Both inspired by the modernist era the pairing of architect Claude Megson and artist Roy Good resulted in a house of angles, drama and intrigue
How an architect and artist worked together to design a dramatic home
What was it like working with architect Claude Megson?
Roy Good: We were novices in respect to house design but Claude had a marvellous ability to ease the client into the process. Regular meetings proceeded over what was a long design phase. I guess he was teaching full time and balancing his commitments – I know what that’s like. His strong personality and passion coloured the architect-client relationship, but as an artist and designer this was not foreign territory for me.
What were you looking for in a home and what did Megson deliver?
Roy Good: We had responded very well to the work of his we’d seen and weren’t entirely clear about the style or function we wanted. I, in particular, sensed a modernist approach that I could relate to as my own work was developing an abstract modernist direction post art-school days.
How has the home worked for you over the decades?
Roy Good: The open plan allowed internal walls to be added and we adapted the design as our family increased from one child to three. As my own work developed and painting stock grew, I added walls to display the paintings and built another studio separate from the house. The internal studio converted to a bedroom/rumpus for our growing family. This studio was restored to my use when the children left home.
Was Megson involved in the renovations?
Roy Good: Like many of his former clients, personal contact ended in not the happiest of circumstances. Design inadequacies with regard to roofs and gutters soured the relationship.
What are your favourite aspects of the home?
Roy Good: What Megson did really well was position and fit the design into the site and provide overall access to the land and its view to the harbour from this elevated site. His complicated assembly of rooms, levels and spaces provides continuous interest to living in the house, which is why we are still here after almost five decades.
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Concrete block retaining walls form a semi-enclosed courtyard on arrival, preventing any sense of outlook or release.
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The stairwell rises from the entry level to the bedroom level, with windows taking in bush views. The gouache above the landing is by JS Parker. The framed print at right is by Michael Kitson.
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Megson’s built-in seating was modified a decade ago, but remains essentially the same. The table is by Marcel Breuer. ‘Arahura’ by Gordon Walters hangs at the entrance to the room. Prints by Yaacov Agam and Victor Vasarely hang to the left of a sculpture by Logan Brewer. To its right is ‘Pacific Corporation’ and ‘Parallel Universe – Projection’, both by Roy Good.
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‘Yellow Tondo’ and ‘Notched Stepped’, both by Roy Good, hang above the sofa in ‘the pit’. At right are prints by Yaacov Agam (top) and Victor Vasarely.
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The ‘LC2’ sofa is by Le Corbusier, Pierre Jeanneret and Charlotte Perriand. To its left is ‘Tower for Kasimir’ by Roy Good. ‘Continuous Lines’ by Roy Good hangs to the left of a print by Gordon Walters and a sculpture by Marté Szirmay sits to the right.
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Good draws up concepts in his home studio.
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'Notched Series No.8’, ‘Bisecting Planes’, and the small blue relief, are all by Roy Good and hang in the dining area.
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A screen print by Logan Brewer and a gouache by Roy Good hang in the guest bedroom.
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In the living room corner, a bowl by Leo King sits on an ‘E1027’ side table by Eileen Gary.
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Numerous timber decks and balconies project from the building, providing views towards the Waitematā Harbour and Auckland city in the distance.
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Maples hang over a sunken garden at the western side of the lounge.
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Sue in one of the courtyard gardens. Her extensive landscaping responds to the home’s footprint and retaining walls that expand into the site and bush.
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By stacking the house over three levels, architect Claude Megson created a castle-like feel, says Sue Good. Inside, heart rimu rafters and sarking rise and fall above white wall planes.
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Floor plan
Words by: Giles Reid. Photography by: Jackie Meiring.
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