written by:
photos by:
March 4, 2009
Originally published in Learning From Down Under

On the shores of New Zealand’s Lake Wakatipu, architects Bronwen Kerr and Pete Ritchie designed a relaxed family home that reclines into its spectacular landscape.

When Bronwen Kerr and Pete Ritchie decided to relocate from New Zealand’s capital, Wellington, to Queenstown, on the country’s South Island, they designed a new home for themselves and their three children on a site Ritchie had purchased when he was livin
When Bronwen Kerr and Pete Ritchie decided to relocate from New Zealand’s capital, Wellington, to Queenstown, on the country’s South Island, they designed a new home for themselves and their three children on a site Ritchie had purchased when he was living in the area—a stunning lakeside plot. Working in partnership, the couple devised a home and studio that is separated by a passage through the middle of the building.
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New Zealand house with ceder weatherboards
The sunny side of the home is clad in cedar weatherboards and features sleeping quarters on the upper level with living spaces below.
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One bathroom features a ladder that leads up to a yoga studio.
One bathroom features a ladder that leads up to a yoga studio.
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The kids, Archie, Linus, and Olive, stand in the kitchen, beneath the strand board–clad stairwell that leads to the bedrooms. Kerr and Ritchie initially envisaged rich materials for the interior, but changed their minds in favor of what they call a “carto
The kids, Archie, Linus, and Olive, stand in the kitchen, beneath the strand board–clad stairwell that leads to the bedrooms. Kerr and Ritchie initially envisaged rich materials for the interior, but changed their minds in favor of what they call a “cartoony” approach with cheaper, hard-wearing elements. “We didn’t want the space to feel too grown-up,” Kerr says.
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Queenstown gets cold in winter, hence the installation of a sauna. Outside, the landscaping was kept deliberately casual, with rock walls and gravel paths.
Queenstown gets cold in winter, hence the installation of a sauna. Outside, the landscaping was kept deliberately casual, with rock walls and gravel paths.
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The home is made up of two parts: a rear wing containing the studio and a guest room, and the north-facing living quarters (which, in the southern hemisphere, attract the most sun) overlooking the lake.
The home is made up of two parts: a rear wing containing the studio and a guest room, and the north-facing living quarters (which, in the southern hemisphere, attract the most sun) overlooking the lake.
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The home is mostly clad in black trapezoidal-profile steel, with cedar boards lining what the owners call the “human spaces”—external passages between buildings. A solar hot water system perches on the roof.
The home is mostly clad in black trapezoidal-profile steel, with cedar boards lining what the owners call the “human spaces”—external passages between buildings. A solar hot water system perches on the roof.
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Kerr Ritchie Architects’ studio at the rear of the building opens onto a lawn on the lake side of the home. The form evolved during planning from a “modernist box” into a “strong, sculptural” frame.
Kerr Ritchie Architects’ studio at the rear of the building opens onto a lawn on the lake side of the home. The form evolved during planning from a “modernist box” into a “strong, sculptural” frame.
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Linus, Archie, and Olive relax on the home’s cedar-lined front deck that opens off the main living area.
Linus, Archie, and Olive relax on the home’s cedar-lined front deck that opens off the main living area.
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The main living area. The home is flanked on the east by a precipitous mountain range named The Remarkables. In summer, the weather gets hot enough for the family to go swimming and boating.
The main living area. The home is flanked on the east by a precipitous mountain range named The Remarkables. In summer, the weather gets hot enough for the family to go swimming and boating.
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The location on the shores of a small bay means it is sheltered from cold southerly winds. The alpine location provided plenty of inspiration for landscaping, which Ritchie and Kerr elected to keep as minimal as possible, as if the home had landed on its
The location on the shores of a small bay means it is sheltered from cold southerly winds. The alpine location provided plenty of inspiration for landscaping, which Ritchie and Kerr elected to keep as minimal as possible, as if the home had landed on its site with as little disturbance or alteration as possible.
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When Bronwen Kerr and Pete Ritchie decided to relocate from New Zealand’s capital, Wellington, to Queenstown, on the country’s South Island, they designed a new home for themselves and their three children on a site Ritchie had purchased when he was livin
When Bronwen Kerr and Pete Ritchie decided to relocate from New Zealand’s capital, Wellington, to Queenstown, on the country’s South Island, they designed a new home for themselves and their three children on a site Ritchie had purchased when he was living in the area—a stunning lakeside plot. Working in partnership, the couple devised a home and studio that is separated by a passage through the middle of the building.
Project 
Kerr-Ritchie Residence

The gorgeous alpine region of Queenstown, on New Zealand’s South Island, has always been popular with domestic visitors. But in recent years the area has seen an international tourism boom, fueled at least in part by The Lord of the Rings trilogy, some of which was filmed here. The sumptuous vistas, excellent vineyards, and exhilarating sense of isolation make a handful of well-off visitors fall so in love with the place that they decide to stay. This phenomenon has spawned an architectural style best described as steroidal, with grandiose homes striving to assert their presence among all the spectacular scenery.

The profusion of megahomes—many of them occupied only a few months of the year—can become depressing. Luckily, a visit to the home of local architects Bronwen Kerr and Pete Ritchie and their children—Archie, seven; Linus, five; and Olive, three—is the perfect antidote to this rectilinear bravado. Here, the duo has dreamed up a building that doesn’t try to compete with its spectacular surroundings but seems genuinely at ease in them. “We wanted to relax and let our house fit the landscape as if it’s reclining into it,” Kerr says.“Elements appear to lounge and gaze out at the view. I like buildings that show human characteristics.”

Good things take time, and there was nothing rushed about this place. Ritchie, who grew up a little south of Queenstown, was working in the area as a surveyor when he purchased the three-quarter-acre plot in 1999. The 15-minute drive south from Queenstown seemed inconvenient to most local people, but Ritchie thought the site made up for this by being more sheltered and sunny than most locations in town. The couple initially contemplated building a “small modernist box” on the site, but those plans were put on hold when they moved north to Wellington for five years so Ritchie could complete a degree in landscape architecture while Kerr continued working as an architect.

The land sat empty while the couple’s plans for it slowly took shape. They started a family, with three children arriving over the next four years. They took note of the idiosyncratic work of the Japanese firm Atelier Bow-Wow. They admired the fluid and relaxed planning of Australian architect Kerstin Thompson, particularly a long, low lakeside home she designed near Melbourne that is an elegant geometric echo of the landscape around it. During their five years away, Kerr and Ritchie made regular visits to the Queenstown property, spending hours beside Lake Wakatipu considering their options. “Our thoughts developed, and the way we worked over that time developed too,” Kerr says. “We gained confidence and tried a few things out. Our response to the landscape became more sophisticated, and the planning and the form gradually became more fluid, more of an intuitive response to the site.”

The end result is a long way from the modernist box they initially envisaged. It is not a home that tries to hide by burying itself in its surroundings or by emulating one of the area’s old barns, a strategy deployed by other local contemporary homes. It is relaxed but still rigorous, with a breezy unorthodoxy all its own. It seems to derive strength from its robust surroundings without attempting to outdo them. “I like our buildings to have a strong sculptural form,” Ritchie says. “We didn’t want a generic cultural interpretation like a barn or a box.”

The 3,000-square-foot home is divided into two parts, linked by an open-air breezeway.  To the right, the passage leads to the rear of the home, with a guest bedroom and bathroom and the studio where Kerr and Ritchie base their practice. To the left are the family quarters, including a large combined kitchen, dining, and living area with a small cedar-lined deck stretching northward to the lake. Up two steps is a snug lounge with a log burner, separated from the other living spaces by bookshelves backed with movable panels. The second floor houses three bedrooms and a bathroom, all with big windows facing the lake. On its eastern flank, the home pulls gently away from the slope to create space for a sheltered courtyard that catches the morning sun. There is no formal area for parking cars, so visitors pull up wherever they like at the end of the unsealed driveway and walk up a loose gravel path to the entrance.

Unlike most of the rest of New Zealand, which is known for its benign climate, Queenstown experiences some of the country’s greatest temperature extremes. Winter days are regularly below freezing, but the mercury can rise into the 80s (Fahrenheit) in the summer. There is, however, still plenty of sun, so Kerr and Ritchie designed their home to retain as much solar heat in its concrete floors as possible. They also insulated the walls with batting made from recycled wool and specified double-glazed joinery for all the windows and doors. Solar panels and a backup boiler fueled by wood pellets—compressed waste from local timber mills—can pump hot water to warm the concrete floor when needed, although the family found that the home’s thermal performance was so good they survived their first winter using only a single log burner. “It was a bit cold in the studio in the mornings,” Kerr says, “but the bedrooms get a lot of sun and were always warm.” On particularly frigid nights, the sauna provides relief.

A need to economize led to Kerr and Ritchie’s choice of bold, simple building materials, but the robust palette feels appropriate in this tough environment. Corrugated concrete retaining walls—their pattern molded from the steel that clads the building—skirt parts of the home and work their way inside the studio and snug lounge.

Inside, tough materials are left behind in favor of more childlike interiors. “We wanted it to be a young person’s house, sort of like a primary school,” Kerr says. They opted not to grind the concrete floor, furnishing the lounge in bright-green carpet deliberately reminiscent of the 1970s, and chose “bold and cheerful” plastic lights and large-chipped strand board for the walls and doors.

Kerr and Ritchie have worked in partnership ever since Ritchie completed his landscape architecture degree, combining their skills to form a holistic design practice that they now deploy on a handful of projects each year. Their open-minded approach of fusing disciplines may explain why their own home sits so naturally on its site. While many of the oversize residences nearby look as if they landed with a tremendous thud, Kerr and Ritchie’s home has touched down gently, enhancing the splendor of its surroundings.

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