Capturing Waimataruru with Kristina Pickford

Resident has long maintained a deep-rooted connection to the architectural landscapes of Aotearoa, New Zealand. Earlier this year, we had the privilege of conducting an iconic photoshoot at Waimataruru, an award-winning, low-carbon, timber-framed home nestled along the breathtaking Ōtama beach, on the Coromandel Peninsula.

As New Zealand’s architectural scene reaches prolific new heights, Waimataruru commands attention as a landmark project. In this interview, we sit down with the owner and co-designer, Kristina Pickford, to explore the vision behind this inspirational home.

Kristina, please can you tell us about yourself?

I'm an interior designer and work in the residential, commercial, apartment and heritage spaces. I have studied science, landscape architecture, visual arts and art history. I have always had an interest in design, architecture and landscape - these pursuits are where my passion lies. I think I am best described as a wannabe architect.

And how did you come to be where you are now?

Well, my career has been varied, perhaps you could say, undirected! Until 2017 I had spent nearly all my life in Christchurch, New Zealand. With an unremarkable science degree  and partway through a postgraduate degree in landscape architecture, I fell into the interior design world. I worked for a small Christchurch design business and after a few months, full of youthful, perhaps naïve enthusiasm, I formed a company and started my own interior design business.

And how did the business go in those early days?

I learnt a lot in the early days, however, a financial crisis four years in, made making a viable living tough, so I needed another plan. Falling back on my science degree I found a job selling medical equipment which took me to London, UK. Before leaving for London in 2000, I designed and manufactured possum fur bed throws which I thought would be a good side-line to hawk in between my visits to gynecological theatres. It almost paid off  – Harrods agreed to sell the possum fur bead throws, and to display them in their front window no less.

That’s fantastic, and how did the possum furs go in London?

Things were just cranking up when Sophie Ellis-Bextor famously dragged a skinned fox down a fashion runway -  so that was more-or-less the end of that. Nobody read the fine print describing the ecological nightmare possums cause to New Zealand’s native forest!  After the possum episode I returned home to NZ and went back to university where I studied art history, Japanese art and architectural history. At the same time, I studied visual arts at Christchurch Polytechnic. On completion, I worked as an advisor at Heritage New Zealand and subsequently at the Christchurch City Council. It was during this time that Christchurch, especially its historic buildings, was largely destroyed by the earthquakes of 2010 and 2011. Then, frustrated with the government’s lack of will to save the city’s heritage after the earthquakes, I took another step sideways and accepted a role as chair of the Centre of Contemporary Art (CoCA) in Christchurch. The next few years were spent focused on the restoration and reopening of CoCA’s exceptional brutalist gallery. In 2017 my husband Michael and I relocated to the North Island. We purchased a 10-hectare regenerating coastal bush block that overlooked the white sands of Ōtama beach in the Coromandel Peninsula – this was to be the start of Waimataruru.

And what was it about the Coromandel and specifically Ōtama Bay, that attracted you both?

Ōtama is a special place, partly because it has escaped the more intensive development of many of Coromandel’s beach settlements. It also has an extensive preserved dune system, an interesting wetland and is surrounded by reserves and headlands owned by the Department of Conversation and local iwi. The land enjoys beautiful views over the Mercury Islands and retains a wildness that is captivating in all seasons. Such locations are increasingly hard to find in New Zealand. The site offered the opportunity to restore the native biodiversity of not only our land but also to contribute to the restoration of the surrounding public land. Together with others in the area, Michael and I formed a charitable trust with several environmental objectives including the eradication of wilding pines and other pest species.

And how about the history of this area?

When we purchased the land we knew relatively little about the area’s pre-European history. Learning about this since, has been an enriching part of our journey.

Specifically which learnings have most strongly shaped your views?

The concept of Kaitiakitanga (guardianship and protection) has always resonated strongly with me. We must preserve and nurture the natural environment to enable humanity and nature to live in harmony  – the idea that humans are inextricably linked to the health of our land and the planet. I believe there is much to be gained if we, as New Zealanders,  collectively adopt the principles of te ao Māori (Māori worldview) into our lives.  A holistic approach that focuses on interconnections makes so much sense to me.

Where does the name  “Waimataruru” come from?

Waimataruru is the name given to the property by a kaumātua of the local Ngati Hei iwi with whom we have worked to  eradicate pest species on their nearby land. The name’s etymology comes from ‘Waimata’ the name of the stream that runs through the property and ‘ruru’ (native owl) which are a constant presence around the home.

Waimataruru spans 10 hectares of steep, hilly terrain. What key considerations influenced the final placement of the house?

Prior to starting the building process, we spent a lot of time on the land, clearing weeds and planting trees. This was a great way to get to know the land in a deeper sense. The site presented abundant opportunities to capture outstanding views. I wanted views from the house to be like vignettes rather than panoramas. It was also critical that the house was positioned in a way that allowed it to blend as seamlessly as possible into the landscape. Early on we conceived of arriving to the home by use of a pedestrian bridge across the Waimata Stream and then walking up through the bush to enter the house from the rear. The idea was to give visitors an arrival experience.

And who were your key collaborators on the project?

Our chosen architect was Rory Kofoed who was then working for PAC Studio. Rory has a special range of talents including an innovative approach to architectural challenges and an innate sensibility for the relationship between the natural and built environments. Rory visited several times before starting work on formal plans. In his words, he closely observed “where the sun passed, what sounds the wind carried, when and where a rocky outcrop looked the best and these things came to inform the house as much as the physical site itself.” It was a real pleasure to collaborate with Rory throughout the project.

What were the principles that you wanted to incorporate into the design of the house itself?

My guiding principles were to be sympathetic to the environment and to ensure that the house did not dominate the landscape. We wanted the house to have low energy inputs and to be as sustainable as practicable. The house is predominantly timber, most of which is New Zealand-grown. The materiality of the house needed to speak to the environment in which it sat. This was important to us. Exterior timbers were selected to silver off over time and the interior palette reflected the colours and textures of the surroundings.

All surfaces both inside and outside the house contain a high level of fabrication and detailing.

Yes, I love simple but beautifully crafted things – every element in the home was carefully considered and rigorously designed. The material palette is stripped back – timber floors, timber ceilings, timber joinery and cabinetry, fabricated waxed steel elements that divide spaces and lime-plastered walls. We had an amazing team of local crafts and tradespeople who were able to breathe life into the vision.

When we conducted the Resident photoshoot, among other things we were struck by the diverse and eclectic mix of art and objects within the space. How would you describe your taste preferences?

I guess calling my taste eclectic is a good descriptor. I am drawn to furniture and objects from a mix of styles, periods and countries. For my own home, I tend to select simpler forms rather than more decorative ones. I am also naturally attracted to an earthy colour palette which I think is reflected throughout the home. We have an interest in and a love for New Zealand contemporary art. The Coromandel Peninsula has long attracted creatives and there many excellent artists practicing in the area. Reflecting that, we have works from Michael Smither, Chris Charteris, Maureen Lander and Barry Brickell all of whom have added to the rich artistic legacy of the region.

Now that you are settled in and the house and the build is complete, how does it feel to live in Waimataruru?

I am not sure I ever consider a house to be entirely ‘complete’, as I think that houses should evolve as the lives of its inhabitants do. The land around the house is also a constant work in progress which only gets richer and more nuanced over time.  I realise I am very privileged to be able to live in Waimataruru and to be a guardian of such a beautiful part of our country, at least for a period time.

Photography by Sam Hartnett