Layered like the tiers of a decadent cake, this beach house on an exposed corner site is a striking blend of coastal chic and spatial dynamism.
At the more established end of Ōmaha, just north of Auckland, the streets are quiet, the pōhutukawa are large, and there’s a sense of suburban familiarity. Boats dot the driveways, and the sound of the sea is constant. It’s hard not to relax in the midst of these gently winding roads that lead to nowhere but the beach.
When Chris Tate was engaged to design a holiday home here for an Auckland-based professional, he, too, had the sense of the immediacy of the quintessentially coastal suburban setting. Sections aren’t large, the coast is the
collective backyard, and neighbours are close.
“It’s a white picket fence type of area, and that’s come through strongly in this design,” Chris says — although that hasn’t happened entirely in the way you might expect. As Chris often does, he’s taken a concept, reinvigorated it, played with it, and drawn something bold.
In this case, the white picket fence reference folds around the upper level of the layered vision in the form of a vertical aluminium screen — operable at points; fixed at others. Despite this misplaced ‘fence’ being well above the ground, it makes perfect sense in its context.
“Part of the brief was to try and achieve some privacy, while also capturing the views. It’s a beach house envisioned as a simple Kiwi bach with a lovely level of refinement throughout, designed for entertaining.
“As you’re coming down the street, nothing stands out too much until you see this. It’s different.” That’s in part because of the choice of colour: it’s as white as vanilla cream cake — thus perfectly articulating the breezy coastal vibe.
Entry is by way of a path that introduces the visitor to the determined use of light tones; here, a wall of bagged brick invites touch with its disparate symmetry and overtly textural finish. Open the door and you’re greeted with a dramatic double-height space and a sculptural spiral stair. Light is drawn in from above, falling in ever-changing stripes through the screening overhead.
To the left are twin guest bedrooms with en suites, the laundry, and a powder room. To the right is the main living pavilion, a space that opens on three sides: on one, onto a circular plunge pool anchored by a covered pool cabana; on the other, to a green outlook; and ahead, to a raised lawn where plush loungers invite lingering relaxation under the summer sun. Floors are light-toned timber, while the furniture is exclusively in light, white tones. A white steel IMO kitchen and dolomite island benchtop add to the clever layering of white upon white.
Upstairs, the main bedroom suite echoes the footprint of the living area below. Here, the exterior screen is operable, folding away to allow for an outdoor bathtub on the balcony to be enjoyed privately, or for the room to be opened up to the coast.
“[With the house] being so exposed on its site, the screen offers the inhabitants a comfortable level of privacy. Having the bath on the deck is a lovely addition, and such a nice way to connect to the outdoors and bathe under the stars.”
Back at the top of the circular stair, the promise of another layer calls for exploration. A second stair is shrouded by the fixed screen. Reach the top — a rooftop terrace — and it all makes sense. Here, the views are wide-reaching.
A cabana furnished with a bar packs a punch, the benchtop crafted from the same dolomite as that in the kitchen — the palette steadfastly light. Curtains on all sides allow for an element of privacy from the neighbours if desired, but, even when they are drawn back, there’s a sense of seclusion here on what is arguably the headiest layer of this home by the sea.
Words: Clare Chapman
Images: Simon Devitt
