Our new cover

Here's our June/July cover - a photograph of the lodge at Mountain Landing designed by Pip Cheshire. The photograph is by Patrick Reynolds. We hope we've captured a warm winter mood that will seduce thousands of potential readers into purchasing this issue. For any of you fretting about text legibility, the actual magazine features a more vivid fluoro orange that speaks much more loudly than this CMYK version.

The new issue is on newsstands from June 7.

Mountain Landing sketches

Posting the previous item made us think this was also a good opportunity to publish some of Pip Cheshire's early sketches of the house at Mountain Landing. You can see from these why, in the era of the digital rendering, a good drawing still has an unbeatable allure.

Cheshire Architects at Northland's Mountain Landing

A sneak preview from our June/July issue, which will be on newsstands on June 7. In it, Pip Cheshire, the designer of this lodge/getaway at Mountain Landing in the Bay of Islands, ponders the question of bigness in residential architecture, and the consequent fear of botching a beautiful landscape with an architectural intervention. Here's an image of the lodge he designed, photographed by Patrick Reynolds - as you can see, the landscape around it is extraordinary and, in our opinion, the house is a suitably strong but respectful presence in it:


Mountain Landing is a private subdivision at the northern end of the Bay of Islands. Once a run-down farm, the developers have invested heavily in the creation of wetlands and vast new planted areas. This is a view of the house from down at the bay - it's one of the first homes to be built in the development.

And here's a view of the bay from the home's terrace:

In the magazine, we ask Pip if the prospect of building on such an amazing site was intimidating.

"Yes," he says. "The nervousness here stems from two aspects, that I might stuff up a great opportunity and a nice paddock and, more importantly, that the site is so loaded - high landscape and heritage values - that the building couldn’t blink, it needed to be strong without dominating."

We also asked about his decision to adopt a very different strategy from "touching the earth lightly", Glenn Murcutt's famous architectural dictum.

"I think that Murcutt line of touching the earth lightly is great and certainly fits Australia’s history and landscape," Pip says, "but we are a land of major earthworks, of trenches, palisades and ramparts. It's not a universal: I have some lighter projects but where its a big project, a big brief, then I guess I would usually dig in if there was some sort of slope."

You can read the full Q+A with Pip and the story he's written about the property in our next issue (it isn't often that architects are also authors - in Pip's case, his recent book Architecture Uncooked - so we took the opportunity to commission him to write about his own project for this issue). Keep an eye out for it on newsstands soon.

Our cover house - outtakes

Now's a good time to show you some of the outtakes from the art-filled Auckland penthouse on our February/March 'Art Houses' cover. As usual, there were a number of great shots by Jeremy Toth that we couldn't fit into our layouts, so it's our pleasure to show them (and the artworks they show) here. The owners of the penthouse are generous philanthropists in the art world and, as you'll see here, have a remarkable collection of their own.

In this shot, photographs by Tacita Dean at left, and a sculpture by London-based New Zealand sculptor Francis Upritchard at right.

Below this work by Gordon Walters is a table designed by Nat Cheshire of Cheshire Architects (who also designed the penthouse space as a whole) that appears to miraculously float, thanks to the support structure cleverly concealed within it. The bowl is by Gavin Chilcott:

Here's a view of the hearth that Nat designed that we didn't get to show in its full glory in the layout, a faceted concrete creation. The artwork is by Andy Warhol.

Here's a view of the main living space, with its clerestory window, loggia with leafy views, and an artwork by Richard Killeen in the top right of the picture (the orange work at left is by James Ross):

In the guest bedroom, a chair by Donald Judd and an artwork by Gordon Walters:

The main entrance (guests arrive in the elevator) features a neon work by Martin Creed and artworks by Tacita Dean:

And finally, this glimpse to the bathroom from the master bedroom shows two works by Gretchen Albrecht: the canvas at right, and a mosaic she designed for the bathroom:

Our February/March cover

Here's our new cover, which will be on newsstands February 1. This is our annual 'Art Houses' issue; the cover image was taken by photographer Jeremy Toth in an Auckland penthouse with an extraordinary art collection (the penthouse was designed by Cheshire Architects).

The skull artworks are by Andy Warhol, while the koru work in the background is by Gordon Walters. The sculpture on the hearth is by Francis Upritchard, and the carvings in the background are 19th-century ancestral protection figures from Belu, Timor.

Also in this issue: we visit artist Judy Millar's windswept home and studio (designed by Richard Priest) on a dramatic clifftop west of Auckland, Sarah Maxey's 1980s Wellington cottage by Roger Walker, a vineyard home in Hawkes Bay by Hillery Priest Architects, and some beautiful marae on the Mahia Peninsula, among many other things. We'll post outtakes from some of these shoots over the coming weeks.

Sarah Maxey's house will be featured on TV3's Sunrise tomorrow morning at about 8.40pm. We'll also post the link to that footage once it's available online.

One of the nice things about focusing on 'Art Houses' in our current issue is that it gave us a good excuse to photograph the Auckland home of artist Stephen Bambury and his wife Jan.

The home was designed a decade ago by Pip Cheshire of Cheshire Architects (with assistance from Kendon McGraill); Stephen Bambury describes living there as "like living inside one of my paintings".

Indeed, Patrick Reynolds' photos of the house - those that I'm using in this post didn't make it into our article - beautifully capture the connections between Stephen's rigorous, meditative paintings and his home.

One of the best things about the house is its connection with its garden. Stephen has long been fascinated with the exquisite walled gardens of Suzhou, near Shanghai, where in more elegant times Beijing's leading civil servants retired to create beautiful calligraphy while (presumably) sipping tea and watching the seasons change.

(Some of these gardens are now World Heritage Sites - Suzhou is only an hour from Shanghai, so you should definitely visit if you're ever in the area. The UNESCO World Heritage Guide to Suzhou's gardens is at http://whc.unesco.org/en/list/813).

The Bamburys' garden is as restrained and, in its own contemporary way, as pleasing as those in Suzhou. It is also a reminder that, in our view-obsessed nation, a small view of a garden on a constrained city site can be as pleasing as a massive coastal vista. To prove this point, some more of Patrick's shots:

To view more of Stephen Bambury's work: http://www.jensengallery.com/

To see more of Pip Cheshire's work (including Auckland's newly planned Q Theatre and the 'House at Takapuna Clifftop', one of our other favourites): http://www.cheshirearchitects.com/