Home of the year

2007: Harbourside darkness by Stevens Lawson

Article by Home Magazine
Stevens Lawson Architects 2007. Photograph by Mark Smith.

Located in the Auckland suburb of Westmere, the home’s master bedroom (upstairs) and living areas face a sunken outdoor seating area and fireplace, and a slim lawn that stretches out to a cliff overlooking the mudflats of Auckland’s western Waitemata Harbour. The home is resolutely black inside and out, recalling old creosote baches or the tar used to waterproof plywood dinghies. Photograph by Mark Smith.


The winner of the Home of the Year 2007 is an enigmatic dwelling that lies above tidal mudflats in the Auckland suburb of Westmere. From the street, it is mysterious, looking like a big old blackened log washed up on the bank, more of an abstract sculptural form than a house. Its unremitting blackness brings to mind old creosote baches, or the tar our dads would pitch our plywood
dinghies with. It is a home that recoils from the street like a big black skink and slithers off towards the shore.

In recent years, Aucklanders (and I admit to being one) have embraced the big brassy, glassy house in which we can show off our sophisticated lifestyles and pretend we live in an Eden where it never rains or gets too cold. This home, in contrast, is reticent about its relationship to the street, turning the other way not to capture a classically spectacular sea view, but to reconnect with the old, upperharbour Auckland of wood and mud.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

The home almost seems invisible from the street, its black timber receding behind a garden with Japanese accents designed by landscaper Patrick Stokes. A glimmer of light shows through the front door, which opens onto the long, moody corridor. Photograph by Mark Smith.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

The snug sunken lounge features built-in furniture covered in leather squabs and a mixture of second-hand cushions and some from Eon Design Centre. The artwork is ‘Study for the Subterranean’ by Martin Poppelwell. Photograph by Mark Smith.


Designed by Nicholas Stevens and Gary Lawson of Stevens Lawson Architects, the home from the street has a moody discretion. It has a garden that looks a bit Japanese, full of ground cover and moss and young trees that will eventually form a little forest to shroud its public façade. It is folded like black origami, while timber battens on some of the walls hint at a manuka fence or palisade. It peels open briefly to reveal the black maw of the porch and a door that is a big, broken frosty star of dark timber and glass.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

The living areas – kitchen, dining and sunken lounge – are slung along the side of the home that faces the harbour. The central path established by the hallway leads through this space and out onto the lawn overlooking the mudflats. Photograph by Mark Smith.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

Instead of pool fencing, the architects designed a trench inspired by “Hahas”, the sunken walls that surround some English country homes, keeping stock out without spoiling the view. Photograph by Mark Smith.

Inside the door, the home feels like a continuation of the exterior, with the same terracotta tiles that stud the driveway following the terrain down a hallway that runs in a series of ramps or slipways towards the harbour. The walls are fashioned from the same dark battens we see outside, interspersed with tall, narrow strips of glass. It is like a long tunnel, mangrove dark at times, but at others illuminated with sunlight that slices through the windows punctuating its sides. There is barely a right angle anywhere; the walls and ceilings are all faceted planes with the alien geometry of a stealth bomber.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

In the dining area are an old 1950s dining table and chairs and an Egyptian rug. The ‘Saucer’ lamp is by George Nelson from Matisse. The floor is American oak. The door on the left opens onto a small north-facing courtyard. Photograph by Mark Smith.

At the end of the tunnel there is no big reveal, no panoramic harbour-grabbing vista. Stepping down to one side is a snug sunken living area, a good place to hunker down and ride out north-easterly storms. But the big central pathway through the house doesn’t culminate in the living area or kitchen: it goes past them, drawing the visitor out to a little pool, a barbecue spot, and a last vestige of lawn on this shelf above the vast mudflats.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

The view from the master bedroom of Auckland’s western Waitemata Harbour. Photograph by Mark Smith.

Where the street aspect of this long, linear house is like the split end of a wedge, the seaward side is like a couple of stacks of logs ready for a big fire on the beach. The cliff face has been left untidied, still sporting a rough boat ramp and rusty davits and flotsam and jetsam around the spot where the previous owner spent 30 years building little boats. Indeed, the current owners’ boat is no plush SUV of the sea, but an old kauri job that rests on the mudflats waiting for some water and seems as much a part of the house as any of the other rooms. Hang on – rooms? What rooms?

Stevens Lawson Architects 2007. Photograph by Mark Smith.

Inside the front door, the terracotta tiles that stud the driveway continue into the hallway, which is lined in dark cedar battens and follows the terrain down through the living areas (on the other side of the door in this image) and out to the lawn overlooking the harbour. Photograph by Mark Smith.

Back inside, it’s hard to find the rooms we’ve walked past. Some have hidden doors worked seamlessly into the rippling walls of dark timber batten. Each of the four bedrooms, as well as a studio, study and TV room, split away from the central lane and are divided from each other by little courtyards which, with all their planting, will soon be chocka with bush. To one side, the stairway disappears upstairs and where we would normally find a big plush master bedroom, the space is split, like the branches of a pohutukawa abruptly dividing, into a couple of bed areas joined by a sliding door.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

The same cedar battens that clad parts of the exterior are also used in the kitchen cabinetry. The kitchen island that curves dramatically up from the floor is made of the same American oak as the floorboards. The mid-century bar stools are originally from the Netherlands. Photograph by Mark Smith.

This is an introspective home, like a series of clearings in the forest, but it also feels like a big dwelling despite being built on a tight site. It isn’t overlooked by neighbours and even though the family can all come together in the living areas at the front, there are plenty of lovely little rooms to slip away to. “It’s a house that soaks people up,” one of the owners says.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

In the upstairs en suite bathroom, cedar panelling is punctuated by a circular shug window that opens to the bedroom and allows a view out to the harbour. The bath is recycled. Photograph by Mark Smith.

There is nostalgia here, too. This isn’t a big transparent Auckland box – a notion the owners emphatically rejected, instead expressing a desire for a place that was impossible to identify with any particular period. In some ways, the home seems a throwback to the woodsy style of the Group Architects in the 1950s, and to the big raftered timber houses of our parents, with their dark mahogany couches and cocktail cabinets, deep snugs and conversation pits. If a house can be like a book, this one reminds me of Kirsty Gunn’s novella Rain – idiosyncratic, mysterious and anchored by an uncannily strong sense of place. Its unique character provokes a refreshingly emotional response rather than one shaped by notions of style or coolness. It is tailored to its owners’ desires, and is never flashy or pretentious.

Stevens Lawson Architects 2007. Photograph by Mark Smith.

A view into the study from the small courtyard which is connected to the kitchen. The terracotta tiles used inside and out were chosen for their warm colour and their associations with 1970s houses the owners had admired. Photograph by Mark Smith.

The owners asked for a home in which they could “discover secret things – not ‘what you see is what you get’”. The home’s deeply crafted nature has something in common with other Stevens Lawson houses, but it is also a uniquely calibrated vision for living. It is a house you can’t look at only once, and I already want to go back and experience it all over again. –Bill McKay