Houzz Tour: Sleek Auckland Abode Slips Into Heritage Haven
A rare chance to build in an historic neighbourhood on Herne Bay meant respectfully rethinking the New Zealand villa
It’s not every day a north-facing block becomes available in a heritage area among Victorian villas and cottages, let alone one with sweeping harbour views. The only building that usually takes place in the Herne Bay neighbourhood are alterations to the existing homes that have proudly lined the streets here since the 19th century. While the sub-divided block presented architect Daniel Marshall with a rare opportunity, the site constraints also posed some unique challenges.
“The site had amazing potential, being north facing, and one house back from the harbour – there were fantastic opportunities for the play of views and light,” Marshall says.
By the end of the project, however, he was not only thankful it was finished, but also that he had managed to remain friends with the client. “The building process was long and arduous due to issues with the contractor,” Marshall says. “At the end of the project the client made us all T-shirts that said ‘I survived HBR’ (our project code for the house).”
“The site had amazing potential, being north facing, and one house back from the harbour – there were fantastic opportunities for the play of views and light,” Marshall says.
By the end of the project, however, he was not only thankful it was finished, but also that he had managed to remain friends with the client. “The building process was long and arduous due to issues with the contractor,” Marshall says. “At the end of the project the client made us all T-shirts that said ‘I survived HBR’ (our project code for the house).”
A typical villa in the area exemplifies Victorian ideals ‘imported’ to New Zealand by its British settlers, yet makes use of the locally abundant timber. These villas are usually simple in form with sweeping verandahs and ornate entries. “The New Zealand villa was always carefully yet robustly crafted, clad in weatherboards beneath hipped roofs,” Marshall explains. “They face and present themselves to the street where the neighbourhood can see them standing well mannered with good posture.”
Archetypal villas are on one level and assume a level landscape, often having to be raised on posts to fit the New Zealand topography.
Inside, the rooms tend to orientate inwards from a common hallway, but Marshall says New Zealand living ideals have long since shifted. “We value common living spaces, access to the sun, and most significantly an outlook over our vast landscape with ample outdoor living space; arguably the strict protection of the Victorian street front fails to recognise these ideals.”
Archetypal villas are on one level and assume a level landscape, often having to be raised on posts to fit the New Zealand topography.
Inside, the rooms tend to orientate inwards from a common hallway, but Marshall says New Zealand living ideals have long since shifted. “We value common living spaces, access to the sun, and most significantly an outlook over our vast landscape with ample outdoor living space; arguably the strict protection of the Victorian street front fails to recognise these ideals.”
The completed house looks out over Herne Bay towards Auckland’s Waitemata Harbour. Marshall’s design is essentially a traditional New Zealand villa ‘unpeeling’ around a central void that continues through all three main levels of the house. “This means that although the house makes reference to the historic qualities of the street, which satisfied the planners, it still is dramatically modern and opens up to the sun and views throughout all the living and sleeping areas.”
The excavated lower level is accessed from the street via a ramp. It houses the garage, the media room and a bedroom/study.
The front door is a cedar-clad pivot door set cleanly into the surrounding pre-cast concrete. The casting of the concrete on timber boards matches exactly the width and texture of the timber door.
Marshall started designing the house just after visiting Brazil, where he toured several projects designed by the Brazilian architect Oscar Niemeyer.
“I wanted to refer to the beautiful organic approach to modernism that is reflected in so much South American modern architecture,” he says.
Marshall always designs a house with the idea of a series of ‘acts’, as if in a play. The first act is the introduction to the house, a guest’s arrival through the front door.
The entry intersects the main stairwell, which traverses all three levels and projects guests either left (to the raised drawing room) or right, to the winter room and on into the family living areas.
Marshall started designing the house just after visiting Brazil, where he toured several projects designed by the Brazilian architect Oscar Niemeyer.
“I wanted to refer to the beautiful organic approach to modernism that is reflected in so much South American modern architecture,” he says.
Marshall always designs a house with the idea of a series of ‘acts’, as if in a play. The first act is the introduction to the house, a guest’s arrival through the front door.
The entry intersects the main stairwell, which traverses all three levels and projects guests either left (to the raised drawing room) or right, to the winter room and on into the family living areas.
The mid-level houses the formal living area, or drawing room, elevated to take advantage of the harbour views.
Homeowners Marisa and Simon think of their house as both a city home (it’s five minutes from the city) and a beach house (the beach is at the bottom of the adjacent park). “We like the casual but modern feel of the house,” Marisa says. “We’re not very formal people so the style suits us.”
Homeowners Marisa and Simon think of their house as both a city home (it’s five minutes from the city) and a beach house (the beach is at the bottom of the adjacent park). “We like the casual but modern feel of the house,” Marisa says. “We’re not very formal people so the style suits us.”
“I like that the house fits into the heritage area even though it’s a very modern house, and that it sits in low profile in relation to the neighbours,” adds Marisa.
The drawing room is the most modernist of the living spaces, with floor-to-ceiling glass capturing the views.
Not surprisingly, it’s one of the family’s favourite places to be in the house.
Not surprisingly, it’s one of the family’s favourite places to be in the house.
Marisa took charge of the interior design, sourcing the furniture and feature lighting through Brigid Eyley from Hemisphere Design. “I also used Houzz for inspiration using the ideabooks.”
The upper level has three bedrooms accessed by two separate staircases.
The main stairway changes to open oak treads from the living area and rises up to service the children’s rooms and the guest bedroom. Another stairway at the other end of the house provides private access to the main bedroom suite.
The main stairway changes to open oak treads from the living area and rises up to service the children’s rooms and the guest bedroom. Another stairway at the other end of the house provides private access to the main bedroom suite.
Because the house is so close to the ocean, Marshall chose the exterior materials not just for their aesthetic appeal, but also for their longevity. “The exterior structure is primarily concrete, a material I love for its sculptural qualities, its engineering agility and the textures that you can achieve with different treatments,” Marshall says. “Concrete, cedar and Anthra-zinc are all noble materials that have stood the test of time.”
In the winter room, the fireplace sets the mood for the interior.
“When we close off the space with the sliding doors, it creates a great cosy space for family TV viewing and games nights,” Marisa says.
Fireplace: Living Flame
“When we close off the space with the sliding doors, it creates a great cosy space for family TV viewing and games nights,” Marisa says.
Fireplace: Living Flame
On the western side, the sculptural angled ‘fins’ screen the interior from the street and filter the strong western light.
“The fins at the front of the house provide privacy without closing us in and is a real feature of the exterior,” Marisa says.
The fins were cast on band-sawn timber, which references the timber structure of some of the historic villas and bungalows in the surrounding neighbourhood, and is sized to match the cedar cladding used inside. Marshall says the configuration was intended to form something of a ‘verandah’ – an area of transition between the public street face and the private living spaces within.
“I like to entertain a lot and the house easily accommodates everything from casual barbecues to formal dinners for 12 and parties for 150,” Marisa says. “All the materials were selected to be no fuss and that’s worked well; everything wipes clean with a damp sponge.”
Lighting: ECC Lighting
Lighting: ECC Lighting
The floors in most of the home are Travertine tiles.
The wall along the eastern elevation that forms the structural support for the stairway has a line of glazing to the exterior, and performs as a classic ‘Trombe’ wall – gathering heat in the morning and storing it to slowly release over the rest of the day/night.
Louvred windows throughout the home allow for natural cooling, but the carpet cosies up the bedrooms for maximum comfort in the winter months. The master suite has a walk-in wardrobe and en suite.
Carpet: Cavalier Bremworth
Carpet: Cavalier Bremworth
Bespoke cabinetry and fireplaces in the living areas manage to make them feel both grand and intimate.
“My daughter often hosts sleepovers for up to five, so the media room with its own bathroom is a great space for the girls to congregate,” Marisa says.
“My daughter often hosts sleepovers for up to five, so the media room with its own bathroom is a great space for the girls to congregate,” Marisa says.
Who lives here: Professional couple Marisa and Simon, daughter Maya, and dog, Twila
Location: Herne Bay, Auckland, New Zealand
Size: 500 square metres; 4 living areas, 4 bedrooms, 5 bathrooms and 3 car garage
The building block, the result of two larger sites being sub-divided, is in an area zoned Residential 2 for its significant heritage and character. Although the site is a generous 600 square metres, council rules meant the home’s footprint could not exceed 30 per cent of the site and had to be set back six metres off the road.