INSIDE S TO R I E S New Zealanders in situ
home style
AUG/SEPT 2020 NZ/AUS $11.50 INC GST
9 421022 130048
Architectural projects that link to the land
Indigenous ingredients for mighty fine dining
homestyle Editions launch collection
LOVE YOUR LAUNDRY INTRODUCING THE 12KG FRONT LOADER WASHING MACHINE WITH ACTIVEINTELLIGENCEâ„¢ AND 8KG HEAT PUMP CONDENSING DRYER
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CONTENTS
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94
Contents
August/September
68
HOMES 56
The likeness An expat artist styles her new spaces in ways that draw parallels with her work.
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Deep in thought The meaningful makeover of this former state house considered both whānau and whenua.
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A place of her own … and for you too, if you’d like to come and stay at this Waiheke Island escape.
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United we stand Exposed to the elements of Ripiro Beach, this unassuming retreat let its setting dictate its form.
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A step towards serenity Seeking a true retreat, where loose down cushions are offering the utmost in snug comfort? Maho offers a sophistication and a laidback luxury that affords you nothing but satisfaction and serenity.
DAW S O N & C O .
CONTENTS
STYLE 14
Scout Covetable stuff and things.
18
Bookmarks Your other favourite reads.
20
Colour palette Risks worth taking.
22
homestyle Editions Our first collection.
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Forever home More textile TLC.
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Paint trends Nostalgic stripes.
People 36
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At home with Sarah Harris Gould.
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In the kitchen with
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Monique Fiso.
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LIVING
At home with Juliette Wanty.
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Well & good Everyday pleasures.
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DESIGN
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Outside in
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Bleached.
The Pinwheel House.
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Woman in architecture
ETC
Small space … big personality.
124
Last word Monica Murton.
Lynda Simmons.
116
Store profile
Case study You’ve got options.
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Editor’s note
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Subscribe
Ercol ‘Reprise’ Armchair and ‘Canvas’ Sideboard designed by Norm Architects, ‘Grade’ Sofa designed by Jonas Wagell, ‘IO’ Side Table designed by Lars B. Fjetland
Designer Furniture, Lighting and Objects
15 Williamson Ave, Ponsonby
goodform.co.nz
‘Back to normal’ is a phrase I’ve been trying not to use for the past couple of months. For all intents and purposes, most elements of my life resemble what came before the pandemic, but the ‘normal’ of this busyness as usual hadn’t been serving me or anyone else very well. People and the planet are suffering as we try to keep pace with modern life, so I’ve been assessing which aspects of mine I actually want to return to, and which I could change. For me and my family, what will remain a calming constant and antidote to the hustle of the working week is the ritual of weekends spent at home, leaning into the JOMO — the joy of missing out. Conversely, it’s been a treat for the homestyle team to leave our respective abodes to reconnect at the office this issue and get back on the road meeting homeowners around the country — from Ripiro Beach in Northland, to Waiheke Island in the Hauraki Gulf, to Lyttelton on Banks Peninsula. It’s been such a positive example of the value of sharing stories of what home means to us as New Zealanders. As well as these local spots, this issue we take you to Toronto, to the home of expat Kiwi artist/stylist/ queen of good taste Anna Church to find out about her recent renovation and what inspired her new collection of sculptography. Yes, it’s a thing, and you can find out more on page 56. Loads of suggestions get tossed around in our office on other ways we can share our insider understanding of interiors with you. We’ve created imagery and stories for local brands, hosted workshops, conceptualised interiors for urban developments and then some, and as independent publishers, we always have business ideas brewing. With Covid-19 changing the media landscape, we decided to bring to life one we’ve been mulling over for ages, so while producing our two latest issues, we’ve also been designing the first range for homestyle Editions — a platform that offers a selection of objects for your home. 8 homest yle
For our launch collection (partially pictured above), we worked with a local manufacturer on a selection of timber pieces; what started with a stool grew to include plinths, tables and lamps. Turn to page 22 to see them, and find out more at homestyle-editions.co.nz. We got so much satisfaction from crafting this collection, and from putting together these pages for you to pick up, so I want to share my gratitude for you, our readers who continue to support us as a small business. We hope you enjoy reading Issue 97 as much as we enjoyed making it.
Alice Lines, @alice.lines
Portrait: Melanie Jenkins. Alice wears: Oversized Boxy tee, kowtowclothing.com. Bobby blazer, georgiaalice.com. Calla culottes, juliettehogan.com
EDITOR’S NOTE
Full height window for radiating natural light
Uninterrupted ocean views
Seamless flow with a flush sill
DES IG LED AL
TED INS BU T RI
FRSTHS 9/20
ED DIS UR T CT
MANUF D A NE
CREDITS
EDITOR Alice Lines DEPUTY EDITOR Philippa Prentice ART DIRECTOR Juliette Wanty CONTRIBUTORS Amber-Jayne Bain Anna Church Sarah Ell Wendy Fenwick Henrietta Harris Duncan Innes Melanie Jenkins Wono Kim Claire McCall Jackie Meiring Larnie Nicolson Matt Quérée Patrick Reynolds Catherine Steel Manja Wachsmuth Michelle Weir Rebecca Wood ADVERTISING & COMMERCIAL PARTNERSHIPS Nicholas Burrowes General Manager nick@homestyle.co.nz +64 21 505 992 SUBSCRIPTIONS Online homestyle.co.nz Email subs@homestyle.co.nz Phone 0800 246 637 International phone +64 9 360 5700
PUBLISHER The Pluto Group Ltd Physical 326 New North Road, Kingsland, Auckland 1021 Postal PO Box 911577, Victoria Street West, Auckland 1142 Phone +64 9 300 7544 Email info@homestyle.co.nz PRINTER Image Print DISTRIBUTOR Ovato SSN 1177-0015
homestyle is a member of the MPA, and circulation is independently audited under the Audit Bureau of Circulation. Contact us for our latest circulation and readership information. homestyle is subject to copyright in its entirety. The contents may not be reproduced in any form, either whole or in part, without written permission from 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’. No responsibility is accepted for unsolicited material. Paint colours may alter in the printing process.
COVER PHOTOGRAPHY Anna Church
Subscribe to homestyle and save on page 135.
Auckland | Wellington | Christchurch
BoConcept.com
Bringing quality and service to your home with Armadillo & Co handmade rugs
The Ivy House 347 Parnell Road Parnell, Auckland 09 373 3396 www.theivyhouse.co.nz
STYLE
Style 14
Scout
18
Bookmarks
20
Colour palette
22
homestyle Editions
27
Forever home
32
Paint trends
It pays to remember that curating your ultimate interior requires considering both how it looks and how it feels. Turn to page 27 to learn more — and how to take care of your textiles to help your sensory successes last longer.
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STYLE —— Shop
Scout We’ve been shopping for your home. Treasure hunt ONE TO WATCH The Serif TV’s state-of-the-art tech is amazing, but train your eyes on those good looks. In collaboration with Samsung, acclaimed creatives Ronan and Erwan Bouroullec took a 360-degree approach to its capital i-shaped profile and slim frame, so it looks sharp from all angles and becomes a statement piece. It’s now available in Aotearoa for the first time. samsung.com/nz
Sanctum dining chair, $2119, dawsonandco.nz
Confetti tumblers by Kate Mitchell Glass, $45 each, paperplanestore.com
Otto cushion, $399, trinketsolo.com
Elevating your everyday items is a form of selfcare, so do yourself a kindness and go chasing this Vannfall (‘waterfall’) jug by Japanese designer Jin Kuramoto for Norway’s Nedre Foss. Embodying its Norwegian name, the glass is reminiscent of running water, an effect Jin (a proponent of touch-centric haptic design) achieved by making his original model from hemp string woven onto a wire frame then covered in plaster. goodform.co.nz
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powersurge.co.nz
II soap dish, $70, saladdaysceramics.com
Words: Philippa Prentice
A LITTLE TLC
Halo vase, from $129,
HIGH PRAISE A shout-out by designer Bec Dowie to her close-working team of three — including technical and design assistant Carina Webb and maker David Brimming — the new Trio lighting collection from Douglas & Bec arranges three glass globes in harmonious balance. The range includes a table lamp, a floor lamp and two pendant lights, with multiple options for the shade of glass and type of brass. douglasandbec.com
WALK ALL OVER IT Show your search for the ideal rug who’s boss by checking out Nodi’s refreshed website, which profiles not only products but also related projects, so you can see them in situ. Also new is this elegant woollen basket-weave rug produced in Marle Grey and Charcoal, which is textural yet tidy and hard-wearing, making it great for pet lovers, among others. nodirugs.com
N E W AR RIVAL S
TUFT GUY Napier’s Rakai Karaitiana of House of Aroha has been teaching himself how to hand-tuft one-off woollen rugs, treating each creation “like painting with wool”. This one, Whenua Ararau: Land of Abundance, took a week to make, from tufting to backing to stitching. Rakai uses New Zealand wool and is hoping to try local hemp yarn when he can get hold of it.
WALLPAPER FOR YOUR BATHROOM?
houseofaroha.nz
I’M ON FIRE The feminine side of Walk In The Park, the Auckland-based woodturning brand she runs with her husband Sam Choi, Jiho Yun has turned her talent to curating an online store stocked with enchanting items. We’ve developed a burning love for these Sphere candles handcrafted in her native Korea. Might they meet their match at your place? jiho-yun.com/store
Discover our New Arrivals including our new waterproof fibreglass wallcovering at TILESPACE.CO.NZ
ESSENTIAL SERVICES Credit where it’s due to pared-back homeware, which may seem minor but can do major heavy lifting in interior schemes. BoConcept’s pleasingly minimal new range of accessories is inspired by organic forms and natural materials, and rendered in warm, soft neutrals. The vessels above are (from left) Pillars dishes and a Pillars vase, plus a Luna bowl. boconcept.co.nz
STYLE —— Bookmarks
Top shelf
Observations of a Rural Nurse by Sara McIntyre (Massey University Press, $55)
ABOVE Te Akau whānau wall, 2017. OPPOSITE Kākahi Marae, 2008.
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Rowena, living in her caravan with various added tarpaulins and sheds, told me about being a Wiccan. I thought the skull and crossbones flag in her garden was part of this, but no. I’m really just a pirate, she said. And so it goes in this tremendous book, which captures life as Sara and her fellow King Countrymen know it. Sara was introduced to Kākahi on a childhood holiday in 1960. Her late parents, Patti and Peter, bought a property there two years after that first visit, and Peter went on spend much of his career painting its landscape and residents, publishing a book of his own work, Kakahi New Zealand, in 1972.
Relocating from Wellington 10 years ago, Sara moved onto the McIntyre acreage and now lives next door to her brother, Simon, and his family. Her work as a district nurse based at Taumarunui Hospital saw her caring for patients in their homes and gave her an intimate window not only to the lives of the locals but also to this special part of the North Island, crisscrossed with gravel roads. Her at once uncommon and everyday insights are gathered here today in stirring photos that tell it like it is. Shots of Peter’s artwork and pics from the McIntyres’ family album are collected at the back of the book — moments in their own King Country home, very much where the heart is.
Words: Philippa Prentice
Your other favourite reads.
IN BRIEF Cooking in Marfa by Virginia Lebermann and Rocky Barnette (Phaidon, $75) Reboot your tapped-out repertoire of recipes while visiting a West Texas desert town as singular as the dishes its acclaimed restaurant The Capri serves. Virginia is the owner and her partner Rocky’s head chef there, and here they share jazzed-up classic American and Mexican fare plus their own creations (and cocktails) presented as memorably as the art Marfa’s famous for. The Great Indoors by Emily Anthes (Macmillan, $45) You probably think you know your home, office and other haunts like the back of your hand. In this book, science journalist Emily asserts that you don’t, actually, and uses cutting-edge research to help reveal the ways the buildings we spend our lives in shape us. How might your house be influencing your immune system or your office benefitting your relationships? You’re about to find out — and it’s fascinating.
Seafog Linen
Forecast Limestone
Pluto Wool Petrol
Be Well (Gestalten, $95) The concept of ‘self-care’ might seem a new invention, but of course people have been practising it for ages. Edited by US beauty writer Kari Molvar, this elegant read dives into the ways in which ancient healing rituals and modern pampering techniques can boost our wellbeing. Architecture gets a look-in, influencers are profiled and pins are dropped on wellness destinations you’ll want to bookmark for future reference.
A unique range of designer interior textiles, direct to the public at affordable prices. Available Nationwide. Free samples via our website.
www.marthas.co.nz
STYLE —— Colour palette
Reward for bravery
Take a calculated risk on colours that catch you by surprise.
If we can learn anything from the fantastic fit-out of this London office, spread over three floors of an 18th-century warehouse, it’s that fortune favours the brave. Design studio Daytrip took notes from the vintage optimism of 1950s ads marketing kitchens to women and photographer Slim Aarons’ glam take on mid-century life in Palm Springs for their playful, feminine colour palette. It celebrates the unexpected, teaming bright reds and pinks with dusky and dusty ones, punctuated by browns and yellows of similarly different strengths. Nothing ventured, nothing gained — let our edit of pieces and paints help you have such fun.
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Photography: Mariell Lind Hansen
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Resene Coral Tree
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Resene Scoria
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Resene Jalapeno R J l
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OPPOSITE, FROM LEFT 1. Copal chair by Tolv, $3149, dawsonandco.nz. 2. #1 candle holder, $80, and #2 candle holder, $85, by Fritz Hansen, cultdesign.co.nz. 3. Throw, $240, themohairstore.co.nz. 4. Mr Siamese Meander bag, $499, deadlyponies.com. 5. Plant box by Ferm Living, $455, slowstore.co.nz. ABOVE, CLOCKWISE FROM TOP LEFT 6. Cahier notebooks by Moleskine, $38/set of three, paperplanestore.com. 7. Serena serving bowl by CittĂ , $90, paperplanestore.com. 8. Ambience lamp by Warm Nordic, $595, goodform.co.nz. 9. Macro Stripe cushion in Raf Simons x Kvadrat fabric, $349, tessuti.co.nz. 10. Secant table by Warm Nordic, $1395, goodform.co.nz. 11. Platform stool by David Moreland, $340, cittadesign.com. 12. Carmo footstool, $2879, boconcept.co.nz. 13. Agra Knot rug by Armadillo & Co, $5595, theivyhouse. co.nz. 14. Arnold Circus stool, $250, paperplanestore.com. 15. Colour cup by Monmouth Glass Studio, $300/set of six, monmouthglassstudio.com. 16. Raised platter by Walk in the Park, $450, precinct35.co.nz.
Colours from Resene’s Multi-Finish range, available at Resene ColorShops and selected resellers.
www.resene.co.nz 0800 RESENE (737 363)
STYLE —— homestyle Editions
WE’ ve got it ma d e Introducing homestyle Editions — a new furniture and lighting collection designed by us that celebrates the art of display.
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ST YLIN G
PH OTO G R APHY
Alice Lines
M elanie Jenkins
homestyle Editions —— STYLE
And now, for our next trick, we’re very proud to present homestyle Editions, a selection of pieces we’ve dreamed up for your interior in collaboration with local craftspeople. For our launch collection — available exclusively on our new online platform homestyle-editions.co.nz — we worked with manufacturers Southern Creations, who specialise in making beautiful wooden furniture in their Christchurch workshop. What started as an idea for a single stool grew to include plinths, tables and lamps. Following the tradition of neoclassicism, in designing these items, we drew inspiration from the architecture of ancient Greece and Rome. Fluted columns and rebated edges encourage light to play on their surfaces, while the smooth, hand-turned shape of the
tapered bases offers a subtly feminine form. Handcrafted from solid American oak in your choice of natural or black-stained finishes, the pieces in this collection are intended to be timeless building blocks for your home — occasional furniture and lighting that can be arranged and rearranged to suit your mood or season of life. Place an Athena lamp on the end of a sideboard to start a statement vignette, pair the Hestia occasional table with the Monument coffee table for a modern take on nesting tables, or create a dramatic focal point at the end of your hallway with an objet d’art atop a plinth. Whatever you pick and mix, homestyle Editions’ refined appeal promises to elevate your spaces with top-quality style and grace. >
BACKGROUND (throughout) Walls in Resene Cloud, floor in Resene Half Stonehenge, resene.co.nz. ABOVE, FROM LEFT Stony White vintage linen (used as curtain), $50/m, marthas.co.nz. Hestia occasional table, $795, homestyle-editions.co.nz. Pear candle, $39, studiobestwishes.com. OPPOSITE, FROM LEFT Column floor lamp, $1975; Hestia occasional table, $795; Monument coffee table, $1475; Niche 075 plinth, $595; Niche 030 plinth, $295, homestyle-editions.co.nz. All other items stylist’s own.
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STYLE —— homestyle Editions
ABOVE, FROM LEFT Niche 075 plinth, $595; Athena table lamp, $1275; Niche 030 plinth, $295; Niche 100 plinth, $745, homestyle-editions.co.nz. OPPOSITE, FROM LEFT Stony White vintage linen (used as curtain), $50/m, marthas.co.nz. Niche 075 plinth, $595; Column table lamp, $1275; Twin Pedestal dining table, $6750; Museum stool, $795, homestyle-editions.co.nz. Floral arrangement, POA, felicityjones.co.nz. All other items stylist’s own.
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Photography: Wendy Fenwick
homestyle Editions —— STYLE
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Less is More Escea’s DS Series gives you less of everything to give you more than ever before. Less frame and unnecessary detail for more focus on the flames. Less wasted heat with a higher efficiency rating. And less depth to give you a sleek gas fireplace that uses a small footprint in the home. Available both single and double sided.
Learn more at escea.com/DS-Series
Forever home —— FISHER & PAYKEL
Good senses WO RDS
Alice Lines ST YLIN G
Juliet te Want y PH OTO G R APHY Wendy Fenwick
In part two of our textilecare series, we go beyond the visuals to the way our homes make us feel.
BACKDROP (throughout) Wall in Dulux Suede Effects in Eco Chic, dulux.co.nz. ABOVE, FROM LEFT Pinstripe linen tablecloth, $169, cittadesign.com. Vases, $180 and $350; bowl, $90, rachelcarterceramics.com. Plate by Duncan Shearer, $100, kaolin.store. CH36 chair by Hans J Wegner, $2000, cultdesign.co.nz. Rinnovo hemp fabric (used as curtain), hemptech.co.nz. Flora stylist’s own.
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FISHER & PAYKEL —— Forever home
Do you ever stop to think about how you want your home to feel — physically and emotionally?
ABOVE, FROM LEFT Basket Weave wool rug, $2090, nodirugs.com. Katie side table, $500, achomestore.co.nz. Espresso cup, $44, rachelcarterceramics.com. Line 2.0 wall lamp, $468, douglasandbec.com. Sove linen pillowcases, $80, cittadesign.com. Moon Beauty silk pillowcases, $99 each, penneyandbennett.co.nz. Disc cotton cushion, $160, klay.co.nz. Flat linen sheet, $159/queen, fatherrabbit.com. Sove linen duvet cover, $319/queen, cittadesign.com. Rice linen fabric (used as curtain), $46/m, marthas.co.nz. Books stylist’s own.
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Forever home —— FISHER & PAYKEL
Sensory perceptions
On our journey to designing a home that’s good for us, reflecting our style while providing comfort, we’re always aiming to devise an interior scheme that satisfies more of our senses than simply sight. Do you ever stop to think about how you want your home to feel — physically and emotionally? It’s a step you don’t want to skip. One of the easiest ways to add tactile appeal to your spaces is by layering textiles — opting for the best-quality natural fibres you can afford, then treating them with care so they’ll last longer. One of the benefits of such materials is they often become even more beautiful and ‘you’ with use. To maximise their graceful ageing, appliances with top technology offer an invaluable helping hand, like two of our picks: Fisher & Paykel’s 12kg ActiveIntelligence™ Front Loader washing machine and 9kg Heat Pump Condensing dryer, both of which boast all the advanced features you need to care for your favourite threads.
Touch points
Your living area is an easy space in which to layer touchable natural materials — nubby bouclé throws, cosy wool blankets, smooth velvet cushion covers… Woven and tufted fabrics can pill and attract dust and lint, so to keep them in optimal condition, wash them gently but regularly. This Fisher & Paykel washing machine has a Woolmark-certified wool wash you can always trust. Velvet cushion covers are best washed inside out on its Delicate cycle at a temperature below 30ºC.
Curtain call
A stellar combination of form and function, hemp curtains can really cocoon a room and now rival linen as our sustainable fabric of choice. Soft to the touch, environmentally friendly, and requiring no chemical sprays or extra irrigation during its growth cycle, hemp is becoming more mainstream, popular for how good the fabric feels and its feel-good factor.
Whatever your curtains are made of, at this time of year, checking them for mould will help maintain them and the health of your home. Your success when washing them will depend on their colourfastness, the durability of the print, whether they’ve been pre-shrunk and the presence of thermal backing. If in doubt, spot-cleaning (for water-safe and colourfast fabrics) or airing outside are always safe options — sunshine’s a great sanitiser. If the fabric’s been pre-shrunk or shrinkage won’t be too much of a problem, handwash them in cold water with mild detergent, or machine-wash, taking advantage of this machine’s handy Bulky cycle. Thermal-backed curtains should not be washed in a machine.
Dialled-up dining
We’re relishing entertaining at home again, in spaces that allow us to gather and connect, filled with people and pieces we treasure. Reclaim your dining room as a carefree and welcoming hub by using your best tablecloths and napkins without worrying about spills — now’s the time to live in the moment. If the upshot of your fun night is food on your textiles, wash them as soon as possible, remembering that oily stains need warm water to aid removal, and other stains need cold. Cotton and linen can be spot-cleaned then washed; gently dab fragile dyed linen as rubbing can lead to fading. This machine’s Soak function combines tumbling with soaking to help lift stubborn stains. > homest yle 29
FISHER & PAYKEL —— Forever home
And so, to bedrooms
Perfectly imperfect linen is a must for a laidback-luxe bedroom look and feel that’s easy to achieve and ultra-relaxing. Made from strong and absorbent flax fibres, quality linen is an investment that should last for a long time. It’ll get softer with every wash, but it’s not only about when you wash it — it’s also about how. Sweat, oil from our skin and the lotions and potions we slather on ourselves can all build up on our bedding, causing the fabric to deteriorate. To keep on top of this, wash yours frequently with mild detergent on an Everyday cycle; the large 12kg drum of this machine lets you wash your sheets and duvet cover in one go. Tumble-dry at a low temperature (this dryer’s reversing technology reduces tangling for a more efficient dry) or if you opt to hang your linen bedding on the line, avoid leaving it in direct sunlight for too long or the colour may become bleached.
Major bathe
The joy of luxurious towels cannot be underestimated; look for organic cotton in textural ribbed and waffle finishes. Keep towels refined by washing them separately to avoid lint transfer from other fabrics. We love this washing machine’s dedicated Towel cycle, designed to keep them fluffy and hygienically clean, and the dryer comes into its own with absorbent items like this; its autosensing technology measures moisture and shuts off at just the right time.
Actually love your laundry
ABOVE, FROM FRONT LEFT Basket Weave wool rug, $2090, nodirugs.com. Horizon side table, $740, cittadesign.com. Vase, $80, rachelcarterceramics.com. Shaggy chair by Timothy Oulton, $5849, dawsonandco.nz. Globe cotton cushion, $160, klay.co.nz. Biscotti linen fabric (used as curtain), $58/m, marthas.co.nz. Square linen cushion, $230, klay.co.nz. Wool blanket by Røros Tweed, $425, everyday-needs.com. Cotton bolster, $175, klay.co.nz. RIGHT, FROM LEFT Artisan White Gloss tiles, $99.50/m2, tilespace.co.nz. Brixton cotton bath towel, $40, fatherrabbit.com. Waffle cotton shower towel, $59, mavisand osborn.com. Clovelly cotton hand towel, $45, shopbaina.com. Watson side table, $600, achomestore.co.nz.
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High-performance laundry appliances are a mood-improving addition to any home, and just like taking care of your textiles, the key to getting the most out of them is to show them some love. This washing machine has a Drum Clean function that reminds you when it’s been 100 cycles since the last clean. When you get the nod, empty the machine and run the cleaning cycle at 90ºC to let the hot water remove residue. As for your dryer, the experts at Fisher & Paykel recommend emptying the filter after every load, as lint can become a fire hazard if it’s allowed to accumulate. fisherpaykel.com
Forever home —— FISHER & PAYKEL
A+ ambience
With SmartDrive™ electronic feedback adjusting the action, there are fewer moving parts in the 12kg ActiveIntelligence™ Front Loader washing machine, for reliable, efficient and quiet operation. It’s designed to match the Fisher & Paykel 9kg Heat Pump Condensing dryer both functionally and aesthetically; install them side by side or stack the dryer on top of the washer.
ABOVE, BACKDROP Artisan White Gloss tiles, $99.50/m2, tilespace.co.nz. Benchtop in Dulux Cardrona; cabinetry in Dulux Kauri Cliffs, dulux.xo.nz. ITEMS FROM LEFT Knitted cotton cloths, $36/set of three, fatherrabbit.com. Soap dish by Misma Anaru, $90; soap by Sphaera, $26, everyday-needs.com. Fisher & Paykel 12kg ActiveIntelligence™ Front Loader washing machine, $3469; Fisher & Paykel 9kg Heat Pump Condensing dryer, $3069, fisherpakyel.com. Brixton cotton bath towel, $40, fatherrabbit.com. Hayes cotton bath towel, $80, shopbaina.com. Waffle cotton shower towels, $59 each, and hand towel, $25, mavisandosborn.com. Rakei basket, $139, cittadesign.com.
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RESENE —— Paint trends
Dining sweet A nostalgic, restaurantinspired setting for good nights in. ST YLIN G
PH OTO G R APHY
Juliet te Want y
M elanie Jenkins
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Stylist’s tip Repeat the graphic motif around a floating shelf, as we have here, or your window frames.
Get the look -
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Stripes are a tried-and-tested pattern that never goes out of style — and talk about impactful. Keep the look chic, not dizzying, by confining them to a distinct area, pairing them with mainly monochrome furniture and homeware, and choosing classic diner-like shades such as green, red and yellow. We went for Resene Palm Green. These stripes are used to define a bench seat. If you don’t have built-in furniture, you could get a similar effect through creating an ornamental frieze by painting a band of stripes around your walls, near the ceiling.
OPPOSITE, BACKDROP Left and right walls in Resene SpaceCote Low Sheen in Resene Settlement; rear wall and bench seat in Resene SpaceCote Low Sheen in Resene Half Bison Hide and Resene SpaceCote Low Sheen in Resene Palm Green; floor in Resene Walk-on in Resene Triple Stonehenge, resene.co.nz. OPPOSITE, FROM LEFT Studio velvet fabric (covering squab), $110/m, marthas.co.nz. Tangerine chairs by Simon James for Resident, $615 each, simonjames.co.nz. Romana dining table by Ercol, from $4145, goodform. co.nz. Prices Altar candle, $24, tessuti.co.nz. Ildhane candle holder by Nedre Foss, $115, goodform.co.nz. Classic candle by Broste Copenhagen, $4; Orange Blossom bowl by Rachel Carley, $103, tessuti.co.nz. Vitro wine glass, $25, fatherrabbit.com. Nest pendant light, $850, vitrine.co.nz. Expose tray, $189, boconcept.co.nz. ADDITIONAL ITEMS ABOVE, FROM LEFT Como cushion, $155, fatherrabbit. com. Disc squab by Klay, $160, tessuti.co.nz.
To reproduce this look at your place, paint your walls with two coats of a neutral base colour (we chose Resene Half Bison Hide) and allow to dry. Use a metre rule and pencil to measure 12cm vertical stripes, then mask them with painter’s tape to ensure clean lines. Ours start at the base of the bench seat, then travel across the seat and up the wall. Paint the stripes with two coats of your chosen Resene colour, allow to dry, then remove the tape. We finished our pattern by following the instructions above to add alternating 12cm x 12cm squares on the wall between the stripes.
Resene Settlement l
Resene Half Bison Hide
Resene Palm Green
Resene Res Triple Stonehenge
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Over the page, we visit Harris Tapper fashion designer Sarah Harris Gould, whose inimitable interior dĂŠcor reveals her penchant for the unexpected.
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Original content Complete perfection’s not the goal for fashion designer Sarah Harris Gould’s décor — unique and interesting is. INTERVIE W Alice Lines PH OTO G R APHY Dunc an Innes
SUIT YOURSELF Sarah’s fail-safe feel-good outfit is her Harris Tapper suiting. “I always gravitate toward a comfortable black suit — I love the versatility,” she says. The intriguing homeware seen here includes an ottoman covered in fabric by Kelly Wearstler from Warwick and a lamp from The Collective.
Half of design duo Harris Tapper (with her friend Lauren Tapper), Sarah Harris Gould lives in Grey Lynn, Auckland, in the home she renovated with her husband, Harry. She says what she loves most about their new spaces is more of a feeling than something tangible — she always feels calm and happy here. How long have you been living here, Sarah? My husband Harry and I bought this property in 2016. The paint job was polarising, the bathroom was situated in the sunniest part of the house and the garden was incredibly overgrown, but we were attracted by the location and the renovation opportunities. We lived here for about a year before we
started renovating, which gave us time to really understand what we wanted. And what was that? To reconfigure the kitchen/living space and bathroom to make the former more open-plan and both more conducive to modern life. Harry and I had a strong vision, so we enlisted T Plus Architects to draw it up and Urry & Burgess Construction to help bring it to life. How would you describe your interior aesthetic? Eclectic. I like to include things I haven’t seen in other people’s homes. My aesthetic is darker than Harry’s, so we clash a little when it comes to choosing furniture; our black Mongolian goat-hair chair
from Mid Century Swag was a hard sell. For the most part, though, our tastes are aligned, so that makes things easy. You have an eye for interesting furniture and objects — where do you find them? Reimagining objects in unrelated settings is something I’ve always loved doing. When I was younger, I’d collect small objects from everywhere and make jewellery to sell. This has carried into my adult life and into interiors. I always pop into charity stores if I’m passing by and small New Zealand towns have some exceptional secondhand shops. In Auckland, I keep tabs on what Babelogue, Mid Century Swag and Flotsam & > homest yle 37
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Jetsam have in stock — they’re all so beautifully curated. What informs Harris Tapper’s aesthetic? Our aesthetic is driven by so many different things, but a large part of it is imagining our community of Harris Tapper women — how they live and how our clothes can evolve with them. Art and design has always been a big inspiration for us and we often look to female artists and creatives to inform our collections, but at the end of the day, it comes down to what we feel our woman needs from her wardrobe, and what her lifestyle’s like. We want women to feel, above all else, like themselves. What’s coming up for your label? We have a goal to find a balance between environmentally responsible practices 38 homest yle
and sustainable business planning. We’ve recently opened up a preorder system on harristapper.com, where customers can pre-purchase pieces from upcoming seasons before we go into production. Not only does this allow our community to be better informed about the product they’re buying before it’s actually produced, it also matches supply with demand, allowing us to reduce overproduction and waste. We hope it can be used as a tool to inform smarter forecasting and buying for our online store, translating into more efficient production, because we’ll only be making pieces with a proven sales track record, ordered by our customers and exclusive wholesale partners, thus removing the risks of overproduction and surplus stock. >
TOP LEFT On the couple’s French antique dining table from Vitrine (the chairs are from there too) is a rubber vase by Gaetano Pesce. In the kitchen, the mid-century bar stools are secondhand, the lamp was a gift to Sarah from Harry from House of Hackney and the palm tree vase next to it is from Junk & Disorderly. Sarah made the shelf herself from a piece of broken stone from Artedomus. ABOVE This artwork is Back There by Matt Arbuckle; the one seen in the kitchen/dining space on the previous page is The Cook’s Companion by Dick Frizzell.
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“My favourite piece of furniture is the marble coffee table I made from an offcut of travertine and a base I found on Trade Me.”
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We’ve also recently launched our new collection, Overtime, which is an ode to mid-century tailoring and undulating proportions. We’ve used heavy silk organza, cashmere and thick wool coating to create pieces with exaggerated silhouettes that feel refined but have a sense of ease.
THIS & THAT “Our style is ever-evolving, which might be why it’s so eclectic,” says Sarah. “I also do a lot of thrift-shopping; I’m not a big advocate of buying everything new and in a perfect state. We’ve re-covered one of our couches three times as it’s moved from room to room.” The lion rug in Ophelia’s bedroom (above) is from Liberty in London. “She was afraid of it until recently — we had to introduce it slowly!” says Sarah. The secondhand armchair in this space and headboard in the master bedroom (top right) have both been reupholstered with fabric from House of Hackney.
What do you think are the most important aspects of running your own business in this brave new world? The entire fashion industry is built on the idea of consumerism and newness, which has created a greenwashed marketing culture, so the whole concept of sustainability in this industry is very murky. We believe in long-term business sustainability and ethical practices. We don’t compromise on the quality of our products, focusing
on fit, refined and considered detailing, and exceptional fabrics. You’re a new mum too — how do you juggle work and home life? I think ‘balance’ is different for everyone. I try not to work from home unless our daughter Ophelia is asleep, and believe routine is important — it brings understanding and stability to a busy day and week. What everyday rituals make your days? I do my best to meditate for 10 minutes daily. I’m no master but it helps clear my head and makes me feel as if I can take on anything. It’s been proven to mitigate stress and anxiety, so I can never understand why more people don’t build it into their lives. @sarahharrisgould; @harris_tapper homest yle 41
What have we here? Chef Monique Fiso’s new book, Hiakai, is a lesson on the gifts of our land, waters and sky, and how to find and eat them. PH OTO G R APHY M anja Wachsmuth & Amber-Jayne B ain
Book extract —— PEOPLE
When I returned home [at the end of 2015] after seven years in New York, I was unsure what I wanted to do next. I was 28 years old and had accomplished so much, but I was burnt out from the hard mahi (work) that comes with working in one of the most competitive cities in the culinary world. I also missed my family, and I wanted to see the next generation of my whānau grow. Being far from Aotearoa had made me realise there was a disconnect. I’d studied and mastered many different cuisines and cooking techniques but knew very little about the food of my own whakapapa (genealogy). I didn’t grow up knowing a lot about my Māori
heritage; as I got older I wanted to connect with it and realised I could do this through food. As a chef, I want my food to challenge people and their assumptions — it has to be delicious and creative but it also has to tell a story. I started to discuss Māori cuisine with people, and the general feedback centred around hāngi, fry bread and boil-up. I knew this couldn’t be the whole story and didn’t represent people whose ancestors were so connected to the land and the natural environment. I didn’t realise at the time that the story I’d begin to tell would be my own. Taking this to Aotearoa’s dining scene was always going to be a challenge. I was
really scared. I ran the idea past Matt Lambert of The Musket Room fame, who I’d worked with in New York, and he said, “Just do it”. He put me in touch with Mike Meredith to see if I could use Merediths for a pop-up, and that was the push off the ledge I needed. I thought no one would be interested and I’d consider it a success if I sold 20 tickets. I couldn’t have been more wrong. There was so much demand that I spent the rest of [2016] holding a series of popups around the country, which all sold out. I was surprised and pleased that people were so enthusiastic, but it still didn’t feel quite right. I knew I hadn’t captured the cultural aspects that I >
Our natural resources descend from the atua [god]; there’s an interconnected relationship between all things. The land, sea, rivers, plants and animals all have a mauri, a wairua — a life force, a spirit.”
MAHINGA KAI: THE GATHERING PLACES Mahinga kai is the natural connection between the atua, the land, the people and their food. Every time food is gathered, whether from the garden, forest or water, the balance of the mauri of the resources must be protected, now and for future generations. These relationships are honoured through our customs and practices — the way in which we plant, harvest, gather and hunt our kai.
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wanted to celebrate; the food was good but it didn’t tell a story. That all changed when I met Joe McLeod in late 2016. We met for a cup of tea on Boxing Day, then a couple of days later he took me on a bush walk. Joe had wanted to do something similar in the 1980s, but there wasn’t a huge appetite for it at the time. I ended up spending most of the next two months learning from Joe. He taught me about traditional uses of native plants and how to weave, then he’d test me on my knowledge and we’d make hāngi together. At the end of my summer with Joe, I realised what I’d been missing. In 2017, I took that knowledge and turned it into a series of outdoor
pop-ups around the country. They were popular and more people started to get interested in what I was doing. The pop-ups were amazing, but I was getting frustrated. It’s hard to build a team or do proper research and development when you’re constantly on the move. I knew what I was doing had incredible potential, but it needed a permanent space. People loved the hāngi experience, but I wanted to focus more heavily on indigenous ingredients. I wanted to create a modern dining experience and a new chapter for the next generation of chefs. In late 2018, we opened Hiakai in a historic building in the inner-city
Wellington suburb of Mount Cook. A couple of months later, Time magazine named the restaurant one of its ‘Greatest Places of 2019’. As a chef, my style is avant-garde and influenced by the stories I want to tell. What I create has to have meaning. At Hiakai, we showcase an indigenous ingredient in every dish. A lot of people describe what we do as thoughtprovoking, even polarising at times. I’d never change that about us. Hiakai represents a new era for Māori cuisine. We believe that food and drink is more than a commodity — it’s a medium for cultural exchange and change. We take inspiration from our home, Aotearoa.>
Māori had names for more than 50 types of soil, over 100 birds, 60 types of earthworm and more than 300 plants. There are estimated to be at least 190 edible native plants in Aotearoa.
LEFT Kina panna cotta, smoked warehou, kuku. MIDDLE Preserved ingredients to keep in the pātaka (pantry) to help create a diverse range of flavours and textures. RIGHT Pears, horopito ice cream, almond soil. The flavour and colour that can be extracted from manono bark lends itself beautifully to sweet and savoury applications. The manono-poached pears in this recipe are best when left to soak in manono syrup overnight. OPPOSITE Hiakai restaurant, Wellington.
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A note on foraging I’ve spent a long time learning about traditional Māori hunting, cultivation and cooking — and discovering how to weave all this information into practical ways of gathering and eating. It’s my hope that this book will help you look at Māori cuisine in a new way, to understand and respect the rich history, culture and knowledge it contains. You might never have considered eating some of the indigenous ingredients featured in this book, or even known they were edible. Or you may have specific taste memories linked to bitter pūhā or sweet kūmara and be pleasantly surprised to find they can be used in contemporary dishes as well as traditional ones. Either way, I hope the recipes will stimulate your curiosity and creativity. I also hope you’ll be motivated to look more closely at ngā tipu (indigenous plants) around you when you’re next exploring our lush ngahere (forest). We’re lucky to live in such a bountiful 46 homest yle
landscape, where indigenous plants are found everywhere, from small city reserves to vast national parks. If you’re going to go foraging, though, keep some basic protocols in mind. Don’t forage in areas that may be polluted or toxic, such as roadside verges that absorb vehicle emissions or that may have been sprayed. Don’t taste or eat anything you can’t identify or you’re not sure about. Follow the rules and regulations for foraging in a certain area, whether that’s getting permission from the landowner or obtaining a licence. Only pick or harvest what you need — take a third, leave a third for next time and leave a third to regenerate. Hiakai is the Māori word for hungry or having a craving for food. I think it captures everything we’re trying to do: to fill up our bellies and our minds with the indigenous ingredients that nourished our ancestors. I’m proud to be able to share this kai with you.
Edited extract from Hiakai by Monique Fiso, with Lucy Corry and Tracy Berno (Penguin Random House, $65). Pre-order now via penguin.co.nz.
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At home with —— PEOPLE
Two stor y As you’d expect from our indomitable art director, Juliette Wanty and her partner have imbued their home with true heart. INTERVIE W
PH OTO G R APHY
Alice Lines
Michelle Weir
Homestyle art director Juliette Wanty lives in Parnell, Auckland with her fiancé Robin Schmid, a facade specialist at an engineering firm. She says they’ve lived in this home for so long it represents a chapter of their lives and she knows they’ll look back on it as one of the best. So, Juliette, how did you and Robin come to be living here? We actually met in this house — he was living with a friend of mine at the time — so it’s a special place to me. I moved in six years ago. Up until last year, we had our good friend as a housemate, but she’s since left to live with her partner. Although it’s a bit more space than we need for just the two of us, we love it here, so we decided to stay. And you’re renting? With the high cost of property in central Auckland, we’ve made a decision to rent for now. Once we did the mental reframe that this was a choice we’d made versus the status quo, it really helped give us some perspective on our housing dream, allowing us to be content and grateful for our life right now. Although we are saving for and looking forward to owning our own home in the future, we know that checking that box isn’t the be all and end all, so we’re relishing living where we do, the lifestyle it offers and being expressive in the ways we can.
Aside from the love connection, what else is special about this house? I feel an affinity with its wonky walls and rustic quirks. It’s not even on the spectrum of perfect and Robin and I are both attracted to that. It’s also so peaceful and almost completely surrounded by green, yet within walking and bikecommuting distance of the inner city. You’ve done a bit of a reno recently — what sparked that off? Since we’ve had the place to ourselves, we’ve been able to experiment with the interior more than ever before. I saw it as an opportunity to apply my ideas in a real home and experiment with design without the pressure of things having to be perfect or appeal to anyone but us. The furniture we’ve made is far more >
ABOVE Juliette painted this bedroom cabinet for a homestyle shoot. “Combining colours is an intuitive process for me,” she says. “I want there to be a sense of variety with jovial pops throughout the house.” The pieces atop the cabinet include a bowl made by her dad for his project, Prowd. The Voie lamp is by the couple’s friend Sabine Marcelis; they bought it after staying with her in Rotterdam and perilously carried it home in their hand luggage. The textured artwork (middle) is by Amy Unkovich and the painting (right) is by Mr Rogers. OPPOSITE A junk-store print looks fierce in the living room scheme, which includes a sofa (with base in Resene Double Biscotti to blend with the existing wall colour) and coffee table Juliette and Robin made.
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‘prototype’ than polished; we find there’s always something to be gained from the design process beyond the end result. Rescuing the walls from decades of wear and tear, we painted most of them — and the kitchen cupboards — staying true to their neutral origins, which really freshened things up. The small, sad area of grey lino in the kitchen was very tired and stained, so we painted it in blue-grey Resene Smokescreen, making the space infinitely cleaner. Some of the minor updates had an unexpectedly big impact, like machinewashing the living room curtains and switching out the kitchen cupboard handles for brass ones.
ABOVE The couple have come to really appreciate their odd kitchen. “We’re so fond of the tiled built-in dining table that I’d be keen to reinterpret the idea in a place of our own,” says Juliette. These chairs were another junk find that the pair upholstered in a hard-wearing faux suede, while the billiard-style lamp shades were bought off Trade Me. On the table are mugs by Gidon Bing for Everyday Needs. TOP RIGHT The shelves beside the fireplace are painted in Resene Spanish White and display treasures including (from top) one of the globe lights that pepper the house (which Robin picked up at a thrift store then mounted on brutalist wooden bases), and vases from Babelogue (left) and made by Juliette’s ceramicist friend Emma Church.
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How about the built-in furniture? Did you and Robin make it yourselves? I’m really interested in the realm between architecture and furnishings — custom pieces that respond to an environment. Robin and I had spaces in mind for a pseudo built-in sofa, tiled coffee table, corner desk and guest-room headboard, so we designed them together and built them to fit. The sofa was designed to look built-in without messing with the existing interior, with the base merging with the wall visually but not attaching. All these items were constructed in a simple flat-pack fashion, so we can take them with us if we move. You clearly have a thing for chairs — where do you find them all? I definitely have something of a chair problem! Robin and I are both fascinated with old things and have a penchant for picking up pieces that may have been discarded because they needed a little TLC. Perhaps it’s similar to the house itself, finding the beauty in something that’s old, unloved and a bit weird. Robin’s talent for fixing things up really comes into play here — he can turn his hand to anything. >
LIVING/DINING Every item in this home (where the artwork regularly gets moved around) tells a story. The couple made the cobalt blue Diagonal Divider prototype, and their dining table is from the YMCA where they used to play indoor soccer. “We spotted it during a premises renovation and emailed them to make an offer,� says Juliette.
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Robin spotted the chrome frames of our lounge chairs on the side of the road. We then made and upholstered the seats in Como velvet from Martha’s Furnishing Fabrics. The vintage dining chairs came from friends who were moving house — they were also in bad shape and needed repairing. Others came from Trade Me or similar, in varying states before we did them up.
ABOVE Painted in Resene Alabaster, the master bedroom wall is adorned with a painting (left) by the couple’s former housemate Elisabeth Hyde-Hills and an artwork by Erica van Zon. On the bed with a headboard made by the couple are silk pillowslips from Penney & Bennett and a striped duvet by Hay. The lamp and bedside table are vintage finds. TOP RIGHT The artwork above the homemade desk (painted in Resene Waterloo) in the study (painted in Resene Quarter Buttermilk) is a poster of a James Turrell artwork, purchased from the National Gallery of Australia on a trip to Canberra. The vases are from Emma Church (left) and Babelogue.
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You’re constantly encountering interior inspo in your work — did something in particular spark off the design aesthetic you’re honing at home? It sort of happened organically. Robin’s a colour lover; we make a great match as he’s very open-minded and not afraid to call me out if he thinks I’m playing it safe. I gravitate towards design objects with a sense of identity and I’m captivated by how objects can come together to create a unique story. We also wanted the spaces to be simple and intentional — not minimalist exactly, but uncluttered — and used this ethos to experiment and celebrate some of the favourite pieces we’ve acquired over the years. An example of this is how our sofa base creates a perfect platform for our Oscar Piccolo lamp. There’s also a nostalgia to the way we’ve curated the rooms; it’s a house with character and we have a lot of secondhand pieces, so there are nods to a few different eras. What’s your advice for others wanting to make their rental their own? Improving your home environment in ways that are meaningful to you is really rewarding. Work with the space you have; paint walls if you’re able to. You don’t have to own your home to invest in special pieces such as lamps, art, plants, rugs and furniture, either — they’re portable and can easily move if you do. @juliettewanty
GUEST ROOM Against a wall of Resene Alabaster, this headboardand-plinth combo in Resene Crail and Resene Tacao is another of the couple’s creations. Doubling as display, it holds items including (from left) a vase by Gidon Bing from Everyday Needs, a jug from Babelogue and a bowl by Prowd. The candlewick bedspread was a vintage find and Juliette sewed the curtains herself.
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Next, you’ll find yourself inside the newly renovated Toronto home of Kiwi artist Anna Church. Her intriguing artworks often depict objects, and her aptitude for styling them is obvious.
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An expat artist styles her new spaces in ways that draw parallels with her work.
Th e li keness INTERVIE W Alice Lines
PH OTO G R APHY Anna Church & Rebecc a Wood
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faults, like the small, dark rooms that divided up the main floor and the terrible ’70s kitchen, and had grand visions for the old girl.
ABOVE Anna pulls up a seat on an antique bench below her Ebb & Flow artworks I and II (available through annachurchart.com and her gallery representatives in New Zealand). “I love large statement pieces on a single wall,” she says. “And clusters of leaning artworks. And I never tire of a good gallery wall.” TOP RIGHT & OPPOSITE Having the ability to start from the studs, Anna wanted to prioritise a considered aesthetic that would continue throughout the house. The finishes from the kitchen to the bathrooms were kept minimal and in the same textures and tones. Key décor items in the kitchen include the bar stools by Atelier Arking, tapware by Brizo, pendant light by Morba, wall lights found on wayfair.com and Anna’s artwork Assemble No. 2.
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Expat Kiwi artist Anna Church has lived in Toronto with her husband Nick Dalton and their two children for eight years, and in this home for five. They recently completed a renovation that took it back to its 1834 bones and built it back up again, bigger and better. Anna, do you think your interest in villas is informed by their strong association with New Zealand’s heritage architecture, especially in Auckland, where you used to live? Absolutely — although houses here tend to be multi-level, not single-storey. We were drawn to Toronto’s historic Riverside neighbourhood for its beautiful Victorian homes and tree-lined streets. When we found this house, she was tired and unpolished, but liveable. Best of all, her character features were pretty much still intact, unlike a lot of homes we looked at, in which they’d been stripped out through quick-flip renovations. We could see past her
You’re a bit of a serial renovator — what do you like about it? I love creating efficient, visually pleasing, relaxed and multifunctional spaces where family and friends can come together. My main intention here was to have each room feel separate but connected, with a flow that linked the front to the back and the outside to the inside. Nothing’s too precious in this house, and every zone and surface serves a purpose. We’ve spent so much time at home during the past few months that it’s made us so appreciative of inhabiting this beautiful place we created for ourselves and those who visit. It makes you realise how important interior design is. It’s not purely aesthetic. Design for me is about considering the use of a space as well as how it’ll look, and that starts from the ground up — not just by adding the icing and cherry on top. How did you go about transforming this home? The house has fantastic bones, with 10ft ceilings on the first and second floors, 8ft ceilings on the third floor and four great-sized bedrooms. It also had plenty of room for improvement, but we didn’t have a budget to dive into a renovation as soon as we moved in, so we lived in it for three years and I got by styling it to suit our immediate needs. That ended up being a good thing, as it gave us a chance to really think about how we operated as a family within it. >
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THE PROJECT Artist Anna Church and her executive director husband Nick Dalton renovated this four-bedroom home (plus self-contained apartment) in Toronto, Canada for themselves and their children Molly (10) and Thomas (8).
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KITCHEN/DINING “If you look at the rooms in which people tend to gather in a home, it’s often the kitchen, so ours was the most integral part of our overall design,” says Anna. “Now we love occupying this space.” Floor-to-ceiling sliding doors run from wall to wall, achieving Anna’s goal to connect outside and in. “I think coming from New Zealand gave us an advantage in how we looked at the indoor-outdoor flow. We applied our antipodean experience to turn the living rooms into well-used areas that we derive a lot of pleasure from.”
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The renovation was initially only going to involve the kitchen and main floor, with superficial tweaks to the rest of the house, but thanks to the good old knock-on effect, it ended up being easier to take everything back to the studs, rather than end up with a piecemeal blend of old and new. We also decided to create a separate two-bedroom apartment in the basement, digging down 3ft to make it more comfortable. This new space comes in handy when family come to stay from New Zealand, but at the moment we’re renting it out. How would you describe your interior aesthetic? I love to use furniture, objects and textures that harmonise with each other to create considered moments. I’m drawn to muted, natural colour palettes and textures, and like to speckle surprising elements of interest into the mix, mostly through vintage objects and furniture. I’m allergic to mainstream, cookie-cutter, fast-fashion looks. Did many pieces come with you from your previous home or has a new look developed here? A new look did emerge through this process, as I had the opportunity to create each space from scratch, which meant furniture could play a role in the cohesiveness of the aesthetic. We’ve invested in a few key pieces to pull the house together. The kitchen stools, dining table, daybed and shelves were
all custom-made by a wonderful craftsman, Moon from Atelier Arking, whose work I discovered via Instagram. It was a wonderful collaborative experience to design these items and work with him to bring them to fruition. He originally trained as an architect in South Korea, but took up crafting furniture when he moved to Canada. It’s definitely his calling. Does sustainability come into play when you’re decorating? I like to think of myself as an ‘interior environmentalist’. I’m very conscious of sourcing sustainably and considerately where I can, and like to mix secondhand and vintage furniture with new future-heirloom pieces that will be valued for years to come. Sourcing our lovely engineered hardwood flooring, made from sustainable Canadian timber, was a definite highlight of this project. My design ethos coincides with wellness >
ABOVE Complementing the kitchen island in Caesarstone’s Frozen Terra, the dining table was custom-made from white oak timber and teamed with Odger chairs by Ikea. The dish and candles are by Hawkins New York and the vintage rug was a happy find at the Christie Antique & Vintage Show. TOP LEFT Of her ultra-refined approach, Anna says, “I love living without clutter, so I’ve become a ‘one in, one out’ girl.“ The fine art portrait hanging in the stairwell is by her friend, Canadian fashion photographer Andrew Soule.
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LEFT The family’s sophisticated sofa is from Black Rooster Decor. The little brass vessel is from CB2. ABOVE Anna’s Blurred Lines artworks I and II beautify the stairwell that leads to the new basement apartment. Her ceramic dried flower by Hawkins New York on the bench is in good company with the big potted bird of paradise plant. Anna uses plants as a wellbeing and styling tool. “They’re the best accessory and elevate any room.”
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LIVING Perspective Assembly I from Anna’s latest series decorates the mantelpiece beside a vase by Rachel Saunders Ceramics and Vincent Budgerigar by Leila Jeffrey. There’s a strong connection between interior styling and Anna’s practice as a self-described ‘sculptographer’ and she continues to push into new modes of capturing the essence of objects in her art. Also seen here are some fantastic vintage finds: a coffee table from Bettencourt Manor, side table from Atomic Design, chair from Machine Age Modern and plinth from Guff.
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THOMAS’S ROOM “I love perusing antique and curiosity shops — there’s such a wealth of interesting things to be found,” says Anna. In this room, pre-loved pieces including the letter ‘t’ from the Christie Antique & Vintage Show and lamp from Guff cohabit with new ones, such as the stool by Atelier Arking and bedding by Magic Linen. The repurposed peg board was rescued from a discarded retail display.
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and wellbeing, and it’s about a much bigger system. It’s thinking about the environment and the makers, and focusing on where things come from, who they sustain, how they’re crafted and how they can change the way we live. The overall design of our renovation has definitely enhanced our family rituals.
What does home mean to you? Our home is a sanctuary, a place to be at peace with loved ones, and an anchor to pivot from and come back to be restored within.
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When are you most struck by the beauty of your completed home? It was my mission to champion our senses here and the light that now floods in plays a big part in that. Especially in Canada, with its long, harsh winters, prioritising this was a must, in order to change the way we live for the better.
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As both an artist and a stylist, do you have any tips for starting an art collection? Buy what you love! All sorts of people will give all sorts of advice about what to buy and when and where to buy it, but the bottom line is you have to live with the painting or sculpture or installation, so you should like what it looks like and how it feels to have it in your home. Unless you’re viewing art as a purely financial investment, trust your aesthetic response. I also love building relationships with artists. As an artist I value this and love having a connection to my collectors, as they do to me. It’s beautifully symbiotic!
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“We’ve spent so much time at home during the past few months that it’s made us so appreciative.”
MASTER BEDROOM Among a selection of treasures, the floating shelf by EQ3 above the couple’s bed displays Anna’s artwork Papercuts, Forenoon. The woven bench seat at the foot of the bed is another of Moon’s creations for Atelier Arking.
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EXTERIOR Sofas from West Elm, a vintage daybed and stool, and a hanging chair from wayfair.com make this courtyard a real oasis for family downtime and entertaining. “The festoon lights are good for late-night hangouts,� says Anna.
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The meaningful makeover of this former state house considered both whÄ nau and whenua.
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Claire M c C all
Patrick Reynolds
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This two-storey former state house on a Lyttelton hillside sports an exterior paint scheme that’s loud and proud for good reason. Boaties navigating the harbour use it as a landmark and the citrusy orange speaks a similar visual language as a neighbouring state house in apple green. Although the owners — a couple and their two teenagers — are community-minded, they don’t have mana whenua here. They moved south from Auckland for study and then work, and ended up here “by happy accident” because they wanted to be close to the water and found this then three-bedroom home after renting in the area. When they asked architect Michael O’Sullivan for help with a renovation, they were driven to create somewhere their extended family could stay, and to make the home so desirable that their near-adult children would never want to leave. The port town of Lyttelton lies on the side of a giant caldera, so every section is vertiginous. Forcing a generic state-house plan onto this site had been awkward; the reframe needed better integration with the land.
The owners met Michael when he was working on the build of his South Island home/studio of his practice Bull O’Sullivan Architecture. Wandering down to take a look, “we thought it was some sort of ‘out-there’ house,” says one of the homeowners. “And then we saw it had won the Sir Ian Athfield Award for New Zealand architecture.” It wasn’t difficult for Michael to convince the family to rearrange the interior of the state house for more fluidity. The idea of an additional pavilion was more unexpected, but not unwelcome. “We walked to the back of the section, lay down and looked north, up towards the edge of the caldera,” recalls Michael. Building here represented an opportunity to connect with the sun — and with each other. The owners showed Michael a photograph of one of their treasured moments: whānau congregated around a barbecue on a deck, laughing and eating kai. The concept of manaakitanga (hospitality) became a driving force in the design; they also wanted it to reflect the feeling of being on a marae. >
ABOVE The former state house stands proud in all its Resene Outrageous glory — a beacon on this Lyttelton hillside that boaties coming into the harbour say they sometimes use as a navigation point. OPPOSITE It was a case of all hands on deck when it came to the construction of the outdoor space, a collaborative effort between Michael and the homeowners, with the architect making the coffee-table bench and the family crafting the long seat built for the whole whānau.
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EXTERIOR Clad in Zincalume, the addition is a contemporary contrast to the weatherboard dwelling. The deck on the sheltered north-facing side gets lots of sun, so the pergola provides much-needed protection. The yellow shade sail is the perfect match for the powdercoated joinery.
THE PROJECT A Lyttelton family renovated this two-bedroom home (plus additional built-in spaces for sleeping) with the help of Michael O’Sullivan of Bull O’Sullivan Architecture.
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BELOW LEFT Michael welded the painted steel in this covered outdoor area. The structure’s corrugated Clearlite roof is a link between the original home and its addition. BELOW RIGHT Rotary-cut kauri plywood turns the stairwell into a honeycomb. OPPOSITE Handcrafted from gathered flax, the roof of the pergola will need to be replaced every three years or so.
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In bringing this to life, the relationship moved beyond that of client and advisor. One of the homeowners is a trained draughtsman unafraid to get hands-on with a project, and Michael is a like-minded spirit — a maker as much as an architect. Many decisions were made away from the drawing board, as great ideas often are. Michael and the family worked alongside the builders on the addition, as bit by arduous bit, the pavilion wedged into the hillside. “The site’s too steep for heavy machinery, so my son and I became labourers, carrying materials up,” says one of the homeowners. The result is a crafted interweaving of long-standing Māori values with a contemporary overlay: two buildings linked by an internal staircase but also an ātea — a transition zone reminiscent of the open ground that fronts a wharenui. The original home already had enough bedrooms and bathrooms for its occupants, but several walls were removed to create a music/theatre space. Here, Michael took inspiration
from Adolf Loos’ American Bar in Vienna, lining the walls with dark wenge timber to make it moody and intimate. “I was a DJ for a long time, so I have a lot of records,” says one of the homeowners. “It’s where I can go to put on some music and not be distracted.” Three shelving units were designed to accommodate his sizeable collection, but there are still more records that don’t fit. “I think I’m in trouble — I might have to sell a few.” In contrast, the pavilion is light, bright and made for gatherings. Embracing kitchen, dining and living, its asymmetrical form traces the outline of the site, and bench seating beneath the windows maximises the view. Here again, the palette strays from neutral, with the kitchen bench and island featuring Formica in shades of nostalgic green and yellow that hark of a happy history. “They’re the sort of thing you’d see on a 1950s caravan table,” says Michael. Window joinery powdercoated yellow is a nod to the more recent past; the couple bought the home from a painter >
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"As the heart of the home, it’s critically important that the table speaks to the rest of the architecture."
KITCHEN/DINING This area is warm and welcoming, with kauri plywood walls and colourful cabinetry wrapped in laminate from Formica’s (discontinued) 100th anniversary collection. Michael made the table from roasted American ash; the complementary bench seat is set on a steel frame powdercoated in textured black. The pendant light was salvaged from a demolished building in Christchurch.
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who used vivid yellow on the exterior. The plywood wall linings are warm and textural in this space that opens up on both sides — to the glittering harbour in the south and a bush backdrop facing north. “We were also fortunate to secure some old kauri beams from a warehouse that collapsed in the earthquake,” says Michael, who incorporated 25mmthick layers of heart kauri as ceiling detail. While the building progressed, he tackled making a dining table and bench seat in his workshop. “We do that for most of our projects,” he says. “As the heart of the home, it’s critically important that the table speaks to the rest of the architecture.” Outside, where a deck basks in newly captured northern light, some shelter was called for: a pergola based on the shape of a Māori motif, the niho taniwha (teeth of the taniwha) — a saw-edged triangular form that predominates in wharenui. Instead of the straight lines that were Michael’s initial thought, this shifted to a diagonal geometry, and while the architect
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welded the steel skeleton, the family went off in search of kōrari fronds to top it. Traditional values and new materials collide in this transformation that balances poetry with practicality. It’s easy to be mesmerised by the weather rolling in over the ocean from the south and east, and when whānau from Auckland and Australia visited last Christmas, the home embraced 15 or 16 people with ease. Some occupied the bedrooms, others hunkered down on the bench seats, and still more slept on mattresses arranged on the floor. The flexible form of the home echoed with togetherness. When Covid-19 made such gatherings impossible, the whare donned a different face. Members of the household could retreat to a quiet corner to reflect on the new normal, or meet in the pavilion with its grandstand view overlooking an amphitheatre of homesteads in a community the owners now feel very much a part of.
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… and for you too, if you’d like to come and stay at this Waiheke Island escape.
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It had been a lifelong ambition of Jackie Houghton’s to live a simple country life somewhere far away from bright city lights. After 10 years spent living overseas, the pull of rural New Zealand and the promise of a new project inspired her to return home, put her property in Palm Beach, Waiheke Island on the market and begin the hunt for another block of land with space for one main dwelling to live in and a couple of studios to rent out too. “It was a dream that I’d always had — to build a place of my own that would suit my lifestyle and generate income,” says Jackie of her goal. Sizeable rural sections aren’t easy to come by on Waiheke Island, so when Jackie’s property agent showed her an 18.5-acre block in Awaawaroa Bay, she knew the rolling site surrounded by native bush and farmland was where she’d set her new home into the hillside beneath Maunganui, the island’s highest point. “I went home and drew a really simple plan — where the house was, where the studios were going, how the driveway would lead you up from the road, where the platform up the top would get the best view of the sea for afternoon sundowners,” she says. “I scribbled everything on a piece of paper, then went to architect Thom Gill at Studio Nord to help bring my ideas to life. “Thom took full control of the project with the council,” she continues. “He and builder Peter Davidson of Davidson Construction were both very considerate about what I had to spend and making my dream happen. It was never their project, >
ABOVE Jackie and her dog, Caxton, sit on the boardwalk that surrounds the main house. Here, retractable pleated screens by Phantom Screens let in the light while keeping UV rays (and bugs) out. LEFT Also in the main house, sofas from Dawson & Co and a stool by Franco Crea gather around the Studio 3 fireplace by Stovax. On the wall hangs a Japanese sculpture that Jackie picked up at Tortoise General Store on a trip to LA. OPPOSITE In the entryway, a photo from Derek Henderson’s body of work Let’s Hope They’re Friendly sits above curiosities collected from around the world.
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THE PROJECT With the help of Thom Gill of Studio Nord, owner of Fleetwood boutique accommodation Jackie Houghton built this five-bedroom property on Waiheke Island for herself and to rent.
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LIVING More mementos from Jackie’s travels are arranged in compelling vignettes on the oak-veneer floating shelves in the main house’s living area. A spherical sculpture found in Sydney sits on the floor here next to a musk ox hide brought back from Greenland.
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“I bought All the furniture before the drawings were even finished, and knew where it’d all go.”
it was always mine, and they were very respectful of that.” Working with the existing lie of the land, the building platform for the main house took advantage of a flat spot on the slope, so construction was able to get underway without too much excavation. Meanwhile, Jackie had already started work on the interior. “I’d lie in bed at night designing everything in my head before I went to sleep,” she says. “I bought all the furniture before the drawings were even finished, and knew where it’d all be going when I moved in — the sheepskins under the chairs, the coffee table backing onto the couch… I don’t know how, but I have an ability to map things out in my mind and visualise spatial design really clearly.” On her adventures abroad, Jackie had the foresight to buy a couple of Arctic tents in Alaska — the kind made from canvas and steel — in anticipation of living on an empty block of land while building her forever home. They provided the first roof over her head on the site. Being outdoorsy, Jackie gave campsite life a good nudge for the best part of a year while the house was being built — until one night when a storm sent trees and mud down the hill and forced her into upgrading to a couple of portacoms until her home was finished. Three years of hard slog later, the comfort and cosiness of Jackie’s new place, which she’s named Fleetwood, is a well-deserved reward for the toil of building in a remote rural location. Bar the scullery and toilet, the one-bedroom main house is open-plan. Entering from the rear of the home, >
ABOVE In lieu of an indoor dining table, the generously sized island in the main house, with its Corian benchtop in Ash Concrete, serves as a spot in which to eat. Along with the oak veneer cabinetry, it simplifies this space so the view is the hero feature. The pendant light is by Monmouth Glass Studio. LEFT The laundry lives in its own little building along with a guest bedroom/ office and a workout/yoga zone.
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ABOVE & RIGHT In the sleep space in the main house — which can be cocooned off from the living areas by curtains in Kyoto linen from James Dunlop Textiles, hung on a ceiling track — a chair by Charles and Ray Eames for Herman Miller and a Flos lamp from ECC are arranged beside a potted banana palm. TOP RIGHT The guest toilet is the only room in the main house that has a proper door. It’s decorated with a junk-shop mirror, Stone pendant light by Woud and a sweet splashback in matte hexagon mosaic Carrara tiles from Tile Space.
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you move from the entryway into a pavilion containing a bedroom and bathroom at one end, the kitchen in the middle and living at the other. Instead of walls, curtains have been used to delineate between social and private spaces. A subdued monochromatic colour palette in various shades of grey helps to visually soften the lines of the shed-like building, and layered collectables and textiles create lots of different nooks for extra interest. Jackie has an eye for special finds, and her interior aesthetic pairs natural materials with vintage pieces and sculptural objects to create a home that belies the practical rural vibe the house and studios present from the road. The seamless transitions between indoor and outdoor rooms also demonstrate a unique way of living here. The house is bookended by exterior spaces designed for daily bathing rituals: the plunge pool where Jackie takes an ice-cold dip every morning and the bath in which she unwinds under the stars at night. The laundry, a guest bedroom/office and a workout space are housed in a separate building connected to the main house via a covered courtyard, which is also home to a fire pit and has a place in which to put a projector for movie nights. Add to this the barbecue area, which is really more of an outdoor kitchen and dining room, and Jackie really has thought of everything to create a year-round entertaining hotspot. Mirroring the roof form and open-plan concept of the main house, twin one-bedroom studios stand a stone’s throw up the hill. >
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EXTERIOR Large-format Metaline Iron Matte tiles from Tile Space line Jackie’s walk-in shower, with Sanremo tapware by M+Z Rubinetterie from Franklin. It opens onto the outdoor bathroom that has a louvered wall on one side (not pictured) and cinder blocks on the other for privacy. The freestanding Cleo bath is also by Marmorin from Franklin.
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EXTERIOR Gazzda outdoor seating from Dawson & Co looks cool under the pergola that shelters Jackie’s outdoor kitchen and dining area. The only neighbours within earshot are of the avian variety, with kererū, pīwakawaka and hawks frequently flying by.
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Each has its own outdoor area and log fire inside, making them a delicious recipe for unwinding all year round. With Poderi Crisci restaurant and vineyard a short walk down the road, you don’t have to travel far to enjoy what the rest of the island has to offer on a weekend jaunt here. It’s no wonder Jackie’s family and friends are among the regular visitors who stay at Fleetwood (you can book at fleetwoodwaiheke.com and through Airbnb). Since the main structures were completed, Jackie has gone on to build an additional satellite bedroom for her sister, Nicola Salter. “It’s quite lovely that we can keep adding things as we need to,” says Jackie. “There’s now a bar, a pétanque court and a studio for painting, and I’ve got a massage studio, a glasshouse for growing vegetables for guests to eat and a chicken coop on the way as well.” The main house may be a one-woman residence, but there’s plenty of space in which visitors can gather and relax here. “The house was made for me, but the idea is that the whole property could be rented out for a wedding party or family event,” says Jackie. “It’s a simple yet elegant house; there are no complications to living here, and I think that’s really important,” she continues. “There’s no wasted space, I use all the rooms, and everything works really beautifully. I can drive my truck right up to the front door without getting wet, and I don’t have to haul my groceries up any steps. And that’s very much Waiheke — island life requires practical necessities to make every day as easy as possible.”
ABOVE & TOP LEFT Outdoor bathing is a thing morning and night for Jackie, who starts each day with a dip in this pool designed and built by builder Peter Davidson and ends it in her outdoor bath. LEFT The view from the hill behind the house and studios, where Jackie has created a viewing platform from which to see the sea. It’s the perfect place for an evening drink, too.
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ABOVE Like the main house, the twin studios are clad in Espan 340 in Ebony by Metalcraft, but Xlam cross-laminated timber painted with Resene Colorwood Whitewash lines the walls, giving them an interior identity of their own. Bedding by Nest makes bedtime a beautiful experience, while Carrie LED lamps by Menu double as lanterns if guests are out after dark. LEFT “I’ve always been drawn to gabled, barn-like forms, yet for some reason I drew houses with mono-pitched roofs here,” says Jackie. “But when you stand back and look at the outcome, this profile is much more fitting against the ridge of the mountain.”
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STUDIO The studios’ open-plan layouts follow the lead of the main house. When their Benmore fires by Kent are on, the interior mood is cosy Scandi chic, and blackout blinds mean you can sleep in as late as you like.
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Exposed to the elements of Ripiro Beach, this unassuming retreat let its setting dictate its form.
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C atherine Ste el
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You’d be forgiven for missing the house. Complementing the hillside, the sandy tones of this holiday home are barely noticeable from Ripiro Beach below. A kilometre from its neighbour, the house quietly blends in with its sand and grass surrounds; it doesn’t fight the drama of this wild west coast landscape, but relaxes into it. It’s the kind of feeling most of us want when we’re on holiday — to disappear for a while — yet underneath its subtle disposition, the home makes its presence known through a strong desire to unite with the environment. The homeowners — a couple and their two teenage children — were poolside in Thailand five years ago when they found the 150ha plot of land online. With recreation as their motivation — he rides dirt bikes, she and their daughter ride horses — the 107km strip of beach would become their playground. Add to that the show-stopping natural beauty and they were sold. Ready to build, the question was: how best to live in and feel connected to the landscape and climate? They resisted the pull towards something ostentatious. Their desire was for something appropriate to the beautiful location: a trampinghut form, simple and organic. “We started with a series of huts with a small footprint,” says one of the homeowners. “It evolved from there.” >
RIGHT The homeowners specified that the house not have a main entrance, so when guests arrive, they approach the front deck. OPPOSITE The secondhand dining table (with Tommy chairs from Soren Liv) was painted with the help of artist friend Jeanine Oxenius of Bye Bye Love. The jar pendants above it are a nod to one of the homeowners’ late parents, who bottled fruit from their orchard.
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THE PROJECT An Auckland family built this three-bedroom (plus sleepout) holiday home on Northland’s Pouto Peninsula with the help of architect Jackie Sue and interior designer Tomi Williams.
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Their desire was for something appropriate to the location: a tramping-hut form, simple and organic.
EXTERIOR Sitting low on the site, with a facade of Lawson cypress and ply behind it, the house is in perfect harmony with its setting. Aluminium shades replace the usual eaves, keeping the exterior aesthetic simple.
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Architect Jackie Sue finalised the design. To battle the prevailing south-west wind, they oriented the house northwest and built up the sand in a horseshoe shape behind it as a buffer from the southerly. By digging into the hillside, this allowed the dwelling to be positioned low on its site, protecting it from the weather while maintaining a view. Inside, one ‘hut’ was designed to cater for living and the master bedroom, and another to house the children’s rooms, the two buildings connected through a central outdoor space that can be closed off to the elements. The main house occupies one level covering 112m2, excluding the outdoor room. A few metres away is a separate dwelling housing the garage, two guest rooms and a bathroom. Clad in Scoria Colorsteel, it harks back to the red barns that frequented farms in the past. The height of the hip roof was carefully considered to avoid the house being windswept, while capturing views through valleys and dunes. “We steered away from a barn with a simple pitched roof,” says Jackie. “The result is an elegant response with a visual difference, deflecting the wind and anchoring the home in its environment.” The couple called in Tomi Williams of At Space (formerly Indigo Design) for help with the interior. “Simplicity of >
ABOVE & RIGHT In the kitchen, battens stop the sloped ceiling appearing overpowering and break up the cabinetry below the porcelain Florim benchtop in Metal Russet. The adjacent lounge nook is a sought-after spot made even cosier by an Ethnicraft Slouch sofa from Soren Liv and plump, textural cushions from Città and A&C Homestore. The Hut stool is also from Città and the Nysse chair is from Bauhaus. Motorised blinds from Mr Blinds feature throughout the huts.
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ENSUITE The Fibo panels on the walls in the bathrooms consist of a high-pressure laminate bonded to plywood. The mirrors in these spaces and the toilet overleaf are by Zavedo.
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materials and finishes was key,” she says. “The interior doesn’t compete with the colours and drama of the environment outside, but provides a warm cave from which to view it. “What makes tramping huts unique is that they used wood tonally so it all worked together,” she continues. “It was about what was around at the time.” Here, Ashin with a clear matte finish clads the walls and meranti ply was used on the ceiling. Meranti ply was also chosen for the kitchen cabinetry and battens. “Kitchens [in classic huts] were simple designs made of sturdy materials, and we created an elevated version, which meant finding the right wood finishes that would work together without closing in the space too much,” says Tomi. “Given the kitchen is one long expanse, the battens were designed to provide interest.” Although traditional tramping huts used a lot of stainless steel for benchtops, Tomi proposed a thin porcelain product for even better durability. A corrugated polycarbonate slider was installed across the back of the outdoor room, breaking up the rough-sawn timber of the exterior. “That will silver off over time,” says one of the homeowners. “We wanted to create something solid and timeless. It’s a place we can pass onto our kids and their children.”
ABOVE LEFT In the master bedroom, the headboard and bedding (including a tactile sage velvet cushion from Città) is a tonal reflection of the grass, sea and sky outside. ABOVE RIGHT As in the bathrooms, the sink in the toilet is a play on old-fashioned concrete tubs. RIGHT Incorporating the guest rooms into the main house would have made it bigger than the homeowners wanted it to be — plus, the separate building affords visitors maximum privacy.
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SLEEPOUT Floor-to-ceiling timber, a small window, and bunk beds custom-made by Natural Beds & Furniture strongly communicate the hut aesthetic in this guest bedroom. Even the reeded knob door handles from Vintage Hardware tie in.
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ABOVE You’re really at one with the elements here. It’s a 10-minute walk to the beach across paddocks and dunes, with a steep climb back to the house. OPPOSITE The polycarbonate slider can be flung open when its sunny and filters natural light into the outdoor room when it’s closed off to the weather. External fixtures capable of enduring the rugged environment were a necessity for this fit-out, such as the reconditioned fishing boat light seen here, from Vintage Industries. The cushion below it on the end of the Ofyr bench from Outdoor Concepts is in Club Tropicalia fabric by Mokum from James Dunlop Textiles.
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Case study
Never mind its offbeat angles, this diminutive heritage apartment has been thoroughly modernised and filled with contemporary art, ensuring it’ll reach an even riper old age. Have a squiz on page 116.
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Alice Lines PH OTO G R APHY Jackie M eiring
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In an enclave of holiday homes set among farmland and bush at Medlands Beach on Great Barrier Island, this boxy bach makes clever use of Dutch design theory to work its angles within the environment. And this home has more angles than most around here; dubbed the Pinwheel House, it really does resemble the shape of its namesake. From the onset of the project, Wellington-based architect Stuart Gardyne’s enquiry for the site was informed by the homeowners’ interest in the pleasures an enclosed courtyard would offer. It was an interesting proposition; privacy and tranquility are characteristics not always associated with beachside dwellings in Aotearoa, which often champion the view above all else. Given the relatively small section
and the planning rules that allowed only 15% site coverage, the concept of an internal courtyard wasn’t practical here, but, says Stuart, “There are many precedents for courtyard houses in the architecture of many cultures.” This understanding led him and his team at Architecture+ to begin an exploration of this design element. The site restrictions meant that instead of a single level facing inward, the best option for this family of six was to build up. Stuart has a long-held appreciation for geometry, and referenced the De Stijl art movement to focus the design on intersecting horizontal and vertical lines, conceiving a two-storey structure where a pinwheel plan is generated by four cedar-clad walls that extend into the garden, creating four outdoor living spaces partially covered by >
ABOVE Instead of a single entrance door, large sliders from APL’s Architectural Series create several informal entryways on all sides of this coastal home. Upstairs, a combination of playfully positioned picture windows by First Windows & Doors and top-hung shutters punctuates the building’s rectangular forms. OPPOSITE Protruding sunshades surround the black anodised joinery by First Windows & Doors.
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FIRST WINDOWS & DOORS —— Outside in
ABOVE It’s a barefoot lifestyle here and the natural timber used throughout the home reflects this. With an oiled finish, in places it’s blonded to knock back the colour and achieve a softer, more weathered look.
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four first-floor bedrooms that cantilever over the decks below. Climate-wise, Great Barrier Island is often warm and wet, so the semi-covered decks create courtyard spaces that can be utilised no matter the weather while providing a connection to the garden, a sheltered entryway and barbecue area, and protection for the wood stack that fuels the log burner that heats the home. The courtyards can be accessed on all sides of the ground floor, through over-the-wall and stacker sliding doors from APL’s Architectural Series. “The climate here can be lovely, so you can have the large sliders open a lot of the time, and you can choose which side to open depending on the time of day and the breeze,” says Stuart. “The house doesn’t have views, so the focus is on the space you’re occupying.”
Protruding windows, shutters and awnings add character to the simplified rectangular shape of each arm of the pinwheel, and allow the home to be opened wide when it’s occupied and completely closed when it’s not. Inside, the ceiling, walls and floor are all made from the same American white ash, yet they appear different thanks to the varied treatment of the timber. Also encased in wood, the staircase ascending from the ground to the first floor casually delineates the living zones according to their various functions throughout the day. “Being able to enjoy one space in different ways really appeals to me as an architect,” says Stuart. “As the sun moves around, different parts of this living space come into play: the family can enjoy breakfast on the east deck or inside the east sliding doors, >
Outside in —— FIRST WINDOWS & DOORS
ABOVE The living spaces include a modular KXN kitchen by IMO with a furniture-like appeal. LEFT One of the four identical bedrooms styled to suit a roster of guests. FAR LEFT With roof windows by First Windows & Doors providing ample natural light, shutters were selected for the other bathroom windows to offer privacy and ventilation as required. Shutters can also be used to close off the roof windows if desired. Other clever built-in details such as towel rails that double as toilet-roll holders are very much in keeping with the efficiencies of bach life.
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FIRST WINDOWS & DOORS —— Outside in
“The house has an initial simplicity that reveals itself to be complex on studying it.”
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Outside in —— FIRST WINDOWS & DOORS
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and then later sit around the fire on the west side.” Like the other properties on the island, this house is off the grid, so sustainable solutions for everyday needs had to be incorporated into the build. Photovoltaic power and batteries, solar water heating, waste-water treatment and rainwater collection were all necessities, and the materials used, including the timber cladding and lining inside and out, were chosen for their small carbon footprint. Efficiency and ease are also high on the list of desirable qualities for a bach. With this in mind, the usual bedroom hierarchy was done away with in favour of four simple upstairs sleep spaces with layouts that echo each other, enabling them to effortlessly serve whoever might be staying the night on any given visit to the island.
The two matching bathrooms follow the same flexibility principle. In each of these expertly resolved spaces, natural light streams in above the showers through roof windows by First Windows & Doors, bathing the warm timber walls in a golden glow. “The house has an initial simplicity that reveals itself to be complex on studying it — the elegance of the structure that rotates in a pinwheel manner, the patchwork cladding…” says Stuart. “I’m very interested in spending a lot of design time making complex things feel and look simple, and everything feel natural and in the right place — formal, yet casual enough not to feel restrictive.” The references of the De Stijl movement’s geometric visual language, in which form follows function, serves this beach house well. firstwindows.co.nz
ABOVE The custom slatted cedar bifold doors by John Scott and the crew at Great Barrier Building Company on the ground floor can be closed or partially opened to screen and shade. OPPOSITE In the upstairs hallway, a full-height picture window by First Windows & Doors takes in the lush sight of native plants thriving along the driveway.
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DESIGN —— Woman in architecture
Let’s
get
visible As Architecture+Women NZ continues its drive for equity in the architecture industry, we spoke to one of its co-founders in the first in an ongoing series.
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INTERVIE W
ILLUSTR ATIO N
Alice Lines
H enriet ta H arris
Woman in architecture —— DESIGN
Why was there a need for this within the industry? As the world emerged from the global financial crisis in 2008, there was a wave of social equity awareness, and we caught this as it was building. We slightly pre-date similar organisations that were forming in Australia [Parlour], the UK [W Awards], the US [ArchiteXX, Equity By Design, Madame Architect], Europe [Rebel Architette], Asia [WADe] and Africa [TAWAH], among many more. There was obviously a need globally and it has, surprisingly, continued. We estimated a five-year relevancy before a decline in interest in issues of equity; however, the momentum for social equity is increasing. The Black Lives Matter protests from the US resonating around the world show that people have had enough and entire systems need replacing.
‘inclusiveness’. For visibility, all we do is make our members visible to the wider architectural community, and the simplicity of this action is our strength. It means we avoid the pitfalls of negativity that can accompany the question of why some architects are promoted and assisted in their careers and others aren’t. We employ many methods to achieve visibility, including the A+W NZ database, promoting members on social media platforms, holding events, running an awards programme and, most importantly, publishing online and in print. To achieve our aim for the profession to be completely inclusive, we look at this issue of access, and this goes well beyond gender. Our hopes are that the work we do benefits all architects. In 2011, we recognised that gender was a strong platform to be working from — thanks to the amazing work of so many before us, especially in the late ’70s and early ’80s, then again for the 1993 Constructive Agenda exhibition. Access for everyone means that the A+W NZ database membership is free, we look at the cost and timing of events, there are no restrictions to any of our events and our awards include the whole industry. Despite our name suggesting a gender-binary focus, we welcome non-binary and trans members. Our main research project, the A+W NZ Timeline, initiated by Marianne Calvelo, has started to interweave the parallel Māori architectural education system and practitioners with the Pākehā-dominant histories recorded through our universities and the New Zealand Institute of Architects, thanks to the guidance of Dr Deidre Brown. The Covid-19 lockdown has brought many benefits around our aims, such as supporting the call for flexible and reduced hours without impeding career progression, and through developing free and accessible online events as a norm. This means we’re able to provide more events at no cost and reach a global audience as well as a local one. We’re excited that August’s A+W NZ Dulux Awards will be watched by our friends and colleagues in Australia, Italy and the US, for example, and that students and non-waged architects can attend the online awards without the cost of the dinner and travel attached.
What are A+W NZ’s main objectives? Out two aims are ‘visibility’ and
Are plenty of women still studying architecture? Yes — again thanks to the
Lynda Simmons — Architecture+Women NZ
So Lynda, what sparked the idea to start Architecture+Women NZ? It began with a conversation with Julie Wilson in early 2011 about the high number of women leaving the profession. We decided to increase the visibility of the many women who train in architecture with an exhibition timed for the 20th anniversary of the Constructive Agenda: 60 Years of Women in Architecture in New Zealand exhibition, held in 1993. The Architecture+Women NZ [A+W NZ] co-founders were Julie and I, Megan Rule and Sarah Treadwell, who has become our mana taumata, or guiding light. Elisapeta Heta joined the core team in 2012 and we all worked furiously alongside many other people and teams towards the opening of five exhibitions nationwide in September 2013 — a huge undertaking.
work done in the 1980s, we now have a gender balance in architectural courses at New Zealand universities, and this carries into the first five years or so after graduation. However, by the second decade beyond graduation, the statistics between genders are already skewed, so the issues within practice management structures remain unsolved. We believe that the focus of this wave is on achieving equity inside practices, and it’ll be the task of the next wave to address the construction site. A+W NZ’s awards programme runs every three years — who does it recognise? There are three award categories, with five finalists in each. This means we celebrate and publish 15 architects or practices every three years, and we see this as literally writing these people into history. The Wirihana Leadership Award focuses on the body of work of those working in their second decade beyond graduation; the Munro Diversity Award highlights those whose work supports our aim of inclusivity in the profession; and the Chrystall Excellence Award celebrates a full career in architecture. What are your hopes for the future of equity in Aotearoa’s architecture industry? We hope that the gendered focus of our group becomes slowly redundant, while the strength of our organisation is spread to support other areas of advocacy need. There will always be a place for advocacy in our industry, and we hope that our community model can address other barriers to the profession, such as economic, religious and cultural ones. Is there a resource where people can discover women architects? Our database [on the A+W NZ website]! It was designed to make female architects visible in a free, accessible, permanent way. The people on the database are visible to friends, colleagues, the media, potential clients or employers, future employees and historians. The beauty of the online format is that it’ll survive as an important open-source archive well beyond the active years of A+W NZ. Visit architecturewomen.org.nz to meet the 15 finalists in this year’s awards. All will be celebrated and the winners announced at the online event on August 15. homest yle 115
Leve l b e st A few crooked lines were no big deal during this apartment fit-out, which embraced them to the utmost.
WO RDS
PH OTO G R APHY
Claire M c C all
Jackie M eiring
Small space —— DESIGN
Character apartments have their fine points and their foibles — that’s a given. For Daniel Varcoe, this reality hit home when he was trying to hang his larger works of art. “If you used a builder’s level, the work would be completely out of whack,” he says dryly. Better, then, to just hang them by eye. The Carlisle building was constructed in 1912 on a prominent corner of Auckland’s CBD as a wool store and auction house. Where once the air hung heavy with dust and lanolin as bulging bales of wool awaited the call of the auctioneer, now all is calm. These days, 20 apartments are slung inside the concrete case — a conversion completed in the 1990s. From the entry vestibule with its burr-timber panelling, a spiral staircase circles upwards. Daniel and his partner Kat live on the third floor in a two-level, 134m2 apartment that achieves serenity and spaciousness on the doorstep of this vibrant part of the city. Design development manager at Fisher & Paykel, Daniel was working for the company in Australia when the two-bedroom place came up for sale. Newly accustomed to apartment living in Sydney, he saw the beauty in the capacious stud height, exposed beams and basement carpark, and the price was a steal compared to Australia. “It was too good to pass up,” he says. Of course, it wasn’t exactly what he envisioned, so he asked a friend, Melbourne-based interior designer Carole Whiting, for her input. What started out as query about a dark >
ABOVE The balcony inches Daniel and Kat even closer to the buzz of the city. TOP LEFT On the landing, a sculpture by denHolm is watched over by a Miaz Brothers artwork and a Polar light by Ross Gardam. OPPOSITE A Bend sofa by B&B Italia is an anchor in the living area for an Alky chair by Giancarlo Piretti and Laurel side table by De La Espada. The artwork above the sofa is by Revok, the Disc Squab cushion is by Klay from Tessuti and the rug is from Nodi.
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DESIGN —— Small space
ABOVE A cushion by Klay from Tessuti brings a burst of complementary colour. On the Offset coffee table by Philippe Malouin for Resident are vases by ACV Studio (left) and Ceramics by Jodie, and a Vide Poche by Henry Wilson Studio. TOP RIGHT A Fisher & Paykel CoolDrawer has been repurposed as furniture with Corian surface material and MadeMeasure handles. On top is a Fulcrum lamp by Nat Cheshire for Resident and items by Monmouth Glass Studio. The sculpture on the left is by Cleon Peterson.
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sarked ceiling (which he painted white) mushroomed into a much larger project. “Dan was keen to make the apartment practical but also beautiful, with a masculine vibe,” says Carole. Their idea was to let the structure and Daniel’s significant collection of art do the talking. “We chose dark kitchen joinery and a dark bathroom, but to let Dan’s art sing, left white gallery-like spaces everywhere else,” she says. So… a monochromatic palette and no major moves, just easy updates to finesse the fit-out. Cue a pocket-sized elevator, an awkward staircase and a maddening lack of alignment. “I didn’t factor in bringing all the materials up and down the stairs or how much straightening we’d have to do,” says Daniel. Because the rooms had been installed between the original kauri trusses, the internal walls weren’t very plumb, something that quickly became apparent when laying the engineered oak flooring. And when fitting the kitchen. And when tiling the bathroom. Although some rebuilding helped to rectify the lines, in the end, says Daniel, “I had to be okay with things being slightly off — it’s a character apartment, after all.” On the floorplan he inherited, the kitchen-to-lounge ratio seemed out of proportion, with the former encroaching on the latter, so the footprint of the new kitchen was slightly reduced, giving a metre back to the lounge without sacrificing functionality. In a sort of trans-Tasman creative challenge, Daniel and Carole >
Small space —— DESIGN
KITCHEN Fisher & Paykel appliances blend beautifully with the kitchen’s black background, but the artworks have attitude. They include a pair of canvases by Liam Snootle, a blackand-white work by Lucy McLauchlan and a lightbox by Hiroyasu Tsuri. The ceramics are by Hayley Bridgford, the island is a Plateau Table customdesigned by IMO and the Branca stools are by Mattiazzi.
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DESIGN —— Small space
“If you used a builder’s level, the work would be completely out of whack.”
ABOVE Things might not be 100% square, but who cares about geometric precision when it’s the atmosphere and art that resonates? With its Cugina side table by Mattiazzi from Simon James, Miller sofa by Simon James and rug from Nodi, Daniel likes to use this corner of his bedroom for Zoom meetings. The Lampe de Marseille by Le Corbusier from Nemo can be adjusted to suit the light levels and the artwork by (from left) Revok, Beejoir and James Reka speaks for itself.
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designed it remotely from Australia, using measurements provided by Daniel’s father in New Zealand. V-groove cabinetry disguises a gigantic integrated Fisher & Paykel fridge, and a bar-height island works for food prep and dining. “We can seat eight but usually only have drinks and nibbles here with friends before heading out to Britomart for dinner,” says Daniel. The staircase that slices down one side of the room is also a focal point. Daniel and Kat dismantled the existing cheap pine banister, loaded the labelled pieces into the back of his work van and had them re-stained black. A stop-motion video posted on Instagram (@dgrader) shows the couple reassembling the slats — a task achieved in just one afternoon. The hidden storage is one of Daniel’s favourite things in this house; not so secret is the walk-in wardrobe in the spacious main bedroom. “We really went to town here,” he says. “There’s no door on it, so it needed to look nice, so no handles, and all the drawers have Blum electronic Servo-Drive installed, so they open and close automatically.” The apartment has been set up so artworks can be rotated depending on the couple’s mood. Contemporary works from a collection with global scope, there are more than enough to choose from. Whether that’s the linear abstract piece by LA artist Jason Williams, aka Revok, above the sofa, or the large-scale monochromatic portrait painted on recycled windows by Melbourne artist Rone facing the stairs, Daniel’s passion for collecting was integral to his decision to live here. Surprisingly, there are still a few blank spaces on the walls to fill. “I’m not in a massive rush,” he says. Good things take time.
Small space —— DESIGN
BEDROOM In winter, the low sun bounces off the windows of the adjacent office block to fill this room with beautiful light, and at night a giant ‘W’ on the Westpac bank opposite transforms the scene with a metropolitan-red glow. Above the bed with custom base by JA Design, quilt from Father Rabbit, throw from Simon James and bolsters from Tessuti is a work by Alex Face. Also pictured is a vase by Simon James, boombox sculpture by Will Coles and Reeno bench by Grazia & Co.
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sp are ro om
DESIGN —— Small space
b ath
store
laundr y
store bed
st airs
rob e living
FI RST FLO O R
BATHROOM Here, Carole specified tiles by Mutina in graduated tones of deep blue and charcoal. She reformatted the room to include a laundry (behind doors) where the bath once sat, a plan that allows the shower to stretch along an entire wall. The Anton light is by Volker Haug, the mirror is by Agape, the Eve basin is by United Products, and a towel by Baina sits on an Offcut stool by Tom Dixon. Astra Walker tapware was used throughout the apartment. The sculpture (top right) is by Kaws.
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kitchen/dining
b ath
S EC O N D FLO O R
DAVID REID HOMES —— Case study
The sky’s the limit You may have been able to anticipate the chic alpine aesthetic of this Wanaka home, but that’s where the expected ends — and your options begin. When is a group housing company house so much more than others of its ilk? When it’s a David Reid Homes home individualised just for you. Offering both pre-designed and custom builds, personalisation is the name of the game for these guys, and at this abode near Lake Wanaka, constructed for the owners of David Reid Homes Wanaka & Central Otago but currently open for viewing as a showhome, they not only used a bespoke floorplan, but also thought outside its boxes. If understanding people’s unique lifestyles is key to the design of great 124 homest yle
spaces, this house has it sussed and presents limitless opportunity. Is comfort top of your list? The thermally efficient design has a heat pump, a solar system, windows with low-E glazing, and underfloor heating — extendable into the garage. Or maybe lots of light is your number-one want; here, skylights usher extra in, several of them openable and with auto-closing rain sensors. If you prefer a minimalist look, you’ll get a kick out of the sensor-controlled hall and cupboard lighting that turns on and off automatically to save power and do away with wall switches. Aotearoa’s
answer to Nigella could consider the high points of the kitchen: instant hot water, integrated appliances, and drawers and cupboards that open electrically. Or is bath time your time? The main bathroom in this dwelling teams a luxe free-standing tub and tiled shower with brushed-nickel tapware. Good to know that whether you opt for a pre-designed or custom David Reid home, it’ll have your mark on it. Emulate this one, or use it as inspiration for your own masterpiece, with or without a view of Treble Cone. davidreidhomes.co.nz
Case study —— DAVID REID HOMES
ABOVE Designed by Greg Booth, the interior of this three-bedroom home features a refined palette of hero materials including timber, steel and polished concrete. In lieu of a standard dining space, a blackwood table is attached to the kitchen island in textured black Dekton Sirius by Cosentino. LEFT Not one but two kwila decks lead into the house and offer dual entertaining areas. OPPOSITE Even the Metalcraft spouting is custom-made. The exterior of the home is clad in Espan in Flax Pod, and also features shiplap cedar and schist. Gabion baskets filled with river stones form natural rock walls for a sophisticated, minimal look from the street.
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Not mass produced sh*t
Central Otago New Zealand neckofthewoodswines.com
LIVING
Living 128
Shop
130
Store profile
138
Last word
Page 130 takes us to New Plymouth, where Lucy Houghton and her partner Benny Connolly have created a space for her floral installations and a few more of their favourite things.
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LIVING —— Shop
Well & good
Everyday luxuries that make life more liveable. WEARABLE ART When fashion designer Juliette Hogan spotted Pirongia painter Carmel Van Der Hoeven of George Sand Studio’s large-scale artworks in an Auckland gallery, she knew she was onto something. Cut to her and in-house print designer Louise Cuckow commissioning a piece, photographing it and turning it into a repeat pattern that became this Floral Garden fabric for S/S 2020. Slip into it in several styles from September 2. juliettehogan.com
RED ALERT A passionate addition to its new store at Auckland’s Commercial Bay, Wellington label Yu Mei’s Spring 20 offering presents founder Jessie Wong’s most-loved bags in a spectrum of scarlet shades. Carry yours to give a monochrome outfit a boost, make a palette of brights even more extra, or intensify a tonal get-up, as the Phoebe bucket bag in Tamarillo does here. shop.yumeibrand.com
SET THE BAR
frankieapothecary.com
UP TO SPEED New Christchurch brand Des Sen believes the slower you go, the more beautiful life’s little rituals become. Although effortlessly chic loungewear isn’t strictly essential to this approach, it’d be remiss of us not to clue you up on their lovely line made from hypoallergenic French flax linen, and the fact that for each set purchased, some dollars are donated to conservation projects. des-sen.com
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Words: Philippa Prentice
Are you walking the talk when it comes to your new normal? You could start by committing to skin and haircare that’s better for you and the planet, like that by Frankie Apothecary, who use the wisdom of Māori medicine to produce products including this creamy conditioner bar made with sustainable native botanicals.
ON THE REG Explore the cost-per-wear loophole that dictates if you use something often enough it becomes a bargain and treat yourself to the daily delight of these luxurious blankets by Situ Studio’s Rosa Milne. Designed for comfort and to last a good long while, they’re woven in Aotearoa on centuryold looms from local wool dyed using biodegradable colours. situstudio.co.nz
WHAT GOES AROUND… Deftly entwining her creative process with her sustainability practices, Jasmin Sparrow designer Jasmin Scott’s new collection, Coco, reimagines popular pieces from ranges past. Jewellery such as these namesake Coco earrings, made with charmingly irregular baroque pearls, champion asymmetry and unexpected combos. There’s chic simplicity in the mix too, and all styles are fashioned from ethically sourced stones and recycled metal. jasminsparrow.com
LET US SPRAY Devoted to devising the world’s best 100% natural perfume, Abel Odor’s Frances Shoemack works with Australasia’s only master perfumer, fellow Kiwi Isaac Sinclair, to conjure scents that combine with your skin chemistry to become unique to you. Now she’s back in Wellington after years spent living in Europe, her gender-neutral fragrances are shippable here at last. nz.abelodor.com
THE BONELINE O N ——— L I N E FROM CELLAR DOOR TO YOUR DOOR FREE DELIVERY ————— NATIONWIDE
theboneline.co.nz
Industrial evolution There isn’t a concrete plan at New Plymouth’s Bleached, a work-in-progress concept that has the freedom to be whatever its owners want. INTERVIE W
PH OTO G R APHY
Alice Lines
M at t Quéré e
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Store profile —— LIVING
LEFT Teamed with stools from Whangamata’s The Other Half, the solid oak table that separates the showroom from the café was a Trade Me score. “It’s unbelievably heavy, “ says Lucy. “One of our team members nearly lost a finger relocating it.” BELOW Lucy’s botanical works become installations while also being for sale. “I didn’t want a traditional floral retail store,” says Lucy. “I love using flowers to build installations, placing less focus on creating individual floral works and more on spatial awareness. This space is a great canvas and I’m lucky to be able to use it whenever my creative juices are flowing.”
Florist Lucy Houghton of Lu Diamond Flowers and her partner Benny Connolly, director of surf-brand management business Hippie Slang Agencies, moved from Auckland to Benny’s hometown of New Plymouth in 2017 when expecting their twin daughters Delilah and Goldie, now two. Several years, some big dreams and plenty of hard work in the making, they’ve since opened Bleached, a showroom for their businesses and interests, complete with a coffee bar that’s become a new local hangout.
What a great building you’ve got to work with — how did you find it? Benny: I looked for a long time. I felt it was important to choose a building we could give a new identity and that didn’t have the hangover of a preexisting business. We wanted to be at the west end of town, get morning sun and have shelter from the prevailing south-west wind. We were hoping for something with an industrial aesthetic; this was a basement carpark but we saw great potential and were lucky that our landlord understood our vision.
Did you have to do much to it before you moved in? Lucy: This place is built on DIY spirit. It was an empty carpark, but we pulled it off with the help of our friends and family. B: The list is long, but they’ve all contributed and continue to contribute in their own way. I worked closely with my friend, photographer Luke Kerr, on the general plans and aesthetic of the space. I had a lot of visual references and we nutted out a lot of it on site. We also couldn’t have done it without my builder buddy Jake Vanderfits. > homest yle 131
LIVING —— Store profile
He did the entire fit-out, and his attention to detail and workmanship is incredible. Another friend, Leon McKay of metal fabrication and design company Saint Leo, did all the steel fixtures. What sort of mood have you created here? B: The aesthetic is a modern take on coastal living. It’s basically a physical representation of all the things we’re into. It’s a pretty highenergy environment, and we have a great sound system and the music 132 homest yle
turned up, which defines us and sets the mood. L: We wanted to honour the original building, so there’s a lot of raw concrete, steel fixtures and crisp lighting. We’ve offset this with oak and whitewashed pine timber, and hits of warm yellow dotted throughout.
the patience and the eye for it. B: Speaking of finds, when we removed the old water cylinder, we discovered a rolled-up nudie mag from 1969 behind it with an empty cigarette packet inside. It’s such a classic find and archive to have from the building’s previous life.
What were some of your best décor finds? L: Benny found the green and pink Namco chairs on Trade Me. He could seriously have a full-time job as a treasure-hunter; he has
What’s a regular day like at Bleached? B: We serve coffee from 7am and by mid-morning, it’s humming. There are a lot of moving parts across our brand-management business, retail >
Store profile —— LIVING
PUBLIC x PRIVATE The café and retail areas at the front of the space are Bleached’s main public zones, with the office and wholesale showrooms separated by twin walls (pictured above) that pivot open, giving the couple the option to create dedicated working environments according to what they have on. The mixed-media print seen above is by Tin Ojeda — “The image is a scan from his film Free Jazz Vein,” says Lucy.
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LIVING —— Store profile
RIGHT The large entry ramp creates a relaxed atmosphere that encourages visitors to come and go as they please, and is often busy with people gathering to enjoy the sun as it beams in. Lucy’s dad, Terry, is an upholsterer and made all the cushions and furniture covers. The squabs in Plush Turmeric fabric from Warwick are an on-trend pairing with the Resene Golden Tainoi paint used throughout the building. The kentia and bangalow palms and creepers the couple carefully planted are also successfully establishing themselves.
and café. I divide my time among them all. L: My days are spent working on Lu Diamond Flowers and the visual representation of product in the store and showroom. I also look after relationships within our network of people and brands. As working parents, what helps get you through the week? L: Lots of coffee! I try to start each day with feel-good tunes and Benny prioritises surfing whenever it’s good. I should 134 homest yle
probably get myself a daily/weekly wellness ritual. Where do you guys chill out in your downtime? L: We like pottering around in our house and backyard. Like Bleached, our home is a work in progress, so there are always things to be done, but if we’re not trying to tick off a to-do list, we’ll probably be at the beach. Can you recommend any hotspots for people visiting New Plymouth?
L: We love going to Snug Lounge for the yum food and great service. Gamma Ray’s does the best burgers in town, and we actually serve a Waken Bacon breakfast burger in the weekends, so you’re sorted morning to night if you’re a burger lover. Travelling the Surf Highway and popping into all the thrift stores is a must when you’re here, as is a stroll through the Govett-Brewster Art Gallery and Pukekura Park. I take the girls to the park at least once a week and I’m always blown away by its beauty. @bleached_coffee_and_company
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CATALOG
PHOENIX —— Tapware
POWERSURGE —— Homeware
OAKLEYS —— Bathrooms
The Axia collection from Phoenix is a modern twist on tradition. Each design has been meticulously crafted with crisp detailing and a strong presence, along with unique features such as the ultra-thin outlet and lever-less handle. Axia’s innovation and cutting-edge design has been recognised internationally via multiple design awards, including the Red Dot Best of the Best.
A timeless arch silhouette encased in delicate brass edging, the Gaze mirror by Powersurge is a sophisticated addition to any room. Available in three sizes in a brushed (pictured) or antiqued finish, it’s made with solid brass and finished with a clear satin lacquer. Check out Powersurge’s website for the full Home collection of New Zealand-made handfinished brass furnishings and accessories.
Oakleys is now open in Cromwell. Call in to 12 Hughes Crescent to see the new showroom with displays that’ll help spark your imagination and simplify your decision-making. Oakleys’ product partners are among the best in the world. From German precision and breathtaking Italian design, to locally made products of supreme quality, they have one of the finest and largest ranges in New Zealand. Design, supply, problemsolving — the team’s here to help at every turn.
phoenixtapware.co.nz
powersurge.co.nz
oakleysplumbing.co.nz
THE IVY HOUSE —— Textiles & rugs
BOCONCEPT —— Interior design
ESCEA —— Heating
The Ivy House is all about creating healthy homes with natural fibres that’ll last the distance. When you bring natural, handmade texture into your home, you add both aesthetic and wellbeing benefits. Armadillo & Co rugs are handcrafted from sustainably sourced and eco-friendly jute, wool and linen. Visit The Ivy House online or at their Parnell, Auckland showroom to experience their natural beauty.
BoConcept are experts at making design, furniture and colour come together in your home. If you need someone to bounce ideas off, their interior decorators are on hand to help you complete any scheme — single rooms, small apartments, big houses or corporate spaces. Book a free consultation with one of BoConcept’s interior decorators today.
Escea’s latest release, the DS Series of gas fireplaces, gives you less of everything to offer more than ever before. Less unnecessary detail places a greater focus on the flames; less wasted heat means a higher efficiency rating; and less depth results in a sleek look with a small footprint. The DS series is available in both single- and double-sided designs.
hello@theivyhouse.co.nz theivyhouse.co.nz
info@boconcept.co.nz boconcept.co.nz
escea.com/ds-series
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CATALOG
THONET —— Furniture & homeware
ROCKET —— Coffee machines
PLUMBLINE —— Bathrooms
Thonet Home is an edited capsule collection handpicked from Thonet New Zealand’s commercial and hospitality-worthy furniture brands with a new focus on residential spaces. It includes Thonet bentwood models; Emeco recycled polypropylene and reclaimed wastetimber chairs and stools; Artek homeware; locally custom-made luxury sofas and solid timber dining tables; and Scandinavian classics shipped directly from Norway.
Whatever your kitchen décor, Rocket Espresso’s domestic machines add a chic finishing touch with their top-quality pairing of design and function that makes mornings that much more enjoyable. Head to the Rocket Espresso store at 208 Ponsonby Road, Auckland to view the complete range.
Avenir’s range of bathroom accessories and heated towel ladders places them at the forefront of the fine bathroomware industry. Throw your towel over their perfectly proportioned Grab 90 heated towel rail and it’ll soon be warm and dry. With a unique and carefully designed installation system, this beautiful cylindrical design comes in multiple finishes and with a 10-year warranty.
thonethome.co.nz
09 974 4860 rocket@atomiccoffee.co.nz
plumbline.co.nz
THREAD DESIGN —— Interiors
ARTISAN —— Interiors
HOMESTYLE —— Content creation
New Zealand design house Thread Design is known for using only the finest linens and creating beautiful printed collections in which every colour palette is carefully considered for a stunning mix-and-match aesthetic. Their recent focus, Art Series, is a collaboration with New Zealand artists that turns artwork into homeware. The print pictured here is Painted Trees by Georgina Hoby Scutt.
Woven in India from hand-spun jute dyed with vegetable dye to reveal the fibre’s natural inconsistencies, Artisan’s Jute rugs are elegant and timeless. Pictured here is Charcoal ($1930/2.5m x 3m) — in stock now.
At homestyle, we’re specialists in working with brands to create innovative, integrated, bespoke home and lifestyle content. From initial concept to polished finish, our clients benefit from our in-depth understanding of these categories and our expert design, styling and editorial advice. Gain exposure across multiple channels, including print and online. Contact us to learn how to further the reach of your next campaign.
threaddesign.co.nz
artisancollective.co.nz
09 300 7544 nick@homestyle.co.nz
If you’d like your business to be featured in the homestyle Catalog, please email us at advertising@homestyle.co.nz. homest yle 137
LIVING —— Thoughts on…
Last word
Monica Murton is design director at Auckland digital design agency Studio Almond, currently run from her sweet spot in Grey Lynn. PH OTO G R APHY Wono Kim
ABOVE RIGHT & TOP LEFT The couple’s kitchen/dining area gets all-day sun, but Monica’s favourite time of day is in the morning, when sun lights up the lounge. ABOVE LEFT The couple work from home, but manage the juggle like pros. “Although we work on screens, we try to digitally detox at the end of the day and in the weekend,” says Monica. “We aim to finish work by 5.30pm and close the office door to set a visual boundary that we’re done for the night.”
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“My husband Alex, pug Harvey and I have lived in our villa for over a year. We were immediately attracted to the great dining room that flows into the garden, and the natural light in every room. I like spending most of my downtime at home, so having naturally lit spaces is really important to me. My interior aesthetic is minimal, elegant and contemporary. I buy intentionally from talented local artists and makers because I love the stories and people behind the products. My parents are keen gardeners, so I developed a huge appreciation for plants. I’ve incorporated them into all of our spaces here. Every morning, I check in on them and give them a mist before having a cup of tea and lighting a candle; the scent fills the house and keeps me inspired and grounded. During lockdown, Alex and I opted to move our Studio Almond office back into our spare room for a while, which we’ve really enjoyed. It’s cancelled our commute and allowed us to prioritise balance, which ticks a lot of boxes for us.” www.almond.studio; @studioalmond_
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Bridging engineering and art, we create bespoke metal works for New Zealand’s most design forward clients.
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From contemporary accent pieces for residential interiors to full retail and hospitality fit-outs, we deliver a unique aesthetic, design-led ethos and the elemental properties of metal to every project.
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