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17 Articles

Every three years, sometime around April, the short list for the Aga Khan Award for Architecture is quietly announced from a press office in Geneva. The list – made up of approximately 20 projects from around the globe – adheres to the organiser’s goal to “identify and encourage building concepts that successfully address the needs and aspirations of societies across the world, in which Muslims have a significant presence”. It is quite a targeted but open brief. This year, much like in every other round of the award, the finalists have proven to be a veritable hodgepodge of buildings in often-remote locations, with budgets that range from the non-existent to the eye-watering. There are several projects tackling the Anthropocene. There is a low-budget, prefab, modular and highly stylised solution to…

STEPHEN GOODENOUGH Photographer Stephen began his career in graphic design before venturing into photography in the early ’80s. He now operates as a freelance photographer from his shared studio in Addington, Christchurch. What was your favourite aspect of the Dark Sky Project? The building’s exterior, especially at sunset with the huge north-facing glass windows reflecting the surrounding landscape. But, I must admit, the ceiling detail is amazing. What are your thoughts on dark sky reserves? They’re a great asset for tourism, as there seems to be a huge fascination with the night sky and our solar system across all ages. Astrophotography has exploded in recent years and the Mackenzie Basin seems to be the place to be. Where else has your work taken you lately? I’ve been doing a few…

Interior Awards

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Interior Awards

Designer interview

You ended your involvement with homewares store Everyday Needs a couple of years ago. Why the change and what has been your focus since? Everyday Needs was always a side project for me that grew of its own momentum and was managed by a great team. It had reached a point where I felt it deserved to have someone at the helm who had the time to focus on it properly. I have enjoyed having more time to focus on my interiors practice and family since I sold it. Your work has been very popular with creative clients. Why is this? I think it comes down to a meeting of minds. A lot of your work seems to prefer the ‘handmade’ over the mass-produced, the analogue over the highly technical…

Designer interview

Runways of the future

Allbirds American footwear brand and Silicon Valley favourite Allbirds has joined the coterie of luxury retailers in Britomart Precinct. One of 15 stores the company has under its ecoconscious wing this year, the space features its signature combination of open stock service, ergonomically designed chairs and a modular wall system, but with a few subtle differences. Its inky service bar, designed by Jamie McLellan, was inspired by Auckland’s volcanoes and pops of teal are distinctly maritime. “We’ve designed this space to be in a constant state of flux,” co-founder and former All White Tim Brown told Interior of its visual simplicity. “It’s effectively a room filled with chairs that we’ve spent an enormous amount of time making, and that gives us a sense of fluidity in terms of adjusting the…

Runways of the future

It is hoped that the Oceania Biophilia Summit, run by Living Future Aotearoa NZ and the Living Future Institute Australia, will be the first of many, with a date for next year’s event near Sydney already in attendees’ diaries. Participants this year ranged from architects and engineers to developers and product manufacturers. The event kicked off with a presentation from award-winning architect Amanda Sturgeon, CEO of the International Living Future Institute and author of Creating Biophilic Buildings. Sturgeon went deep into the concept of biophilia and how it can be used in a practical sense to create beautiful, green and healthy living buildings. She examined key examples of LBC buildings around the world, which also appear in her tome, including our very own Te Kura Whare. She spoke of biophilia…

CHARLOTTE MINTY

This colour selection was inspired by a house your dad built in the 1970s. Tell us a little about the colours of your childhood. You always remember the colour of your childhood house because, often, this is the defining feature of when you were young. In my case, our house’s exterior cladding was in Burgundy, accompanied by the corrugated iron roof in Coffee and finished with the front door in Buttercup. All of these colours were, at the time, from the first and only Resene chart BS 2660:101 colour range. Inside, the open structure and central staircase were in exposed timber. Cork flooring and hessian ceiling panels were also part of the palette and were offset by pure-white walls and shots of colour throughout – interior doors in Buttercup and…

CHARLOTTE MINTY

Project: The Rabbit Patch Preschool – Te Tipu Client: Gail Clarke and Jo Campbell Location: Christchurch Project type: Education Floor area: 206m2 Located in the suburb of Burnside in Christchurch, The Rabbit Patch is a purpose-built preschool that operates on the Reggio Emilia philosophy of learning, which includes seeing the learning environment as an additional teacher. Providing a base that is natural and neutral allows for the child to imprint their own thoughts and expressions on the centre, and that is the brief that was provided to Phil Redmond Architecture & Urbanism (PRau) from which to create the design for the preschool. “The idea is that you are creating a space that is not specifically a childcare centre but is homely in terms of scale,” says architect Phil Redmond. “The…

Traditional Twist

Project: Harmos Horton Lusk Client: Harmos Horton Lusk Location: Auckland Project type: Workplace Floor area: 730m2 An exclusive, disruptive and indispensable brand with creative, jovial and hard-working people: from this narrative of legal practice Harmos Horton Lusk (HHL), the initial concept for the firm’s architectural transformation was conceived as ‘Traditional with a Twist’. When HHL sought out Warren and Mahoney, the firm occupied a prominent position on the 37th floor of well-known Auckland tower the Vero Centre, with panoramic water views. Rather than big change, it wanted to move to a larger floor plate on the 33rd floor and turn its incumbent, successful working model into an exceptional space. Add a design team at Warren and Mahoney, led by principal Scott Compton, who knew the building intimately, those Waitematā Harbour…

Traditional Twist

Creative Chemistry

Project: DDB Group Client: DDB Group New Zealand Location: Auckland Project type: Workplace Floor area: 2400m2 The cliché is for advertising agencies to lean towards a Google-esque aesthetic: ping-pong tables, slides and pops of neon are what automatically come to mind. But DDB, one of New Zealand’s oldest and largest advertising agencies, was after a fresh approach. Its new space, which spans two floors in a building that takes in spectacular views of Auckland’s Upper Harbour, connects the 250 staff members in a sophisticated and collaborative environment. GHDWoodhead creativespaces design director Kevin Russ says: “The desire here was to be more refined and represent all the work groups within the agency” and the new approach is evident immediately in the light-filled reception space. A curved kiosk welcomes guests to sign…

Creative Chemistry

Project: Dark Sky Project Client: Ngāi Tahu Tourism and Dark Sky Project (formerly Earth & Sky) Location: Mackenzie Basin Floor area: 1173m2 In 2012, a parcel of more than 4300km2 of land in the South Island’s Aoraki Mackenzie Basin was awarded ‘International Dark Sky Reserve’ status by the International Dark-Sky Association. Such a designation – one of about a dozen around the world – recognises the region’s importance for astronomy, as its location and low levels of light pollution allow professional and casual stargazers unparalleled views of the night sky. This status also seeks to preserve this slice of darkness for posterity by limiting light emissions in the area and educating people on the importance of dark skies and astronomy, and on the multitude of narratives that they have and…

Stage directions

Theatre and hospitality are inherently intertwined. An impeccable dining experience is comparable to a flawless performance – the food, wine and waiters unite to form a seamless show. So, when Wes Anderson ventured into interiors by designing Bar Luce at the Fondazione Prada museum in Milan, the progression felt natural (if a little quirky; we are talking about Wes Anderson after all). The same can be said for Craig Stanghetta. Studio principal of Ste. Marie in Vancouver, Canada, the self-trained designer has a Bachelor of Fine Arts, majoring in theatre. After acting on stage in Toronto, he transitioned into film and television in Vancouver. “I’d waited for so long to make money as an actor that, when it finally happened, I was terrified that I wasn’t enjoying it,” he says.…

Stage directions

MATERIAL FOCUS: WALKER MITCHELL

Fabric Bistro was built in an ex-army textile warehouse. Did this heritage inform your design and material choices? If so, how? The character of the building informed our design. We left as much of the masonry and structure exposed as possible. We kept the palette generally neutral so the spatial emphasis was on texture rather than on pattern and colour. There can be a coldness to former industrial spaces. What tips do you have for turning something like this into a soft and inviting hospitality interior? All of the introduced elements are aesthetically soft and warm to counteract the industrial character of the building – warm timber and brass hues, with honed stone textures and soft fabrics. You have used linens, drapes, handwoven pendants, and soft textiles on cushions and…

MATERIAL FOCUS: WALKER MITCHELL

Catching the wave

Research into the ways in which architecture influences aesthetic judgement and the decision to approach or avoid has found that we have a natural preference for curvilinear rather than rectilinear forms. Indeed, not only do we consider curves to be more beautiful, but, also, they trigger pleasant emotions and encourage us to approach or enter.✶ The curve – sinuous, wavy and inviting – seems to be making a comeback of sorts in interior spaces, with furniture, architecture, accents, artworks and beyond favouring the friendly shape over its harsher cousins. Here are two recent projects that encapsulate some of this softer, more tender side to commercial interiors. ✶Vartanian, Oshin et al. “Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture.” Proceedings of the National Academy of Sciences of the…

Catching the wave

Spiritea, New York by New Practice Studio

With sweeping curves and a pastel palette, Spiritea in East Village, New York, entices customers inside – an inviting contrast to the rectilinear grid of streets and avenues that defines much of Manhattan. New Practice Studio designed the curvilinear environment to guide circulation through the tea shop, and selected gentle colours inspired by the exotic fruits used in the teas. “Spiritea is conceived as a fresh and playful environment that showcases the elegant process of tea-making to the guests,” says Nianlai Zhong, founding partner and principal at New Practice Studio. Spiritea is located in a brick tenement building that dates back to 1874. New Practice Studio preserved the original structure and incorporated existing and new decorative mouldings to retain its historic character sensitively. Curving custom-made banquettes create a lounge-like seating…

Spiritea, New York by New Practice Studio

Est Lighting showroom, Melbourne by Christopher Elliott Design

Lighting plays an essential role in the way we experience architecture. The reverse applies in Est Lighting’s new showroom in Richmond, Melbourne, where architecture plays a crucial role in how we experience the lighting. With curved walls, arched openings and varying ceiling heights, the showroom, designed by Christopher Elliott Design, is an immersive space with a highly curated display of lights. The showroom is located in a former warehouse building with a sawtooth roof with exposed beams and service ducts, and no windows or openings along the street frontage. “This presented many design challenges but meant we could encapsulate the showroom as we weren’t influenced by the architecture’s relationship with the outside,” says Elliot. A new suspended ceiling wraps around the showroom, with an elongated oval cut out in the…

Est Lighting showroom, Melbourne by Christopher Elliott Design

Sam Caradus is a Balclutha-born creative working for Crosson Architects. Here, he shares some of the people, ideas and objects that inspire him. Outside of your design work, what gets your creative juices flowing? Life drawing at Browne School of Art: the human form is so beautifully complex. Attending the Royal New Zealand Ballet: the muscularity, athletic skill and artistry is inspiring. Dancing with Gandalf Archer Mills: passionate, unrelenting energy. What fashion are you coveting? Zambesi – I adore the work that Liz and Dayne produce. Also, Rick Owens – the silhouette is questioned, reinterpreted and recreated. It’s sublime. What has you excited at the moment? My partner, artist Maggie Hubert, is back at university studying architecture. She’s so courageous and her work is inspiring. Also, my good friend Jojo…

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