Daniel Marshall on Waiheke

The first of two houses by Daniel Marshall on Waiheke Island that are finalists in our Home of the Year award is at Waikopua Bay, at the very eastern end of the island. The house is located at the bottom of an incredibly steep driveway, and faces slightly southeast. Daniel decided to arrange the buildinfs - a carport, the main house and a guest room above a boatshed - around the path of an old stream bed that ran through the site. This creates the feeling of an encampment centred around the sunken courtyard at the rear of the living pavilion. These photographs - most of which we couldn't fit in the article on the house in our Home of the Year issue - are by Simon Devitt.


This view from the water shows the way the building nestles into its site. The Felipe Tohi sculpture out the front provides a useful navigation point, apparently, when guiding the fishing boat back in the evenings.


Daniel chose the black colour for much of the exterior so it would blend in with the dark trunks of the manuka trees behind it.

This view shows the stone wall of the living pavilion that borders the old creek bed and the path between the two structures.

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.

Miles: A Life in Architecture

We know we're biased, because we're one of the sponsors of the exhibhtion, but we thoroughly recommend you visit the Christchurch Art Gallery to see the excellent show 'Miles: A Life in Architecture', featuring the work of Sir Miles Warren of the Christchurch (and now national) firm of Warren & Mahoney.

Art institutions are understandably skittish about architecture exhibitions. The best way to experience architecture, of course, is to be in a building. While we agree with this, we also believe that experiencing a building through photographs is a worthy stand-in for the real thing. At the exhibition, the excellent photographs of Warren & Mahoney buildings are combined with plans, helpful information panels and Sir Miles' beautiful watercolours of his buildings.

Sir Miles has also recently published an autobiography with the Canterbury University Press - we feature an excerpt in our current issue. It's a lively read, especially the part about how proud he was of the early notoriety of his Dorset Street flats, which were described soon after their completion as one of the ugliest buildings in Christchurch. Our article features some of Paul McCredie's photographs of the flats. The passing of time has shown them, in our opinon, to be anything but ugly:

One of the striking things about the exhibition is the awareness it promotes of the great architectural legacy of Warren & Mahoney, which has given New Zealand some of its most beautiful modernist buildings. Take the chance if you're in Christchurch to see the show and, if you have time, drop by the Christchurch Town Hall, one of the firm's masterworks. It is as elegant and seductive today as it was when it opened in the early 1970s.

Designing from the inside out

The Arrowtown architect Max Wild, who designed a home that was a finalist in our Home of the Year award in 2007, has another home in our upcoming June issue that was commissioned by Sam Neill for the manager of his Two Paddocks vineyard in Earnscleugh, near Clyde. Here's one of Paul McCredie's photographs of it.


One of the interesting things about Max's architecture is that he strives not to create beautiful objects, but homes that are beautiful to live in. And while the home in the photograph above is not conventionally beautiful, it performs superbly in Earnscleugh's sizzling summers and deathly cold winters. Here's what Max had to say about it in our interview with him earlier today:

In a way [this house] is reverting to what I understood to be the early modernist ideal of a building being discovered by how it plays through the year, of environmental control as aesthetics. We've reached the point where a building’s aesthetic is what it looks like, but that seems less profound than how it makes you feel. When you come in the front door [of this house] it’s quite neat because often it’s such an improvement on the day outside. If it’s cold outside, inside it’s bright and warm. I’m not saying it’s a masterwork of architecture, but that’s the point of it – it’s hopefully a reasonably straightforward, pleasurable response.

You get a clearer idea of what Max is talking about when you see the home's light-filled interior, with its simple materials and generous spaces.

Max says magazines are partly guilty of propagating the idea that the form of a house - how it looks in the landscape - is of greater importance than how it performs or feels to live in. Point taken - we admit to being seduced by plenty of homes that fit this description in the past, and probably will continue to be - but we also believe the best architects are always conscious of the experience of being inside a building, and of the importance of comfort. Hopefully homes like this one by Max will get people thinking about assessing homes for more than just their visual appearance, and lead to a deeper consideration of what a home should be.