it's estimated that more than 10,000 people died. Don McKinnon, who was New Zealand's Foreign Affairs Minister at the time, was instrumental in brokering peace.

• An upcoming referendum will determine Bougainville’s independence from Papua New Guinea.

• Set on Bougainville against the backdrop of the civil war, Lloyd Jones' novel, Mister Pip, was published in 2006 and was shortlisted for the Booker Prize.

• Mr Pip the movie was released in New Zealand on October 3 this year.

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Nice room! How’d you choose the colours?

I like the intrigue of using colours that verge on being discordant yet are somehow complementary. I think the key to making this combination work is that the two similar sherbetinspired hues – Resene ‘Wax Flower’ on the big wall and Resene ‘Snowy Mint’ on the wall at right – are grounded by the deep teal floor (Resene ‘Marathon’), a masculine foil that stops the whole effect being too sugary. Together, the colours are quite cool-toned and for me conjure a slightly retro vibe.

HOME

KENDYL MIDDELBEEK, STYLIST

How have you accessorised the room and complemented the colour palette?

Keeping in mind that the colours are relatively cool, I didn’t want the decor to be too clinical. I’ve used warm, tactile objects, with a variety of finishes like leather, rope, wood and wool to add softness. I’ve also picked up on the influence of objects from yesteryear: lumpy German-style ceramics, kilim rugs, and a vintage ‘Falcon’ chair with a great patina. The powder-blue shades in the artwork complement the pastel wall colours, while also picking up on the teal flooring.

Who said only your walls could be colourful? Why be limited to just one colour? Use your imagination and bring your floor and ceiling into your paint colour canvas to really bring your room to life. Dress them up in a striking paint colour or flatter them with neutrals to complement your walls. If you’re stuck on a starting point, see the Resene The Range fashion colours for complementary colour suggestions on the back of each colour chip.

ADVERTISING PROMOTION / HOME + RESENE

Left to right, top to bottom: Main wall painted in Resene ‘Wax Flower’; wall at right painted in Resene ‘Snowy Mint’; floor painted in Resene ‘Marathon’; call 0800 RESENE (737 363) for your nearest Resene ColorShop. Fisherman pendant by Zero Lighting from Simon James Design; bowl from Bo Concept; cast mini-jack by Eclectic by Tom Dixon from Simon James Concept Store; Richard Orjis ‘Untitled #14’ candlestick from Melanie Roger Gallery; Kamaka Pottery vase and Takashi Endo mug, both from Everyday Needs; Hans J Wegner ‘PP85’ table and ‘Hee’ dining chair by Hay, both from Corporate Culture; Azerbaijan kilim from Siggada; triangle cushion from Bo Concept; The Travel Almanac book from Douglas + Bec; ‘Falcon’ chair by Sigurd Ressell for Vatne Mobler from Karakter; ‘Jewel Crow’ artwork by John Appleton from Seed Gallery; Tom Dixon Bronze Copper Floor Shade from ECC, ecc.co.nz.

Resene colour challenge Top interior stylists get creative with Resene colours – with bold, inspiring results. / Kendyl Middelbeek PHOTOGRAPHY / Toaki Okano STYLING

Resene Wax Flower

Resene Snowy Mint

Resene Marathon

Japanese architect Shigeru Ban's just-opened Cardboard Cathedral is a potent symbol of the hopes for Christchurch's post-earthquake future.

Andrew Barrie PHOTOGRAPHY / Patrick Reynolds TEXT /

Future proof Left The cathedral's striking form is created by 98 equal-size tubes.

The design for the glass panels was derived from the rose window that graced the nowdestroyed façade of the Cathedral on the Square – images on the panels are enlarged versions of those once visible in the stained glass of the damaged cathedral.

Since the dramatic collapse of its tower in the catastrophic Christchurch earthquake of February 2011, the future of the Anglican Cathedral in the Square has been surrounded by controversy. Initially thought repairable, subsequent aftershocks chipped away at the building’s stability, and the Anglican Diocese has now officially declared its intention to replace it with a contemporary building.

While the old building’s architectural merits might be debated (it is certainly not the match of the equally crippled but less felicitously sited Catholic cathedral of the Blessed Sacrament), it is both a huge physical presence and the dominant symbol of the city. Google

“Christchurch” and most of the images that come up are of the cathedral. So it was no surprise that there would be insistent demands for its restoration – the argument being that to demolish it would be to destroy an irreplaceably large part of the city’s identity. So it was something of a surprise while watching TV recently to see the Cardboard Cathedral (also known as the Transitional Cathedral) used to represent Christchurch.

The new building appeared in a supermarket ad in a sequence of iconic city scenes from around the country, including Auckland’s Sky Tower, the Wellington Blown Away sign, and Invercargill’s Water Tower. The

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ad’s makers had chosen the Cardboard Cathedral over reconstruction projects such as the colourful Re:Start container mall, established Christchurch images like punting on the river, or even the shattered Cathedral in the Square. The ad shows both the malleability of urban identity and the swiftness with which a distinctive building can enter our collective consciousness.

The Cardboard Cathedral was designed by internationally renowned Japanese architect Shigeru Ban. Early in his career, Ban began experimenting with making buildings from paper tubes, essentially industrial-strength versions of the tubes found inside rolls of toilet paper or plastic food wrap. He saw their potential as an easily handled, low-cost, and recyclable building material.

In 1995, Ban had been investigating how to turn them into simple, inexpensive shelters for refugees when the Kobe earthquake hit. Ban's unique design approach was launched onto the international stage: responding to architecture as a casualty of earthquakes, his lightweight, economical and distinctive solution to the problem of providing cheap, temporary housing for the newly homeless was used to great effect. Both the architectural press and the mainstream media loved the story. Ban's reputation went global, launching an ongoing involvement in disaster zones around the world and making him the poster

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boy for the architecture profession’s sense of social responsibility.

Ban came to Christchurch following the earthquakes after an invitation from Reverend Craig Dixon, a member of the cathedral staff. Dixon and his colleagues had been pondering the idea of a building that could serve as a temporary cathedral as well as a venue for concerts, exhibitions, and other civic events until the damaged Cathedral on the Square could re-open. On visiting the quake-torn city with his project architect Yoshie Narimatsu, Ban quickly developed a scheme that employed all the signature elements of his ‘emergency architecture’ – paper tubes, shipping containers and a lightweight skin – but brought together in a new way. “This kind of A-frame structure is the simplest structure to build,” explains Ban. “Even working in timber, if you have to make walls and a roof, it’s more difficult. With the A-frame, you make them together.”

It was initially hoped that the project would be quick, with building completion expected by the first anniversary of the deadly earthquake. However, the realities of the post-quake situation intruded on these optimistic plans. Ban had produced his design without a specific site in mind. In a city rapidly being cleared of its architecture, including many churches, the cathedral team imagined that building sites would be plentiful, but finding a site proved frustrating. After many

Far left Shigeru Ban designed all the furniture in the building, including wooden stacking chairs for the congregation.

Above left The rows of tubes that form the roof are a uniform length, so the building, which is an equilateral triangle at the front and an isosceles triangle at the rear, increases in height away from the street. In the foreground, the '185 Empty Chairs' installation serves as a memorial for those who died in the February earthquake.

Right The sanctuary furniture includes items rescued from the crippled Cathedral on the Square, including an eagle lectern and the brass candlesticks and crucifix.

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Left The lattice of timber that supports the faรงade was assembled flat on the ground, and craned into place as one huge piece.

Right Sets of three six-metre long cardboard tubes placed end to end were threaded over 18-metre-long wooden beams that support the weight of the roof.

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Left The cathedral glows at night through its polycarbonate skin.

Right The building looks out onto leafy Latimer Square. It is also across the street from the site of the Canterbury Television Building, which collapsed in the February 2011 earthquake, taking 115 lives.

months of searching and unsuccessful negotiation, the team approached the Anglican Church of St. John's on Latimer Square, which had lost all its buildings in the February 2011 earthquake. The parish’s insurance payout was sufficient to rebuild their hall and offices but not a new church, so the cathedral team proposed using that portion of their site. They agreed to share the building with the St John’s congregation until the new cathedral is constructed, after which it will remain in place solely as St John’s parish church. Ban's initial proposal saw the building standing for 10 years or so, perhaps then being moved to another site.

Once it was confirmed it would eventually become the home of the St John’s congregation, the building became permanent. Building regulations mean the cardboard tubes now cover wooden beams, and the building is sheathed in polycarbonate. However, Ban wanted to retain the building’s provisional character – he resisted the temptation to use more expensive materials or slicker construction methods so that, even now that it is permanent, it can be understood as a “direct response” to the quakes.

Finally opened at the beginning of August, the Cardboard Cathedral is the first significant civic building to be completed as part of the city’s postquake reconstruction. The project has, however, had its detractors. There have been complaints about

the money the church has spent on the building, particularly given that so many are still living in asyet-unrepaired homes. But the significance of Ban’s building is not how much money it required, but how little; while it is roughly equivalent in size to the current proposal for a new Cathedral in the Square, its construction cost was just one-tenth of that estimated for the proposal.

Shigeru Ban is the biggest name in global architecture to work in New Zealand for a generation, arguably ever, and the Cardboard Cathedral will likely be established internationally as the most architecturally significant building in the country. But as Ban commented during the official opening service, big names or big ideas don’t guarantee respect. “Even if a building is made of concrete,” he said, “this can be destroyed in an earthquake. But if people love a building that is made of paper, it can become permanent. The key is love. Whether people love the building or not will determine how long it stays. I hope this building will be loved by the people – and that it will continue here for many years.”

Indeed, now the cathedral is open, its detractors appear to have quietened. Advertising creatives, postcard printers, wedding photographers and Instagrammers are already turning it into a hopeful symbol of the new Christchurch.

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PRESENTS

design dĹrec– tions

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A family compound on Auckland's Takapuna Beach by Athfield Architects

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A smart villa renovation by architect Guy Tarrant

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The solar-powered First Light House settles at Waimarama Beach

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The Los Angeles apartment of one-time New Zealanders Brian and Kate Butler

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An economical Auckland family home

by Nicholas Faith

This page The beachside site holds the main house (at right) and two other, smaller dwellings, including the guest house at left. The steel 'U' sculpture is by typographer Catherine Griffiths.

Right The home overlooks the southern end of Takapuna beach.

Compound interest A family builds not one, but three sensitive, compact homes on a single site on Auckland’s Takapuna beach. / Simon Farrell-Green PHOTOGRAPHY / Simon Devitt TEXT

Left Unlike most of its neighbours, the home keeps its footprint relatively small and eschews boundary fences, using shaped earth mounds to ensure privacy in the living spaces.

Below Architect Nick Strachan (seated) and friends at the main house, where the kitchen and living areas overlook the beach.

Rather a long time ago, the owner of this house on Auckland’s Takapuna Beach tried to buy the section from its elderly owner. She wouldn’t sell. Twenty years later, walking along the beach one morning, he saw the place up for sale and wasted no time in securing it.

You can understand his enthusiasm. It’s a long, narrow section at the very end of a narrow cul-de-sac that runs behind the beach. The sea is just there – a view unobstructed – yet because of a sloping front lawn, gawpers on the sand can’t look in. The section is well known by beach walkers: it was occupied by an 85-year-old, virtually derelict cottage, which was

mostly rented by university students for about five decades from its Australia-based owner. Generations of families, meanwhile, have picnicked under the large pohutukaw­a on the beach front. An adorable 1930s changing shed borders the beach, and – unlike most security-conscious houses along this very public stretch of sand – there's no front fence.

After demolishing the cottage, the owner also bought an adjacent section one house back from the beach to create a single, slightly odd zig-zag-shaped property. Now, with the help of Athfield Architects’ Zac Athfield (son of Ian, the firm’s founder) and Nick Strachan, the site sports three related buildings – a

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Below The cedar used in the home's exterior sliding screens is echoed inside. The 'Framed' chair by David Moreland is from Simon James Design.

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Right The architects used a material palette of concrete, glass, folded metal, exposed beams and cedar tongue-and-groove boards on the interiors.

Below The light-filled stairway leading to the upper-floor bedrooms in the main house. The 'Pilke' pendant light by Tuukka Halonen for Showroom Finland Oy is from Katalog.

Below right A chair and table from Simon James sit in a study nook located near the gatehouse entrance. The front door and large glazed sliding doors bring light into the area.

main house and two guest houses, all unified by a disciplined palette of materials, a sense of spatial ingenuity, and a scale that respects the modesty of the dwellings that originally lined this picturesque beach.

It is a thoughtfully designed beach-side compound that effortlessly hosts the comings and goings of the extended family, which now comprises the owners, their six children, and 18 grandchildren.

The architects left the broad, steep and unfenced front lawn in place, siting the front of the new main house where the cottage had sat. From the beach, the new two-storey house seems tiny, dwarfed by its neighbours; a radical move in a suburb where maximising

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site coverage is something of an art form. “The idea was to turn that on its head,” says Zac. “The idea is that it has spaces to the boundary, not fences.”

The rigorous open-plan living room in the main house expresses linearity and seriousness, playfully offset with the insertion of a timber sunroom and 'Fifth Movement', an artwork by typographer Catherine Griffiths, which features the letters A, E, I, and O in the home's concrete floor with the U outside cast in rusting steel. The area is almost bunker-like; yet with soft, filtered light. Upstairs is a wide sort of gallery, flooded with light; the bedrooms are simple and shady thanks to exterior sliding screens. The owners expect to move

Below The stairway at right in the main house leads to the laundry, while the steel-encased stairs at left lead to the first-floor bedrooms.

There is a consistent sense of craft and honesty to the construction. All three dwellings share a rigorous, limited palette of materials – cedar, metal stairways, concrete and glass.

into one of the smaller houses, leaving the main house for other members of the family. “It was a little bit like spec building,” says Zac. “We were aware that occupation was more of a generational thing.”

A second key move was to convince their client that, rather than building one guest house, he should build two – a guest house and what has come to be known as the gate house. These are vertically oriented, reaching up for views and light, which has the effect of allowing space around the buildings. In fact, there is so much space between buildings that it's hard to work out whether they are one compound or a development of three. Approaching the house from the street and

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From the main bedroom, the home's steel structure cantilevers to form the deck and roof, with sliding cedar screens on stainless-steel frames forming the outer skin of the building. The 'Tio' chairs and table by Massproductions are from Simon James Design.

Below Athfield Architects worked to minimise the home's scale from the beachfront, while working in an unapologetically contemporary idiom.

The original 1930s changing shed has been retained on the beach.

then down the driveway, the impression is almost of a strange, misplaced medieval village – there are concrete bases, solid timber doors and timber-clad upper floors – on top of which are spectacular roof decks; mainly because there was no room for proper roofs to fit within the height-to-boundary rules. This impression is heightened by the cladding of part of the gatehouse in brass, a surprisingly indulgent but highly effective move. “Like a jewel at the end of the street,” says Zac. The three houses – which have a total of nine bedrooms between them – are different in aspect and feel. The main house is a play between solid and light, with that view constantly changing. The gate house

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“We have a small footprint,” says its owner.

“That’s what we always wanted – what you expect a beach house to be.”

Below Rich, textural brass clads the gatehouse, which is visible from the street, and is the smallest of the three properties on the site.

Below right A series of steps between the lawn's undulations lead down to the beach.

is all glass and openings – there is a compact living room and a gloriously airy bedroom upstairs, as well as a single-car garage that can be converted into a bunk room. The guest house is dark and cave-like downstairs, and ship-like upstairs, with narrow corridors and efficient bedrooms clad in cedar tongue-and-groove.

Beams have been left exposed to give the impression of greater ceiling height.

There is, though, a consistent sense of craft and honesty to the construction. All three dwellings share a rigorous, limited palette of materials – cedar tongueand-groove panelling, sometimes painted white; cedar-clad timber boxes; folded metal stairways,

concrete and glass. Kitchens in the ancillary houses are deliberately small, encouraging guests to wander down to the beach house for the main evening meal.

The bedrooms are also modest; there is plenty of room for cars on the lawn and there is no swimming pool because the house sits above a very nice beach.

“We have a small footprint,” says its owner.

“That’s what we always wanted – what you expect a beach house to be.”

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Below left The threelevel, three-bedroom terrace house sits in the middle of the site between the gate house and the beach house.

Below centre A view of the terrace house with the smaller gatehouse in the distance at left in this photograph.

Below right The gate house, with its weathered brass cladding and long roof terrace.

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/ Beach bathroom 12 / Garage 13 / Laundry courtyard 14 / Beachside courtyard 15 / Deck 16 / Steps to beach 17 / Hallway/Gallery 18 / Master bedroom 19 / Wardrobe 20 / Ensuite 21 / Bedroom 22 / Bedroom/Lounge 23 / Office

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DESIGN NOTEBOOK Q&A with Zac Athfield

The architect on designing not one but three homes for this beach-front site.

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The home could have been much bigger. All the neighbours are huge.

Why the restraint?

We weren't thinking too much about restraint. We had an open-minded but caring client and felt like the challenges and opportunities were at the edges.

Everyone loved the way the ancestor of the new beach-side house preserved an unobstructed lawn to the foreshore. It seemed generous and confident. As surrounding houses present sides as close as possible to other boundaries we didn't want to marginalise the edges.

How did you balance respecting the smaller scale of the original dwellings and providing everything we tend to expect nowadays?

The small floor plates allowed maximum use of height, so space is not something you’re left wanting. Across three buildings there are plenty of bedrooms and living spaces; some open plan, others more contained, others borrow space from the landscape. They offer a surprising variety of conditions considering we didn't change the formula too much on what is an essentially flat suburban site.

An Auckland villa and its garden, long estranged, are reunited in a design

by Guy Tarrant.

Together aga覺n Simon Farrell-Green PHOTOGRAPHY / Simon Devitt TEXT /

Left The villa was extended out and down to create a doubleheight living space down the stairs at the end of the hallway.

This photo A careful arrangement of glass and solid panels at the back of the home maintains a balance between light and privacy.

“There are thousands of villas out there in Auckland like this one,” says architect Guy Tarrant of the home on these pages, which he redesigned for its owners and their two young children. He’s referring to the building in its prerenovated state, of course. “They were just sort of plonked on the site and what was happening on the ground – the context – was usually ignored.”

Guy’s job was to re-contextualise the home – to establish a relationship with its site it had never previously enjoyed. Like most villas, this one turned its pretty face to the street – a bay window, delicate fretwork and a north-facing verandah that is bathed in day-long sunlight – but at the back, a blank face of weatherboards was marooned a whole level above the garden, located at the bottom of the sloping site.

“We felt like we were suspended above it,” says one of the owners of the home’s relationship with its back yard. “You could look at it but you weren’t part of it.”

The villa had fared badly over the years. The doors and mouldings had been replaced decades before.

Mangy carpet covered matai floorboards. There were four large rooms including a formal living room in the front, with a tiny dining room, kitchen and bathroom area tucked down the back.Everything was decrepit.

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What the house did have were beautifully ornate plaster ceilings in the front – “I walked in and said ‘I love it!’” reveals one of the owners – and, more than anything, the kids’ primary school was over the back fence. The couple bought it knowing they’d need to renovate. They made a start on the DIY stuff, purchasing a front door from Trade Me and getting the original sash windows working again.

Then, part-way through a very cold winter, they saw a Grey Lynn villa in the pages of this magazine that had been redesigned to respond to similar challenges that their place faced. It had also been designed by Guy. They liked the approach, as well as the empathy with which he’d treated the original home, and his obsession with details of windows and cabinetry.

Things weren’t so straightforward in their home, however. Building a new living room at ground level (a level below the street) was the best response for an active family, but it meant the living room would face south and be visible from the school over the back fence. Guy designed a pavilion addition with high windows on the west side to pull in as much afternoon light as possible. The design also dug away under the villa, building a rumpus room for the kids, a laundry and a kitchen that complied with the owner's request

Below From the street, the villa shows little sign of the dramatic renovation that has taken place out the back.

Below left The children on the computer at the built-in desk in the living area. The desk was designed by Guy Tarrant and fabricated by Form Design.

Below, far right High windows with white mullions pull westerly light into the living areas.

The owners saw a villa in the pages of this magazine that had been redesigned to respond to similar challenges that their place faced.

It had also been designed

by Guy. They liked the approach, as well as the empathy with which he’d treated the original home.

that cooking activities wouldn’t be hampered by direct sunlight in summer.

Guy’s crucial move was to cut away the floor above the new dining area to create a 6.5-metre ceiling which reaches up to an enormous skylight that draws in morning sun and makes the space feel much larger than it is. “I wanted to celebrate all that extra height and exaggerate it, so you’ve got that double-height space,” says Guy. “It has this nice relationship with the verticality of villas.”

The owners freely admit they didn’t quite know what they were getting themselves into. The family moved out, the house was largely gutted – and then they discovered the soil under the new addition was largely fill, meaning a lot more excavation than they expected. Out came 40 truckloads of soil and in went 40 truckloads of gravel. A build meant to take five months turned into 13.

It was worth it. Upstairs, the house is largely unchanged – the former kitchen and bathroom became a main bedroom and ensuite, and the four front rooms with their beautiful ceilings were relined and repainted.

At the end of the hallway, wide American oak stairs lead down into the combined living area, with couches and a fireplace at one end and the kitchen at the other.

HOME NEW ZEALAND / 87

Left The ceiling in the living and dining area stretches 6.5 metres high towards a skylight that brings morning light into the space. Smart storage cupboards are set into the wall against the stairs. The paper lantern over the dining table is from Wah Lee in Auckland.

Right Guy admits that, as he's gotten older, he's become "quite keen on a bit of wall", hence he refrained from creating slavishly open rooms at the back of the house.

He has also modulated access to the garden through several doors and windows. A work by Richard Killeen sits above the wall heater.

Left The ceiling in the living room drops lower over the fireplace and adjacent window seat to create a feeling of greater intimacy in the otherwise highceilinged space.

The ceiling lowers around a window seat – “you want that compression around the fire,” says Guy – and a strip of louvres demarcates the boundary of old and new. It’s an open-plan space, but with carefully designed zones.

Right Another view of the window seat adjacent to the fireplace.

Far right White-painted shiplap wall linings help link the villa's new extension with the visual language of the original building. The works on the wall are by John Reynolds.

Below far right The bathroom, created from a room in the original villa, has a high window to bring in natural light.

See more of this space in our Bathroom Design focus on p.128.

Below right The angular skylight above the staircase that allows morning light into the southfacing downstairs living areas.

HOME NEW ZEALAND / 91

Views and access to the garden are carefully modulated, with one large square window and sliding doors leading out to a dining area covered by a pergola. The ceiling lowers around a window seat – “you want that compression around the fire,” says Guy – and a strip of louvres demarcates the boundary of old and new. It’s an open-plan space, but with carefully designed zones. For Guy, not building slavishly open rooms on the back of old houses is something that’s grown in importance as he’s matured. “I’m kind of keen on a bit of wall now.”

White-painted shiplap on the walls is one obvious connection to the old house; white timber joinery is another. Window scale is in keeping with the rest of the house, with large expanses of glazing divided into narrow panes of glass between white-painted mullions.

“Those type of windows are very appropriate for villas,” he says. “It wouldn’t be right just to have great big pieces of glass.”

Now, when you stand on a ridge at the school behind, you can see a typical ad-hoc jumble of boxes and forms ranging from Edwardian villas to Californian bungalow – and you can see the various responses.

Some have decks far above the ground, some have bodgy old lean-tos and some have large expanses of glass that allow you to see straight into south-facing open-plan living rooms. This house, by contrast, seems an ideal mix of old and new – and importantly, it is firmly, and finally, anchored to its garden.

The new extension opens onto a westfacing patio (which also connects to a rumpus room) which sits slightly below the level of the lawn.

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DESIGN NOTEBOOK

Bottom left When they first saw the house, the owners were struck by the beauty of the ornate plaster ceilings.

01 / Day sitting 02 / Bedroom

03 / Bathroom 04 / Void

05 / Kitchen 06 / Dining

Q&A with Guy Tarrant

07 / Sitting

08 / Daybed

09 / Laundry 10 / WC

A contemporary architect deftly lends light and height to a villa addition.

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/ Rumpus room

12 / Courtyard

Street level — After

What did you like about working with the villa form, and what challenges did it present? The villa form is adaptable and there is always the potential to embrace the generous volumes of the spaces. The challenge here was to connect the rear of the house more directly to its site. The resulting double-height space addresses this. It also subtly references the verticality of the existing spaces within the house.

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How does the extension refer to the materials or details of the villa?

I prefer not to make all my references to the existing too literal. Painted timber joinery, vertical sarking and board-andbatten cladding reference traditional villa materials in a fairly literal way. In general, however, my approach is to separate the old from the new. Often a clearly articulated addition is most respectful to that form. In this instance, full-height banks of louvres express the distinction between the original villa and the contemporary double-height addition.

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Designed by architecture students at Victoria University of Wellington, the solar-powered First Light House was erected in Wellington before being transported to Washington, DC, where it took third place in the US Solar Decathlon in 2011. Since then, it has returned to a permanent site at Hawke's Bay's Waimarama Beach, where these photographs were taken.

Shine on

After a long journey back from the US, the world-famous First Light house now calls sunny Hawke’s Bay home.

TEXT

/ Christine Thomas

PHOTOGRAPHY

/ Paul McCredie

In a giant leap of faith earlier this year, my husband and I made an unconditional cash offer on Victoria University’s award-winning Meridian First Light House. Based in Hawke's Bay, we had only ever seen it online, and the purchase was far from your conventional visit to an open home. At the time, the house was sitting in pieces like a giant Lego set in project sponsor Mainfreight’s Wellington depot.

Ten days later we took delivery of five shrinkwrapped house modules, three 40-foot-long shipping containers and a very large instruction manual.

Calling on advice from the Victoria University School of Architecture designers and a team of hard-working

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local tradesmen, the house was assembled for the last time after its long journey of dismantling and reassembling, a journey that had taken it from Wellington to Washington DC and now, finally, to a site above Waimarama Beach.

Thousands of people had already trooped through the First Light house before it arrived in Hawke’s Bay, both when it was on display at Frank Kitts Park in Wellington and on The Mall in Washington, DC, where former Prime Minister Helen Clark got the T-shirt, and finance minister Bill English and US ambassador Mike Moore ate lamb nibbles at opposite ends of the bespoke concrete dining table. The house, created to produce

Left A cedar canopy supports the 6kw solar array of 28 photovoltaic panels and 40 water heating tubes, and faces due north to be effective. The home's solar array is so efficient that it produces surplus power which is sold into the national grid.

as much energy as it uses, was designed and built by a team of architecture students at Victoria University of Wellington, including Eli Nuttall, Anna Farrow, Ben Jagersma and Nick Officer, who have gone on to form the architecture firm First Light Studio with Guy Marriage, a lecturer at Victoria’s architecture school, who was also instrumental in the project.

The First Light House was selected as one of 20 homes from around the world to participate in the 2011 Solar Decathlon, a biannual event run by the US Department of Energy. The house was the first finalist ever from the Southern Hemisphere, and was placed third overall in the event.

Below The owners purchased the house after only ever seeing it online. It arrived in three 40-foot long containers with hundreds of pages of assembly instructions.

The purchase also included he bespoke concrete dining table.

It was all a bit of a triumph, but our first glimpse of their solar-powered house left us a little underwhelmed.

As the first of five oversized modules snaked up the road to the hill-top site, all that was visible was an enormous, much-travelled plywood packing case shrouded in white shrink-wrap. At this very early stage of the build, we suddenly worried that our confidence in the collaboration between the university and private companies and sponsors from all over New Zealand might have been misplaced. Would a house that had been prefabricated in a shed in Wellington, put together and disassembled, then shipped half way around the world and back again still be structurally sound?

HOME NEW ZEALAND / 99

Did all the pieces of the house come back from the States? Could the local builders and sub-contractors follo­w the hundreds of pages of instructions and diagrams the university had provided? More importantly, would the house actually work on its new coastal building platform, given the need to site it in a due north direction for the photovoltaic panels and solar water heating to work?

Enter Donna Howell, Victoria University’s architecture project manager, who had been part of the 26-strong team that oversaw the ambitious logistics of getting the house safely to and from Washington DC. An architect herself, Donna became the online project

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manager, with additional support provided by Guy Marriage. The university team assembled the house in six days in the States, albeit with trucks, cranes and labourers at their disposal, but the work at Waimarama wasn’t so straightforward. It took a hard-working team of contractors, headed by Cameron Hislop and Jason Sullivan of SS Homes, four months to complete major site works and erect the home.

Having faithfully rebuilt the house with its clever and good-looking detachable cedar cladding system, triple-glazed sky roof and LEAP Design’s radical solar clothes-drying cupboard, we decided to add a few of our own site-specific environmentally efficient design

Left As well as being an example of solar sustainability, the house also looks good with blonde plywood and timber panelling.

Outside, the decking hides storage for 11,000 litres of drinking water.

features. The water bladders, for example, used in the US for temporary water storage and grey water, are now plumbed under the extensive decking and provide 11,000 extra litres of drinking water. The builder Marty Gray modified surplus pine decking to create a bespoke outdoor bathroom with a rain-head copper shower and toilet salvaged from an earthquake-damaged Christchurch building, and restored

by Heritage Bathware. Many of the planter boxes used in Washington, DC, to showcase New Zealand plants were recycled by Marty into outdoor tables and benches, raised vegetable gardens and a wind shelter on the top viewing deck. The solar energy system,

Below Co-owner Christine Thomas in the living room, which also sleeps four, thanks to a clever system of bunks and fold-down beds.

designed by Solar City and installed locally by Free Energy, not only looks good, but is currently performing beyond expectations. The cedar canopy soars bird-like above the bach, supporting the 6kw solar array of 28 photovoltaic panels and 40 water heating tubes.

The First Light House – which has just one bedroom, but sleeps six because of an ingenious system of bunks and fold-down beds in the living room – was always a project aimed at showing what is possible in sustainable housing. It was designed to be a net energy-surplus home, producing at least as much power as it uses. With Hawke's Bay’s high sunshine hours, even over the winter months the house has been

HOME NEW ZEALAND / 101

Below left The kitchen, with appliances supplied by First Light project supporter Fisher & Paykel, features ceiling panels made from rimu timber rescued from an old barn.

cranking out up to 40 kilowatts of electricity per day, and only using seven or eight kilowatts. The surplus power is fed back into the national grid, meaning that most months, we get a cheque from the electricity company instead of a bill.

It is undeniably efficient, but also delightful. It’s not only the solar energy that makes it special, but the collective energy and pride this project has engendered in all those involved in its design and construction.

This house has a special place in New Zealand’s architectural landscape.

It's also the foundation of a new architecture practice, with First Light Studio taking the lessons

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Below The lime-washed pine study unit doubles as a room divider between the living room and main sleeping area, and has a built-in, foldup computer table.

Right A few things from the Washington display were surplus to requirement, so the builders reworked them into outdoor tables, benches – where co-owner Peter Beaven sits – raised vegetable gardens and a wind shelter. They also modified surplus pine decking into a bespoke outdoor bathroom.

they learned on this project onto many more buildings.

“What I would like to see is that the prefabrication of housing systems is more widely understood by the New Zealand public,” says Guy, “and that the environmental performance of the building envelope continues to improve – for Kiwis to understand that we do not have to brave it out in winter with draughty houses, or waste energy on expensive electric heating.”

The First Light House is available for holiday rentals. For information visit firstlighthouseaccommodation.co.nz.

Right Frosted glass cavity sliding doors are recessed into rimu wall panels. A removable wooden slat floor in the bathroom sits above a stainless steel tray, turning the bathroom into one big wet room.

Far right Sustainable fabrics such as New Zealand wool and linens are used in soft furnishings throughout the house.

Below right The team behind the First Light house fly the New Zealand flag and celebrate their success in taking third place at the 2011 US Solar Decathlon in Washington, DC.

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DESIGN NOTEBOOK Q&A with the First Light Studio team

The First Light Studio trio – now graduates running their own architecture firm – discusses their highly regarded solar-powered house.

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What function does the triple-glazed glass portion of the roof perform?

ELI NUTTALL It illuminates the centre of the house. With the skylight, sunlight penetrates the space to provide heat and light, bringing the outdoors in. During the day you can open the large bi-fold doors and bask in sunlight around the concrete table or retract the blinds at night to look straight up at the stars.

It's a great place to relax!

What's it like seeing the First Light house in a permanent position?

ANNA FARROW It's great. We have now seen the house built in three quite different locations. Seeing it next to the Washington monument was exciting but I have to say it looks most impressive now, high on a hill with the Waimarama coastline stretching away below. It fits perfectly in its landscape – we couldn't have imagined a better spot.

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This house makes money by supplying electricity back to the grid. Why aren't more houses doing this?

BEN JAGERSMA I think until recently many people have been scared away by the initial upfront cost. Since building the First Light house, the price of installing a solar array has dropped significantly, making the thought of going solar more attractive. With rising electricity prices, I wouldn’t be surprised if more New Zealanders choose to switch to solar and power their lives with free energy from the sun.

INFORMING N EW ZE ALAND CELEBRATING NEW ZEALAND North & South readers are confident, influential, proud Kiwis who are inspired by intelligent debate and good writing.

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Left The history of the Butlers's 1950s Brentwood apartment is something of a talking point, with rumours that it was designed by modernist pioneer A Quincy Jones, or possibly by mid-century master Gregory Ain.

One-time New Zealanders Brian and Kate Butler find a new home in Los Angeles.

Frances Morton PHOTOGRAPHY / Emily Andrews

TEXT /

Below The Butler family is right at home in an apartment that provides them with a canvas for their art collection and predominantly midcentury Scandinavian furniture, such as the 'Z' chair by Poul Jensen to the right.

Art space

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Below Above the sofa where Kate and Thomas sit is Stephen Prina's 'Exquisite Corpse: The Complete Paintings of Manet' series.

Right The John Reynolds piece to the left of the door was a parting gift from the artist to Brian as he returned to the States.

The work at the right is

by Charlene von Heyl.

A series of glazed ceramic pots by Jorge Pardo sit on the floor.

There are a few lofty rumours circulating about Brian and Kate Butler’s address in Brentwood, Los Angeles. One is that the clean-lined 1950s apartment building, crouched beneath palms in an area better known for its stately family homes, was designed

by A. Quincy Jones, a pioneer of modernist design who helped define the elegant Southern Californian aesthetic. Another theory is that it was a creation of mid-century master Gregory Ain. And word has it that Frank Gehry lived upstairs at one point.

Brian periodically prods his neighbour to find out the truth. Brooke Hodge is, after all, a director at the Hammer Museum and architectural historian who has recently written the book A. Quincy Jones: Building for Better Living. But for the moment, its pedigree remains a mystery. What’s clear is that the building draws people with an appreciation of fine design. Brian moved there in early 2009, shortly after he returned to Los Angeles from a three-year stint as director of Artspace in Auckland. His son Thomas was born while Brian he and Kate, an actor, were in New Zealand, and although it was fine at first to have a baby hammock in Brian’s one-bedroom Santa Monica apartment, as Thomas grew the family was soon on the hunt for more space.

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Just like the New Zealand quarter-acre paradise, the Californian expectation is a house and a yard with enough room for a lawn and a barbecue. But renting was a more attractive option when dealing with a housing market ravaged by the global financial crisis, and the Butlers found themselves an apartment in this sought-after area, across the road from the verdant Brentwood Country Club. Gwyneth Paltrow recently picked up a mansion in the same neighbourhood.

“The Great American dream is that you’re supposed to buy a house,” says Brian. “But there is a counter idea to that, when rents are not that expensive you can live in a good area. And we have the same problem that Auckland has, that people want to go to good public schools.” Another thing Los Angeles has in common with Auckland is the glacial development of a public transport system. There are plans afoot but it may be 15 years before Brian is able to catch a subway down Wilshire Boulevard to his gallery 1301PE, nearby the major art institutions of Miracle Mile.

Space is a matter of perspective. The airy, lightfilled apartment has a balcony for that all-important barbecue, an open dining and living area, a play area for Thomas (now aged 4), an office and two bedrooms.

The generously proportioned dining table is by Swedish designer Bruno Mathsson, while the light above it was designed by the Copenhagen art collective Superflex.

Above the table is one of many items in the home that straddle art and function. The work pushes the boundaries of copyright law by taking images of popular designs, such as this 'PH Artichoke' lamp

by Louis Poulsen, and creating a new light.

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Left The work entitled 'St John' is by Los Angeles-based artist Kirsten Everberg.

Below In the main bedroom, the blue 'Saarinen Executive Armchair' by Eero Saarinen for Knoll was released in 1950.

Bottom British artist Paul Winstanley's 'Exit' hangs to the left of the wardrobe door, while a John Reynolds piece sits to the right.

HOME NEW ZEALAND / 113

Left Apart from painting their son Thomas's room a restful duck-egg blue, the couple did little to the apartment when they moved in. Diana Thater's 'mouse is a cat is a chimp is a girl' series runs from left to right. Above it is Kate Newby's 'You want something to happen and nothing does'.

“I’ve had friends from New York say, ‘Wow if I had this apartment in New York, I’d be so over the moon I wouldn’t know what to do with myself,’” says Brian.

The Butlers did little to it when they moved in, apart from install some blinds and liven up Thomas’s room with duck-egg blue paint. The bare concrete floors, whitewashed walls and that crisp, timeless 1950s construction provide a fitting environment for the art collection that Brian has accumulated during a career working with top contemporary artists from around the world, including many familiar New Zealand names.

The unmistakable wit of John Reynolds turns up on canvases in the living room and bedroom. The turquoise and silver one that reads, “This is my moment to suggest I know what I’m doing” was given to Brian by the artist as a going-away present when he left Artspace.

A shelf in the hallway has an array of art objects including a ceramic pie by Tessa Laird with changeable labels – cottage, steak and cheese, steak and mushroom. While working in New Zealand Brian earned a reputation as a pie fan; everywhere he went colleagues would direct him to the best local pie shop.

He’s actually more enthusiastic about Ralph Hotere’s mutton-bird recipe, as prepared by Dame Jenny Gibbs.

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Right On the floor to Brian's left is a collaborative piece, a lamp

by LA-based Jorge Pardo and Paris-based Philippe Parreno.

“I became the great white champion for mutton birds,” says Brian.

The couple’s dining table, by Swedish furniture designer Bruno Mathsson, has been to Auckland and back and while there are no mutton birds on the dinnerparty menu these days, the expandable design can fit a sizeable feast, accommodating 10 people. Most of the Butlers’ furniture is mid-century Scandinavian. Brian has the good fortune of having parents who have been avid collectors of Danish design and he’s been the willing beneficiary.

Above the table is one of many items in the home that straddle art and function. The light was part of a show Brian curated at Artspace by Copenhagen art collective Superflex. The work pushes the boundaries of copyright law by taking images of popular designs, such as this 'PH Artichoke' lamp by Louis Poulsen, and creating a new light. The white, diamond Bertoia chairs with red, green and blue cushions are an edition Brian made with artist AA Bronson – the surviving member of Canadian art group General Idea that came out of the late 60s and early 70s. The other members, Jorge Zontal and Felix Partz, both died of AIDS in 1994.

Brian knows so many of the artists in his collection that every work has a story. There’s German enfant terrible Martin Kippenberger, a light installation collaboration between Cuban Jorge Pardo and French artist Philippe Parreno, Los Angeles painter Kirsten Everberg, a Richard Diebenkorn etching, New Zealanders Fiona Connor, Kate Newby, Peter Robinson, et al. and a splendid portfolio of portraits by great German-born British artist Frank Auerbach, which was the first thing Brian bought after university. “He had just finished them and they were like £900 or something. Outrageous.”

The works are very much a part of Brian’s daily life and he updates them regularly with pieces from storage. Some of his collection – such as a sculpture by Los Angeles artist Charles Ray with a 2m x 2m piece of glass through it – are going to have to wait until he’s found that bigger house.

For now, Brian and his family enjoy apartment living in sprawling Los Angeles. It is a mere fiveminute bike ride from Luxxe cafe, which serves the closest thing Brian can find to a flat white. “People are like, ‘Oh you should move’. But I say ‘No, it’s too far from Luxxe’,” says Brian. He takes me along to prove it, and he’s right. It’s just like a cafe at home – except for the casually chic gentleman at the next table with a miniature pig on a leash.

HOME NEW ZEALAND / 115

Below The apartment is blissfully free from room-consuming architraves and scotia, providing a pleasing canvas to showcase a fine collection of art and furniture, including the Hans Olsen teak credenza at left.

Below centre Natural light filters into many rooms in the apartment, including the smallest.

Below right Palms line the street where the Butlers live, across the road from the plush greens of the Brentwood Country Club.

Bottom Paul Winstanley's 'Study for Night Office' and 'Exit' feature either side of the door way.

Bottom left Concrete floors lend an industrial gallery quality to the apartment.

DESIGN NOTEBOOK Q&A with Los Angeles gallery director Brian Butler

The art collector has created his own display space in a notable 1950s Los Angeles apartment.

116 / HOME NEW ZEALAND

What stimulates a change in the art you display at home?

The acquisition of new work is always a good occasion. We are always rotating and resting works on paper. But my favourite reason is to just keep looking and thinking about art.

What aspects of the apartment do you enjoy the most?

We love the light airiness and the feeling of being in the trees. The apartment is well-proportioned and generous.

If there was another period or style of architecture in which you'd live, what would it be and why?

That's tough. I would love to live in a house by Irving Gill from the 1910s but a Georgian townhouse would be great too...or work with a living architect.

There are many styles or periods but it is the whole package of architecture and the location.

G E N T LE M E N .

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Left The main living areas of this Auckland family home are located downstairs and open onto a grassy courtyard.

A large print by Flox resides in the living room, as does a leather chair which is a family heirloom.

Below Situated on a small rectangular site, the architect's design carefully considers proximity to neighbours and the location on a busy road. The steel cladding was installed and detailed by Mt Maunganui Roofing.

Perfect proportions Inspired by classic, petite Warren & Mahoney homes of the 1960s and 70s, architect Nicholas Faith creates a family home with just enough.

Simon Farrell-Green PHOTOGRAPHY / Simon Devitt TEXT /

HOME NEW ZEALAND / 119

Far left The ply and black steel staircase, framed by cedar battens, separates the kitchen and dining areas from the living space.

Left With a young family to consider, the owners wanted robust materials, which they got in ply, concrete block, steel and hand-made terracotta flooring from Middle Earth Tiles.

Right In the kitchen, ply and cedar contrast with glossy black cabinetry. The 'Attachment' dining table is by Simon James, and the dining chairs are a mix of black 'Panton' chairs by Verner Panton (available from Matisse) and 'Hawk' chairs by Simon James from Simon James Design. The 'E27' pendant light is by Mattias Ståhlbom for Muuto from Douglas + Bec.

This home is more about what it isn’t than what it is. To explain: it isn’t grand, nor is it particularly expensive, especially when you consider its location near the harbour in Auckland. It doesn’t have a garage and isn’t so large – about 190 square metres – and sits on a relatively modest 400-squaremetre lot. For an all-new home, it was built for a relatively modest sum compared to the skyrocketing prices of its neighbours in this central Auckland suburb.

It is an exercise in restraint and careful thinking by an architecturally literate client and an architect who began design without a real brief. Sure, the owners had a schedule of rooms, but their only real instruction to their friend, Christchurch-based architect Nicholas Faith, was that they didn’t want a white-on-white minimalist box. They also wanted their children to be able to ride their bikes around the living room, which meant the place basically needed to be bulletproof. “They wanted to see what I would come up with,” says Nich.

Nich and the owner had attended architecture school together “so we had a shared departure point in terms of materials and forms,” says Nich. They also share enthusiasm for Californian modernism and midcentury Christchurch architecture designed by Sir Miles Warren, whose influence is clear throughout the home and its material palette.

120 / HOME NEW ZEALAND

There is plywood, painted concrete block, cedar screens and a glorious terracotta tiled floor instead of polished concrete, calling to mind the material palette of a classic Warren & Mahoney abode.

The site is a subdivided section in an established harbour-side suburb. The original house had been moved to the rear of the site, leaving a patch of land adjacent to the street. When the owners bought it, they weren’t actually looking to build, but they couldn’t find anything they liked.

“You’re dreaming,” said one to the other when her husband spotted the section. He persevered and they bought the place. “It was more of an interview,” says one of the owners of the buying process. The vendors were very keen to ensure the site was bought by someone who intended to build a house and live in it.

In the face of its challenges – a small rectangular site on a busy main road, and a need to be mindful of the neighbours – Nich developed a robust design that was driven by two very pragmatic realities: the need to create

Left In the living room, an east-facing skylight spills light down the concrete and concreteblock wall. The 'Tolomeo Mega' floor lamp by Michele de Lucchi and Giancarlo Fassina for Artemide is from ECC, while the 'Zero-In' coffee table by Barber Osgerby for Established & Sons is from Simon James Design. The carpet-tile rug is by Al Hood and came from Inzide.

Right The sliding doors of the living room open onto 60s-style crazy paving and a sweep of green lawn that acts as an extension of the main living areas.

Below right The southern wall of the living area opens onto the laundry (at right in the rear of this photo) and a small snug containing the TV (through the door at left), behind the stairs.

HOME NEW ZEALAND / 123

Left The bedrooms and bathrooms are all upstairs. Although it is small, the main bedroom feels larger because of its expansive windows. Cedar slats provide shade from the late-afternoon summer sun.

Right The home is designed to sit hard against the driveway of the neighbouring property, while carefully directing views to the lawn outside and, from the upper floor, the harbou­r beyond.

as much room as possible at the back for a north-facing courtyard, and the fact that there's a driveway running down the side of the house. You step off the busy road, behind a white-painted concrete block wall, past the cars – a “proper” garage, all blank door to the street, was off the agenda from the start – and across a gravel court to a cedar-clad front door.

Then, you step into a small foyer and into the living room. It feels warm – there is plywood, painted concrete block, cedar screens and a glorious terracotta tiled floor instead of polished concrete, calling to mind the palette of a classic Warren & Mahoney abode. In the middle of the room is a staircase built from ply and black steel and framed by cedar battens. The solidity of the concrete block and brick exterior combined with the double glazing means there is virtually no traffic noise.

At the rear of the house, there’s a small, bookcaselined room where the family watches television, as the owners were determined not to have the TV in the living room. Upstairs is simple: three bedrooms, two bathrooms, nothing particularly large or grandiose.

The main bedroom is small, though it has massive expanses of glass and a harbour view. When they were building the place, people often commented on it being small. “It’s just going to have a bed in it,” one of the owners would reply.

124 / HOME NEW ZEALAND

One of the biggest successes of the home is the intelligent use of materials. And this is where it gets interesting. “We’ve put money into the things we touch,” says one of the owners of their selection process. "It was about tactility, as this is what leaves a lasting memory."

You see that downstairs with the tiles, which are hand-made, and upstairs in quality bathroom fittings – in a canny move, they were bought at a bathroom sale.

In other parts of the house, materials are pragmatic, with a lot of ply. “When I started working as an architect, one of the things I was disappointed with was that you relied on paint,” says Nich. “I’m more attracted to materials that are self-finishing.”

One of the other things they did without was the customary level of detail in the drawings – it was an impossibility in terms of time, distance and budget.

“I love that line that you should be able to fit the drawings for a house on six sheets,” says Nich. “Now it’s more like 40.” The owners were fortunate that their builder, Rob Anderson of Contour Construction, was able to easily step in if there were any gaps. The end result shows how obsessed he was with details: every sheet of ply is perfectly finished and positioned. The result is a beautifully crafted home. “It has warmth and mood,” says one of the owners. “It’s not a big house.

It’s not out of scale.”

Below The home faces the street with a block wall that protects the interior from traffic noise outside. The neighbouring driveway on this infill section is on the right in this photo.

Bottom left While construction costs were relatively moderate, the owners have spent on "things we touch", such as the 'IOS' bath by Victoria + Albert from Robertson Agencies; Bottom right A built-in desk in one of the girls' bedrooms.

DESIGN NOTEBOOK Q&A with Nicholas Faith

A loose brief and challenging site presented opportunities and constraints for design.

126 / HOME NEW ZEALAND

The house is relatively restrained in size compared to many new homes.

What was it like working with site and budget limits? Constraints often make for satisfying outcomes: less quantity, more quality, especially with infill sections. Auckland’s climate generally means the garden courtyard is a useful extension of space to the main living areas. Garaging was a compromise, but new homes often have a disproportionate amount of budget spent on them – we also felt a garage on the footpath would be a poor offering to the neighbourhood.

How did design consider the busy road? As well as the road, the house is also bordered by a driveway to a rear section – so the ground floor was arranged as a solid white plinth with the building as a protective fence and one corner ‘bitten off’ for the entry.

What are you most pleased with about the house? The attention to detail and commitment that the builder and subcontractors brought to the process – it makes all the difference between a house and a home.

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128 / HOME NEW ZEALAND

B:01

•W ashstand Custom-designed

by Maggie Carroll for Bureaux •B asin From Metrix •T apware Paini 'Cox' from Metrix •F loor tiles ‘Tetrix’ by Winckelmans from Tile Trends •W all tiles ‘Blanco Sateen’ Spanish tiles from Artedomus •S hower glass panel Customdesigned by Maggie Carroll for Bureaux using toughened ‘Mistlite’ glass with powdercoated aluminium trim

• Wall hooks Vintage cast-iron hooks purchased online from Etsy and refinished in Auckland • Wall light Princeton ‘Senior’ wall sconce from Schoolhouse Electric • Mirror Custom-designed by Maggie Carroll for Bureaux with powder-coated steel frame • Toilet Duravit ‘Starck 3’ wall-hung suite from Metrix

NEW DECO Maggie Carroll of Bureaux Architects takes on a renovation of her own bathroom.

What was the bathroom like beforehand, and what was your vision for what you wanted to create?

MAGGIE CARROLL The apartment is located in a 1920s warehouse building, and although of Art Deco origins, it lacked any interior ornamentation of this era. The bathroom was previously finished with dated, salmonpink wall tiles and faux printed marble floor tiles typical of the 1990s, when the building was converted into residential apartments. I wanted to create something that fitted in with both the industrial character of the building and a new modern aesthetic.

HOME

What were the challenges of working within a relatively small space?

In order to create a sense of spaciousness, I avoided introducing any heavy elements and tried to keep the fittings floating off the floor. The design of the lightly framed steel basin stand is a nod to more traditional stands of the art deco era. The pale wall tiles and soft lighting offer a luminance where there is no natural daylight available.

How did you choose the material palette?

I chose to keep the palette very neutral, leaning towards a simple, classic aesthetic that could work with any interior strategies for the apartment in the future.

HOME NEW ZEALAND / 129

B:02

Photography / Sharrin Rees

COLOUR CODES A careful insertion of colour enlivens this Sydney bathroom by Pohio Adams Architects.

All-white bathrooms seem to be a common default mode, so how did you break out of it?

HOME

CHRIS ADAMS, POHIO ADAMS ARCHITECTS

Decisions driving the house design were about reflecting the clients’ personalities and an exploration of materials and how they would weather, so the home’s roof is raw zinc, the vanity solid oak, the tapware and hardware raw brass. We chose the tiles because they are hand-made, subtly inconsistent in colour and texture and could be ordered in a great range of custom colours. We could achieve a consistency of material through the house, but create a very different character for each bathroom through varying colours and patterns.

This bathroom is an amazingly light space. What design moves did you make to ensure this? And how did you plan the placement of electric lighting?

There is a certain luxury to being bathed in bright natural light, and the elevation and orientation of this bathroom allowed us to fully exploit this possibility. Natural light is complemented by concealed LED lighting in the alcove, cast-glass, zinc, and brass pendants with old 'squirrel cage' lamps, and indirect concealed fluorescent uplights. Concealed lighting provides just the right light level to negotiate the bathroom in the middle of the night, while incandescent pendants

130 / HOME NEW ZEALAND

provide a flattering side lighting, avoiding the ugly shadowing effects of downlights. Fluorescents provide the functional infill lighting when required.

The colour temperature of the lights is carefully coordinated to provide consistency of feel and a flattering softness that complements the material palette.

What makes a good bathroom?

The right balance of functionality and luxury. The feel of the materials and the sense of calmness they evoke.

• Shower head Hansgrohe ‘Raindance’ shower set in fine brass finish with Vola mixer in raw brass finish.

• Tapware Raw brass by Vola.

• Cabinetry Custom-designed cabinetry featuring solid oak, Corian sinks and marble inlays by Pohio Adams Architects • Tiles Designed by Popham Design, hand-made in Morocco and purchased from OnSite.

• Pendant light Well Glass pendant light from Dunlin.

• Toilet Duravit ‘Stark 3’ wall-hung pan with Vola push buttons in raw brass finish (both available from Metrix in New Zealand)

B:03

Photography / Simon Devitt

GRACE NOTES Architect Guy Tarrant creates a new bathroom in tune with the renovated villa it calls home.

This bathroom is part of a major renovation of a villa (on p.82 of this issue). What was required, and how did you choose to allocate the space for it?

GUY TARRANT Two bathrooms were required, an en suite and a family bathroom. Only the family bathroom required a bath. A relationship to sleeping areas and north-western light were key drivers in allocating these spaces.

HOME

• Tapware Paini ‘Cox’ from Metrix • Bath spout Felton '06' from Metrix • Basin Vitra ‘S50’ from Franklins • Wall tiles White 300 x 100mm tiles from Tile Warehouse • Floor tiles and bath plinth Alba marble from Artedomus • Cabinet above sink Customdesigned by Guy Tarrant Architect, fabricated by Form Design in solid walnut and walnut veneer

How did you choose the material palette?

Marble was selected for the floor and bath plinth in the family bathroom because of its almost-Victorian feel, which was appropriate for a villa. The more economical porcelain wall tiles were chosen as a calming influence to the marble.

What makes a good bathroom in general design terms?

Apart from the obvious practical requirements, a prevailing sense of calm and quiet luxury. My approach is to carefully resolve the plan, control light and exercise restraint in detailing and material choices. It is possible to impart a sense of luxury without expensive finishes.

HOME NEW ZEALAND / 131

132 / HOME NEW ZEALAND

B:04

STRUCTURE AND SHAPE A beachside bathroom

by Athfield Architects presents a balance of outlook and privacy.

What did you want to achieve with this bathroom space (part of the house on p.68), and how does its aesthetic fit into that of the home overall?

NICK STRACHAN, ATHFIELD ARCHITECTS It’s a linear bathroom plan, so we focused on bringing a big volume of light into one end over the shower and having a variety of openings to the exterior – from the small cedar louvred window above the vanity to the large opening at the beach side. We pared back the materials for the whole house: there are only two paint colours, matai flooring, and the steel-and-timber ceiling structures are exposed throughout.

HOME

Photography / Simon Devitt

How did you connect the space with the view without making it feel exposed?

We were fortunate that a large pohutukawa provided natural screening at the edge of the beach. The front elevation of the house is also layered with operable cedar screens, so there was always going be a hierarchy of spaces, with the shower concealed under the large skylight, to the cabinetry, the bath being more exposed, and then the sliding doors, deck, balustrade, and the operable cedar screens at the edge of the buildin­g. Providing these layers gives the occupants some control over view, exposure or concealment.

What makes a good bathroom generally?

A great client and builder, light, and contrast between natural materials and refined fittings.

• Bathtub Kaldewai ‘Centro Duo Oval’ from Metrix • Bathtub tapware Grohe ‘Atrio’ floor-standing mixer • Towel Rail DC Short • Cabinetry Custom-designed

by Athfield Architects and fabricated by de Bruin-Judge • Cabinetry pull handles From Katalog • Basin Villeroy & Boch ‘Variable’ from Paterson

•T oilet Villeroy & Boch ‘Subway’ from Paterson •T apware Dornbracht ‘Meta 02’ from Metrix •W alls Painted Resene ‘Sea Fog’ •F looring Matai with oiled finish •L ighting ‘Profile 71’ suspended and wall-mounted fitting from Concept Lighting •S teel ceiling beams Painted in Resene ‘Double Tapa’

HOME NEW ZEALAND / 133

B:05

SEA AND SKY A Wellington bathroom

by Parsonson Architects takes its cues from an amazing view.

What were you aiming to achieve with this bathroom, and how did you go about doing so with your design?

SAM DONALD, PARSONSON ARCHITECTS The aim was to create a comfortable and highly personalised space as a retreat from the public parts of the house. The tiling and cabinetry pick up on the geometries of the house and the raised bath plinth defines a zone of relaxation, with a view.

HOME

How does your choice of bathroom materials relate to the rest of the house?

The timber plinth for the bath echoes the Victorian Ash flooring used throughout the living spaces and in the cabinetry. The blue and green glass tiles relate to the palette of sea, sky and bush that the house perches above.

What makes a good bathroom, in general design terms?

A good bathroom is firstly functional but also unique to its situation and should make the most of the available space, light and view while maintaining privacy.

• Bath ‘Centro Duo Oval' bath

by Kaldewei from Metrix, Plumbing World • Vanity Designed by Parsonson Architects with Victorian Ash drawer fronts, and a Brazilian Superwhite Quartz top from Bramco. Fabricated by Renalls Joinery • Tapware ‘Quadro’ stainless steel tapware from Shipwright Agencies/Plumbing World • Wall tiles Glass mosaics from European Ceramics • Floor tiles ‘Inox Lappato’ by Casalgrande Padana from SpazioCasa • Timber flooring Victorian Ash • Lighting Wall lights designed

by Parsonson Architects, ‘Strange 50’ uplights by Wevre & Ducre from Concept Lighting, LED strip lighting included in cabinetry by Renalls Joinery

Photography / Paul McCredie

134 / HOME NEW ZEALAND

HOME + BLUM

B:06

HARD WEARING Designer Natalie du Bois know the best bathroom designs need hard-working hardware behind the scenes.

Above left Designer Natalie du Bois chose simple cabinetry elevated off the floor to greater a greater sense of space in this bathroom.

Top right A stand-alone bath makes a focal point in this bathroom. Above right Efficient planning and a controlled colour palette makes for a calm bathroom space.

What makes a good bathroom design, in your opinion?

NATALIE DU BOIS The bathroom is one of the few places we get to have ‘alone’ time, so my ultimate goal is to create a calm and tranquil space for my clients, a place they can escape to for indulgent relaxation. The fixtures and fittings should continue this theme, being beautifully designed and made to stand the test of time. Lighting always plays a key role in any space, but even more so in a bathroom. High-quality task lighting ensures the bathroom functions to the exact needs of the client, while soft background lighting helps envelop the space with a calming and tranquil feel.

HOME

Bathrooms are normally relatively small spaces. How can they be made to feel larger?

Mirrors give an illusion of extra space, and clever placement of them can make the world of difference. They’re also brilliant for emphasising a nice detail in a bathroom so you get to see an interesting view from another angle.

I also believe in keeping colours light and neutral, and using the same tone

throughout the bathroom with texture or pattern to create interest. Think about how you lay tiles – laying them vertically can make a space feel taller, or laying them horizontally can make a small, tall space feel wider.

How important is good hardware?

And how do you convince your clients to invest in it?

Good hardware is extremely important, but to be honest I don’t really have to convince my clients to choose good hardware – once I show them examples of Blum’s soft-closing drawer runners and soft-closing hinges they are totally convinced. The products really speak for themselves.

For more information about Blum’s highquality range of ingenious hinges, drawers and organisational systems, visit blum.com

HOME NEW ZEALAND / 135

HOME + MICHEL CÉSAR & VCBC

B:07

BETTER BATHROOMS Annabel Smail shows us through the new Auckland showroom of Michel César and VCBC.

Above left A VCBC vanity with ‘Splash 1200’ vanity and tall cupboards in the company’s new Auckland showroom.

136 / HOME NEW ZEALAND

Above right The showroom’s huge range of products includes this Michel César ‘Area’ basin and shelf and VCBC ‘Britton’ toilet.

Tell us about your new Auckland premises. What kind of experience does it offer to people who are renovating or building?

ANNABEL SMAIL The showroom has over 300 square metres of fantastic bathroom products over two levels. It stocks everything from accessories to baths, and has been designed to cater for the specification industry as well as renovators and builders. We also have a small outlet for people to grab some bargains.

And there’s plenty of parking out front and to the rear.

HOME

What brands and ranges are you stocking there, and what interior styles do they appeal to?

The range takes in everything from contemporary pieces to more classic units and sanitaryware. The Michel César bathroom collection includes Italian Hatria sanitaryware, accessories and a range of other European basins.

We import baths, showers, sanitaryware, tapware and accessories under the VCBC label. These are products made for the English and European markets with an affordable price tag. We also have

Burlington, a new range of traditional English basins and sanitaryware.

How is bathroom design changing?

What design developments are you noticing at the moment?

Bathrooms are finally becoming exciting, as important an expression of individual style as any other part of a home’s interior. We’re seeing exciting renditions of an industrial look, using old basin styles mixed with antique floor coverings. And we see clean, sleek tiles mixed with bold cabinetry colours. One of my favourite looks at the moment is offset basins – this gives the user more usable space on the side and it’s a fresh look. These basins are in the Area and Grandangolo ranges. My other favourite is the Hatria ‘Pilozzo’ basin – a modern take on the old laundry tub.

Michel César & VCBC 4 -8 Ace Place Kingsland, Auckland 09 309 9109 michelcesar.co.nz vcbc.co.nz

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HOME NEW ZEALAND / 137

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Current subscribers can take advantage of this offer. Renew today and we’ll add the extra issues onto your existing subscription.

This offer is valid for delivery in New Zealand before 2 December 2013 to subscribers by phone or online at magshop. co.nz/home/M310HAE. This subscription offer cannot be used in conjunction with any other offer. Once processed, all subscriptions are non-refundable. Rates include GST and postage. Please allow 6 weeks for delivery of your first magazine.

All orders quoting M310HAE will go in the draw to win 1 of 2 Coast NZ Isla Chair ® and Ottoman sets. Gift does not include bean fill, cushions, or throw. Gift will be sent to bill payer. For overseas subscription rates visit magshop.co.nz. For full terms and conditions refer to magshop.co.nz.

This page Cushion and throw from Coast New Zealand; tray, pitcher, glass and napkin, all from Citta Design. Opposite page Rob Upritchard stone bowl and Martino Gamper ‘Circus’ stool, both from Everyday Needs; scarf from Father Rabbit. All other props, stylist's own.

& BE IN TO WIN 1 OF 2 COAST NEW ZEALAND ISLA CHAIR® AND OTTOMAN SETS! The Isla Collection® is the latest addition to the Marine Bean® range and combines the comfort you expect from the classic Marine Bean® with the flexibility of modular furniture. This has been achieved through the development of a unique (patent pending) internal structure, comprising multiple reticulated chambers which support the beanbag, yet remain forgiving. The Isla chair ® includes a water-resistant lining, allowing the Sunbrella shell to be removed for cleaning, airing or winter storage.

Featuring the new 'Heritage' fabric from Sunbrella with a five-year outdoor guarantee. Made in NZ. www.coastnewzealand.com, 09 354 4552

RRP $2,304

SUBSCRIBE SECURELY ONLINE AT WWW.MAGSHOP.CO.NZ/HOME/M310HAE PHONE 0800 MAGSHOP (0800 624 746) AND QUOTE M310HAE

PRESENTS

style safari 2013

A day of design store tours and expert briefings guided by HOME editor Jeremy Hansen FRIDAY OCTOBER 18

$95

HOME’s Style Safari is an exclusive day-long set of briefings on the latest design trends and new furniture releases, guided

by HOME editor Jeremy Hansen. The day commences at 9am and includes five design briefings at Auckland’s most important design stores, finishing around 5pm. We’re delighted to welcome Mercedes-Benz as our Style Safari partner. Transport in Mercedes-Benz vehicles is provided between each destination, and lunch at Cibo in Parnell is included. Numbers on the Style Safari are limited to 50, so reserve your tickets now.

OUR GUEST SPEAKERS

Simon James

Alan Bertenshaw

Michelle Backhouse

STUDIO ITALIA

SIMON JAMES DESIGN

BACKHOUSE INTERIORS

CORPORATE CULTURE

The co-founder of Studio Italia reports on the new arrivals from Milan, and design trends in outdoor furniture.

The New Zealand designer will present his Resident furniture range, as well as new imported designs just arrived in his showroom.

Matisse’s co-founder reveals the newest designs from Matisse’s suite of luxury brands.

The co-owner of Backhouse Interiors on new products from Kartell and other prestige brands.

The Danish modern design specialist on the latest innovative Scandinavian design releases.

Valeria Carbonaro-Laws

MATISSE

Photography / Toaki Okano Styling / Amelia Holmes

HOW TO BOOK Book your tickets online at eventopia.co.nz/ homestylesafari Each ticket costs $95 and includes lunch and our all-day Style Safari experience. For information, contact Jessica Allan, 09 308 7441 or jallan@bauermedia.co.nz

Richard Munao

SOURCE – General

WINNER 2013 CREATIVE EXCELLENCE AWARD FOR THE MOST INNOVATIVE KITCHEN Visit our display kitchen at: PO Box 28-700, Remuera Phone (09) 813 6192 www.croninkitchens.co.nz

www.threaddesign.co.nz 274 Richmond Rd, Grey Lynn, Auckland

155 The Strand, Parnell.

With more than 15 years of building experience and an established reputation with an excellent team of qualified subcontractors, Bungalow & Villa Renovation Specialists have the expert knowledge to turn your building dream into reality.

www.bungalowvilla.co.nz Phone (09) 629 0366/ 021 270 1388

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Hybrideck Product is BRANZ appraised.

Web: www.hybrideck.co.nz Phone: 0800 44 92 74.

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Looking for something new and innovative for your project?.

Call into one of our Auckland showrooms and experience our point of difference!

Mobile Ceramics NZ Ltd

ph 0800 002 005 HOWICK SHOWROOM 198 Moore Street Howick ALBANY SHOWROOM Tawa Trade Centre, Shop5, 2 Tawa Drive, Albany

La Maison France The NZ Home of Lacanche Ranges

When only the best will do, bespoke built Lacanche cookers will realise your dream.

The Kitchen is the heart of the home and Lacanche Ranges will keep your house alive with style. www.lamaisonfrance.co.nz www.lacanche.com

gerry@lamaisonfrance.co.nz 027 640 4422

NKBA – 2nd Runner up Best Kitchen – NZ, 2013 NKBA – Runner up Best Kitchen – Auckland, 2013 NKBA – Winner Best Kitchen Design – Auckland, 2012 NKBA – Winner Best Classic Kitchen of the Year, 2012 NKBA – Runner-up Most Innovative Kitchen of the Year, 2011 NKBA – Winner Best Classic Kitchen of the Year, 2011

Von Sturmer’s is a well-established interior design practice specialising in one-ofa-kind kitchens and bathrooms. From her base in Ponsonby, Leonie von Sturmer uses her extensive knowledge and experience to create captivating interiors that reflect their owners.

Showroom: 15 Williamson Ave, Ponsonby. Hours 10am to 3pm weekdays or by appointment. www.vonsturmers.com (09) 376 3745 / 021 759 019

To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: classifieds@xtra.co.nz

Stylish looking products that care about the environment.

www.mobileceramics.co.nz

www.mobileceramics.co.nz

tiles

HIGH PERFORMANCE COMPOSITE DECKING

tiles

Tile Importers and Specifiers

SOURCE – General

Importers and distributors of genuine vitreous enamel industrial lighting www.boudi.co.nz

)NTERIOR $ESIGNER

WWW DESIGNWORXNZ CO NZ

0800 LOCARNO or (09) 570 1747 info@locarno.co.nz www.locarno.co.nz

s +ITCHEN s "ATHROOM $ESIGN s 3OFT &URNISHINGS s #OLOUR 3CHEMES 3TUDIO AND 3HOWROOM 6AUXHALL 2D $EVONPORT

Ph 06 878 0166

To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: classifieds@xtra.co.nz

SOURCE – General

Tivoli wins the contest for the best tabletop radio on the market.

But don’t just take our word for it - try one!

30 day money back guarantee.*

To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: classifieds@xtra.co.nz

*conditions apply

Sustainable Living – SOURCE

Straw Bale Homes s 3UPERB 26 )NSULATION s 3UPERB IN %ARTHQUAKES

Readership: 91,000* Circulation: 12,418**

s 3UPERB $ESIGN ,IVING s &IXED 0RICE #ONTRACT

* Nielsen Media Research NRS Jul 12 - ,Jun13 ** NZ Audit Bureau of Circulations Jul 12 - ,Jun13

s -ASTER "UILD 7ARRANTY

To advertise your product in the Urban Living Directory

contact: Kim Chapman

WWW STRAWMARK CO NZ

Ph: 07 578 3646 | Mob: 021 673 133 Email: classiďŹ eds@xtra.co.nz

Cell: 027 289 3478 Est 1996

EDIBLE GARDEN

Garden Sheds Gazebos

A valued and attractive addition to your property.

Summer Berries available now Ask for a free Catalogue Edible Garden Ltd 889 Ashhurst Road, R D 10 Palmerston North 4470 Ph (06) 326 7313 ediblegarden@xtra.co.nz www.ediblegarden.co.nz

To advertise here contact Kim Chapman, phone: (07) 578 3646, mobile: 021 673 133, email: classifieds@xtra.co.nz

Atlantic is Europe’s leading energy efďŹ cient 270 litre hot water system. On average it draws only 425 watts!

Engineered for indoor installation, the integrated heat pump is designed to be very quiet.

The perfect solution for low cost, abundant hot water.

Playhouses Landscape Furniture Sleepouts / Cottages Garages Workshops Storage

Kitset Delivery Quality Timber Framed Buildings. Nationwide 03 347 7031 | sales@shedsnz.co.nz | www.shedsnz.co.nz

Ecospring next generation hot water heating systems reduce operating costs by up to 70%.

That adds up to significant savings, and you won’t have to give up a single drop of water.

www.ecospring.co.nz

exclusive to

Phone 0800 422 000 / visit www.atlantics.co.nz Dealerships available

heating... it’s what we know

Branches nationwide Freephone 0800 800 686 www.plumbingworld.co.nz Plumbing World is part of the NZPM Cooperative

MY FAVOURITE BUILDING

Christchurch writer Barnaby Bennett likes the centrepiece of FESTA, the Festival of Transitional Architecture.

“I love The Arcades because they are a very simple form of architecture that speaks to a range of contrasting values.

Created by Jessica Halliday, Ryan Reynolds, Andrew Just and a range of supportive sponsors, the easily movable structures reinstate an important historical diagonal axis that links Victoria Park and Victoria Street. They are made from contemporary technologies and yet the shape is traced from Mountfort’s neo-Gothic arches. The rhythm and placement of the arches is designed for temporary markets to set up alongside them. They are carefully engineered to allow for different future configurations, and yet didn’t need consents as they are considered pergolas! It’s the sort of clever and generous thinking that we’d like to see more of in Christchurch.”

FESTA is being held in Christchurch over Labour Weekend. For more information, visit festa.org.nz PHOTOGRAPHY / Guy Frederick

146 / HOME NEW ZEALAND

SUPPLY 6122H

Kettal outdoor furniture in store now. Kettal is a global industry leader with almost 50 years of experience in bringing stylish contemporary outdoor furniture to discerning customers.

MODEL

Landscape Range

DESIGN

MODEL

Maia Range

Patricia Urquiola

DESIGN

Kettal

Auckland + 64 9 523 2105 96E Carlton Gore Rd, Newmarket

Queenstown + 64 3 442 7659 The Junction, Cnr Gorge Rd & Robins Rd

www.studioitalia.co.nz info@studioitalia.co.nz