Innholdsfortegnelse for June - July 2022 i Home New Zealand

The year 1936 was an interesting one: it was the year London lost the Crystal Palace to fire, King Edward VIII abdicated the throne to marry divorcée Wallis Simpson, and the BBC launched its first public television broadcasts in London. In New Zealand, Michael Joseph Savage introduced the 40-hour week and Jean Batten completed the first solo flight direct from Britain, landing in Auckland. By 1936, five years had passed since the Napier earthquake and fires and the city had declared itself the ‘newest’ in the world. It was the era of Art Deco and Spanish Mission architecture. The following year, the first state houses would be built in New Zealand as the Great Depression slowly came to an end. It was in that context that HOME was launched in…

At an exclusive awards evening held at the Designer Rugs showroom in Grey Lynn, Auckland, in April, we celebrated this year’s winners and finalists. The winners were toasted with exquisite drops from 2021 New Zealand Winemaker of the Year Jules Taylor, craft beer from Citizen, and water from Antipodes. French canapes were served by chef Arno Jullien. “It was an honour to host this event in celebration of the 2022 winners and finalists — projects designed by some of New Zealand’s most talented architects and designers, a group of people whose work is testament to the industry with designs that dare to be bold, to push the boundaries, and to deliver innovation at its best,” HOME editor-in-chief Clare Chapman says. Thank you to our 2022 event partners: Designer Rugs, Jules…

Fleeting architectures Kathryn Carter is an architect and founding artist member of Railway Street Studios Gallery, as well as an exhibiting artist at Megan Dickinson Gallery, Whangarei. Here, she talks about how art and architecture inform and influence her dual career. Life influences art and as an architect and an artist, I constantly search for the expression of beauty and emotion as part of my work. The discipline of being an architect — concern for context, sunlight, line, proportion and volume of space, relationship to landscape, people, history, geography, geology, construction and cultural references — all informs my interest in painting landscapes. Drawing enables me to better understand the exploration of the passing moment, what is seen and felt, the transitory nature of light on land, sea, and sky, a…

If there is one thing to have come out of long periods of lockdowns worldwide, it is our increased ability to connect and create communities through digital means. The Salone del Mobile (Milan Furniture Fair) is no different. Among many other initiatives that combine design and the digital realm, the Italian institution has launched its own book club; through which quirky, insightful, awe-inspiring and refreshingly stylish tomes on subjects of architecture and design are discussed at length. The blog covers everything from Japanese illustrations of imagined cities through to urbanism; successful women as reflected by their own homes to Portuguese short stories about design objects. salonemilano.it/en/book-club…

This is the case with Plumbline’s slick and well-proportioned Buddy and Oli 316 collections for kitchens and bathrooms; two ranges that embody subtle elegance through balance of materials and shapes. Crafted in Italy, the Oli Collection is versatile and hard-wearing — made of the highest grade 316 stainless steel. Its design inspirations seem to range from the streamlined and modern elegance of the Kitchen Mixer Straight Spout through to the Round Slide Shower, which boasts a touch of vintage elegance in an entirely contemporary product. The Oli 316 is available in brushed stainless steel and three brushed PVD finishes: brass, gunmetal, and copper. The PVD treatment means the colours and metal remain unaltered and highly resistant. The Buddy Collection — made in the picturesque home of the best tapware specialists…

An hour’s drive north of Wellington, Peka Peka on the Kapiti Coast, is one of those tiny little beachside suburbs full of rolling sand dunes and the regular sound of waves and lawnmowers. A small main road leads to even smaller arteries that feed vacationers and fishing boat-hauling blokes in and out of the Tasman surf. On any given day, someone will remind you that it was here, over a decade ago, that an emperor penguin known as Happy Feet landed after a swim of around 3000km from Antarctica. Yet, although the news nowadays is less bombastic, it still retains that wholesome tone heard in so many small coastal towns. The recent regional weeklies often lead with culture pieces (ceramic kiln restorations, literary and sporting successes of the locals), as…

Guy Frederick For this issue, you photographed Amanda Shanley’s studio and apartment. What stood out most to you about this building? I’ve always had a soft spot for the city south of The Octagon. For me, it’s the sheer potential of this area that the studio encapsulates and that underpins its essence. Also, given my addiction to light, the interaction and play of light in the space is positively dreamy. As a photographer, what is it you enjoy most about your work? Photography has been a gift through which I interpret the world, which often means distilling complexity into simplicity. My intention is to present the viewer with the opportunity to view a space and, most importantly, their relationship with it, differently. Based in Dunedin, your work has taken you…

A collaboration between Oslo-based firm Snøhetta and Christchurch-based South by Southeast, the design is the result of nearly a decade of talks and extensive community engagement. It is the third premises of New Zealand’s oldest surf life saving club, New Brighton. Weaving a built tapestry of people, site and stories was the main design driver for this building that has, in reality, achieved much more. As much landscape as architecture, there are moments of shelter, places to connect and invitations to explore, yet the plan is clearly defined to ensure the three main functions of the building don’t overlap: surf lifesaving, community spaces, and public/casual interaction. “The sculptural timber form carves out spaces for the community to dwell, observe, and gather, and allows the public to inhabit niches at ground…

Lives of Houses Edited by Kate Kennedy and Hermione Lee Princeton University Press The homes of creative types have always garnered a faithful following. Something about the messy patina of oil paints or charcoal smudges, strewn books or scattered notebooks brings out a romantic notion of how inspiration and objects intermingle in a living space, helping masterpieces arise as if from thin air. This book is a collection of more than 20 essays focused on the homes of interesting humans — some obscure, others not so much — and written by equally seasoned wordsmiths. It meanders through periods of time and ebbs in and out of imagined or demolished houses, as well as those that still stand as monuments to former inhabitants. W.H. Auden’s New York apartment (a messy hovel,…

From a church to a prison; from a public toilet to the mayor’s office; from talks on Māori art and architecture to walks around a Buddhist temple — Open Christchurch on 1–2 May, with its eclectic programme, unbolted the doors of public, yet little known, and entirely private enclaves that many city dwellers would never have come across or even considered approaching. To be precise, 41 buildings, 23 activities, and four guided walks. Yes, the impetus for such events might initially look like an act of architectural voyeurism but, in a place like post-quake Christchurch, the sentiment has more to do with community building and engaging people with a city that is shifting, expanding, and opening up without necessarily letting them know about it. “It is about fostering a greater…

Jenny Sparrow’s family has lived and farmed in Whitemans Valley for six generations. While the use of land in this valley has slowly evolved over the decades, there’s a history at play here that architect John Mills wanted to capture. The valley is now home to lifestyle properties, areas of dense native bush, and forestry blocks alongside active farms. “Designing this house for Jenny, I knew it had to be of its site. She wanted to retire out here, on her land, in a home designed for her,” John explains. “No longer needing a large family house, her brief was for a permanent, comfortable, secure home for a woman of the land in a beautiful landscape. There needed to be adequate guest amenities but the focus was on how this…

This house was once a landmark, a blueprint in Greenlane for the emergence of familiar villas coated in white stucco with terracotta-tiled roofs. Since its construction in 1945, the house has seen few iterations; once as the home of the American ambassador, then housing a single family for almost half a century. During all this time, the house remained relatively untouched. For a young couple relocating to New Zealand after living in the UK, the traditional villa had a welcome appeal. “The home was run down,” shares Daniel Zhu of Z Architecture Republic. “There was little connection between each of the rooms, the living spaces, and the outdoors. I found that I had two options: either create a new form in contrast to the existing architecture or design an extension…

On the islands surrounding Auckland, there’s a remarkable sense of stillness — a feeling of being far removed from the hustle and bustle of city life. There’s distinctive flora and fauna, and the omnipresent sound of the waves rolling onto sandy beaches that meet native bush. It is on land such as this that feels almost untouched where architect Jeremy Chapman of JCA Studio got to work on the drawing board designing a home of nuanced connections — united by colour and materiality. Here on Great Barrier Island, the colours of the landscape are at once muted and vibrant. There’s a sense of permanence in the rocks and native bush, and a transience with the wetlands, ebb and flow of the tides and the dunes. Clad in cedar, this house…

Art of architecture DESIGN:01 Inspired by visionary architects past and present, the World of WearableArt (WOW) will this year reintroduce the Architecture category after a seven-year hiatus, using the human body as an architectural canvas. Across plane, structure, and texture, entries in the Architecture category will explore specific materials and their properties, considering how they drape, pleat, fold, and wrap. “It is always exciting to bring architecture into the context of wearable art and see where designers go with that. For some, it is the opportunity to explore the work of an architect that they admire, or to be inspired by a building or structure that they love, or they might take a very abstract approach and play with shape, volume, and colour to achieve an architectural quality in their…

How did your store come about? Catherine Robertson and Jane Arthur, both writers, came up with the idea just after New Zealand’s first lockdown. We opened our doors in October 2020, and it’s been incredibly rewarding to find a like-minded community of book lovers, staff and customers. We are proud to be the first accredited Living Wage bookshop in the country. The interior is quite beautiful. Can you tell us about it? The fit-out was designed by Bonnifait + Giesen Architects, who took our long list of practical requirements — versatile display surfaces, shelves on a slight angle to prevent books falling, accessibility and inclusivity — and made it beautiful. Every day we have people comment on how calming the space feels, and how well the books are highlighted by…

In October 1936, HOME was launched under the masthead Building Today as a quarterly magazine “devoted to the interests of all who love homes and gardens or who are interested in architecture and buildings”. It was the era of Spanish Mission and Art Deco in New Zealand, which marked a significant departure from the villas and bungalows that preceded it. It was a time of change; as the Great Depression was slowly coming to an end, flat-roofed modernism was emerging in New Zealand. Napier declared itself the “newest city in the world” following the devastating earthquake and fires of 1931, and the first state houses were built in 1937. In the first editorial, the magazine’s aspirations were made clear: “In this young country there is a glorious opportunity for all…

1 — ‘Bicoca’ table lamp by Christophe Mathieu, $530 from ECC, ecc.co.nz 2 — ‘Acustica’ pendant by Fabbian, POA from Matisse, matisse.co.nz 3 — ‘Cabin’ wool blanket, $299 from Città, cittadesign.com 4 — ‘AvanTech YOU’ drawer system, POA from Hettich, designwithhettich.co.nz 5 — ‘Fried Egg Sheep’ chair by Warm Nordic, from $8675 from Good Form, goodform.co.nz 6 — ‘Bespoke French Door’ refrigerator, POA from Samsung, samsung.com/nz 7 — ‘Insert’ side table by Ferm Living, $1385 from Slow, slowstore.co.nz 8 — ‘Monuments’ magazine holder by Dubokk, $1139 from Simon James, simonjames.co.nz 9 — ‘Offset’ shelf by Philippe Malouin, $2720 from Resident, resident.co.nz 10 — ‘Westwood’ bench, from $1195 from Coco Republic, cocorepublic.co.nz 11 — ‘Edge’ sofa by Wendelbo, POA from Bauhaus, bauhaus.co.nz 12 — ‘Ridge’ vase by Muuto, $440 from Bauhaus,…

This issue’s cover home is inspired by the topography of the nearby Medlands Beach, so much so that its two-storeyed form was thought of as a subtle echo of Memory Rock, an almost sculptural outcrop at the centre of the beach. To further cement this connection to place, the impeccable furniture selection from Simon James — its materiality, colours, and forms — became crucial to maintaining that metaphor and stitching its narrative to the surroundings. Take, for instance, the colour palette used on these pieces: Colourwash fog, fossil, oak, charcoal, black ash, tundra grey, buff — the names alone, much like their textures and hues, evoke locality and coastal wonderland. They bring out images of flotsam and jetsam, of small bits of wood or stones rounded and softened by tides…

From the outside, this house is deceivingly small. At points, it reads like two conjoined townhouses defined by the peaks of their respective roof forms: high-pitched gables that, on the upper floors, appear more like straight mansards. “It’s a typical leafy street,” offers Andrew Patterson, the architect of this Parnell house, “in a very traditional street in New Zealand. We just wanted it to look really good in context, and it’s very well mannered.” Project lead, Luke Douglas of Patterson Associates Architects, concurs: “It’s a good neighbour; a tall saltbox [of] almost Gothic proportion.” Yet, from the outside, the questions remain: is it one home or two? How exactly does one gain access? Due to its colour, it is also hard to know if it is somehow connected to, or…