Ian Adamson

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Exterior view of Kelvin Heights 10 House, showing how the house steps down the site.

Exterior view of Kelvin Heights 10 House, showing how the house steps down the site. Image: Marina Mathews

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The pared-back material palette highlights the architectural detailing.

The pared-back material palette highlights the architectural detailing. Image: Marina Mathews

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Internal living areas have been clustered around a large courtyard providing seamless indoor-outdoor entertaining.

Internal living areas have been clustered around a large courtyard providing seamless indoor-outdoor entertaining. Image: Marina Mathews

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Kelvin Heights 10 House.

Kelvin Heights 10 House.

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A design comprising two parallel yet off-set forms allows Tuckers Beach Road House to make the most of its north-facing site.

A design comprising two parallel yet off-set forms allows Tuckers Beach Road House to make the most of its north-facing site. Image: Marina Mathews

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A triple aspect ensures the living areas benefit from ample natural light and ventilation.

A triple aspect ensures the living areas benefit from ample natural light and ventilation.

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The view from the terrace highlights the axial nature of the architecture.

The view from the terrace highlights the axial nature of the architecture. Image: Marina Mathews

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Set at 90-degrees to each other, the two pavilions that form Closeburn Station House run along the existing ridge line of the elevated site.

Set at 90-degrees to each other, the two pavilions that form Closeburn Station House run along the existing ridge line of the elevated site. Image: Marina Mathews

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A cantilevered deck at the end of the family wing affords panoramic views over the surrounding farm land.

A cantilevered deck at the end of the family wing affords panoramic views over the surrounding farm land. Image: Marina Mathews

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A feature concrete fireplace separates the otherwise open-plan living area.

A feature concrete fireplace separates the otherwise open-plan living area. Image: Marina Mathews

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Closeburn Station House.

Closeburn Station House. Image: Marina Mathews

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Cedar and zinc were chosen to clad Lake Hayes House as both materials achieve a natural patina over time.

Cedar and zinc were chosen to clad Lake Hayes House as both materials achieve a natural patina over time. Image: James Jubb; Registered Master Builders House of the Year

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The upper level houses guest bedrooms, while the lower houses the living areas and main bedroom.

The upper level houses guest bedrooms, while the lower houses the living areas and main bedroom. Image: James Jubb; Registered Master Builders House of the Year

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Natural materials also feature on the interior.

Natural materials also feature on the interior. Image: James Jubb; Registered Master Builders House of the Year

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To maximise the narrow site and provide a mix of indoor and outdoor living spaces, the house has been designed as a series of separate pavilions.

To maximise the narrow site and provide a mix of indoor and outdoor living spaces, the house has been designed as a series of separate pavilions. Image: Marina Mathews

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The full-length, lake-facing terrace is accessed via the living areas.

The full-length, lake-facing terrace is accessed via the living areas. Image: Marina Mathews

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A glazed corridor serves as the connecting element between the pavilions.

A glazed corridor serves as the connecting element between the pavilions. Image: Marina Mathews

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Frederique Gulcher: Where did your career start?

Ian Adamson: My first job 30 years ago was actually at Warren and Mahoney, where I gained work experience while getting my Christchurch Polytechnic Certificate of Architectural Drafting. I spent most of those few weeks running prints and tracing Sir Miles Warren’s lettering. After I completed my NZCAD, I headed to Auckland University; graduating in 1992.

Ian Adamson.

FG: What is one thing you learnt from one of the greats - Sir Miles Warren?

IA: I was doing a lot of drawing by hand and there was a high expectation that drawings should have a consistent appearance; I was taught every line drawn has meaning/intent.

FG: How did you find yourself, 30 years later, setting up the Queenstown office?

IA: After Auckland, I returned to Christchurch and worked for Wilkie Bruce, before returning to Warren and Mahoney. Then, in 1994, I was asked to relocate for 12 months to Queenstown to manage the growing number of projects.
Following that, it was back to Christchurch before heading to Fiji for a major hotel project. When that was complete I found myself back in Christchurch but commuting regularly to Queenstown. Of course, the inevitable happened and I returned in 2007 to establish what is today a 12-person studio looking after projects from Invercargill to Wanaka.

FG: What attracted you to stay – there must be a lot of challenges designing in this landscape and climate?

IA: We are designing in a powerful landscape, which requires a level of respect in how we respond to it. But we also need to capture and experience this in a meaningful way. The climatic conditions are challenging and we constantly consider how buildings can adapt from -10 mid-winter to +30 degrees in summer. These are challenges that make the work interesting. Queenstown also brings with it a diversity of clients who do not live locally. This requires a high level of communication and trust. It is personally very rewarding to be part of the joy and excitement these clients have seeing their homes unfold via infrequent visits, or sometimes only on completion.

FG: As for responding to the environment, which materials and models, both traditional and modern, suit Queenstown?

IA: I think traditional Queenstown architecture and materials have evolved over time, while still maintaining their intent and meaning. For me, materials should be enduring as they are, where the patination process enriches, versus materials that require frequent maintenance. The result of this being a robust, protective construction that has longevity and retains it’s original intent. Building forms should be uncomplicated and sympathetic to the context as opposed to something of an imported stylistic approach. For example, in a rural setting a cluster or grouping of buildings, as you may expect to find on a farm, is common.

FG: How important is sustainability?

IA: Sustainability is a core value in our practice, embodied in all building typologies and scale. In our residential work, particularly in Queenstown, we focus on building orientation, thermal energy use and detailing well above Building Code requirements. In this climate, heating homes is crucial so as well as wrapping the building up, we look for efficient solutions. Careful consideration goes to material selection and environmental impact during manufacture, recycled content and/or ability to be recycled.

FG: What do you enjoy about residential design versus commercial design? 
 

IA: Even though residential work is very personal and high risk, the reward is equally high. A client with vision and trust is one who is open to the exploration of ideas and innovative thinking which generates a better design response at the end of the day.

FG: Many of the houses featured here comprise structures that work in a unified fashion, but equally could stand alone. Is this typical of your or WaM’s style? 
 


IA: Yes, there is a common thread here, about the location we are designing in, clarity of planning, the spatial qualities tailored by light, capturing and framing views and providing shelter (intermediary zones between indoors and out). Our designs possess a strength; these houses occupy their site confidently while not competing with their surroundings. I don’t see it as a Warren and Mahoney style, but more a line of enquiry that may be further developed and refined. The forms feel appropriate, they respond to site, to the region we live in.

FG: Warren and Mahoney has won many awards and has an excellent reputation - what do you attribute that to? What is the design philosophy?
 

IA: An interesting question, my initial response would be the value we place on a collaborative, insight-led design approach. Each project is informed by contextual analysis and identification of the essentials. They are innovative yet practical responses to our clients’ personal needs and aspirations.
It is not only about the rigours of the design process, but relationships formed with our clients and industry partners. Our design philosophy operates at all levels through to the resolution of detail and selection of fixtures and fittings. I would like to think we have a passion for quality, to enrich the occupants’ experience and lives. As I learnt many years ago – every little thing we do has meaning and intent.


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