Grand Designs NZ: Massive Construction Inserts $ 6 Million Attic In Old Farmers Tea Rooms

REVIEW: When I was a child, my mother would take my brothers and me up the escalators to the top of the Farmers department store in central Auckland. Here at the Grand Tearoom, we enjoyed scones with jam and cream, wanting to get off the table and head to the rooftop patio.

However, nostalgia is a funny thing. When i look at this Grand Designs NZ Project: A huge penthouse under a large vaulted ceiling, inserted into the same space that those traditional tea rooms once occupied, it doesn’t feel like the same place at all.

I find myself thinking, instead, how much light would get into the middle of that space, and how the heck is such a vast area divided to create a home that, well, feels like home.

And that was exactly the challenge faced by Bridget and Steve Varney, who traded lives in the Auckland suburbs for the city center. They purchased the 540-square-meter heritage-listed space on top of the Hobson Street building, which is now the Heritage Hotel, for $ 2.5 million.

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This couple had done their research, looking for other apartments for sale, which they found “very vanilla.” There are no surprises there. They prefer the idea of ​​a New York loft-style space.

First impressions? Gigantic and beautiful. A vast, empty white barrel vault chamber with ornate details and floor-to-ceiling windows. “I walked in and fell in love,” says Bridget.

Interestingly, the hotel is where the All Blacks are based – the tearoom has been their lounge for the past five years, and there are official team photos of all of them lined up against the back wall. The coach says they are going to lose space.

‘DO NOT TOUCH THE WALLS OR CEILINGS’

Of course, the Varneys have trouble getting started: 12 months just to make the plans and contact the council’s historical department. New construction is not allowed to touch the walls or ceilings. So, essentially, the attic has to be a gigantic insert in the middle of the space, as host Chris Moller puts it, “You’ll walk away from the edges, almost having a house within a house.”

There are two existing rooms that can be converted to a bathroom and a guest room, but everything else has to fit inside a new steel-framed structure in the middle of the space.

And, even more surprising, considering that the Varneys now own the space, everything they do has to be reversible. In other words, it must be able to be disassembled and removed without damaging the heritage elements. We assume that makes them custodians.

Bridget doesn’t see it as a temporary home, mind you: “They’ll have to box me out from here,” she says.

The tea rooms (and even the light pendants) were designed by US-born architect Roy Lippincott, who also designed other amazing buildings around Auckland, including the ornate Arts Building at the University of Auckland. The architect worked for Frank Lloyd Wright and bought an aesthetic similar to many New Zealand projects. Nice piece of history.

The plans for the attic, from Gaze Commercial, which is also responsible for the construction, look good: There are spiraling steel stairs to a mezzanine where the couple will have offices (and a man cave). Bi-level floors to hide key amenities will add interest to the main living room, and there will be glass walls that open up to “patio” spaces, presumably to convey a feeling of being outside. With an eye for design, Bridget will be the one to oversee everything.

And the budget? “Somewhere between $ 3 million and $ 3.5 million.” Bigger than they bargained for, but they won’t stop now. And if it’s not finished on time (five months), Bridget says they could bring their sleeping bags.

Of course, there are more delays with the consent of the resource (a completely different story), so time passes. But then the work begins, and it begins with a “hanging scaffold” from the ceiling to fix the two existing balconies.

Once installed, all steel structural elements (10 tons) will be exposed to enhance the industrial look that the couple desires.

There is a charming scene with three guys who used to work for the farmers in the store: they are invited to have tea in the half-finished space. They have some lovely tales and photos of how it used to be.

“It’s great for the guys to hear all the stories and memories,” says Steve. “That’s what this room is about: history. It gives us a sense of responsibility ”.

Bridget clashes with her designer for accessories and accessories. She feels the pressure. And there are unexpected delays due to circumstances beyond your control.

But these things never go well, as we know. And this is going quite well compared to other projects. Bridget and Steve seem to be on the same wavelength so that’s a bonus.

GREAT REVELATION

And then it’s finished and wow! This construction is magnificent. The ceiling remains the pièce de résistance, and everything else is an “insert” as planned.

We love the slightly raised dark kitchen, which is a large block of freestanding cabinets, even though it’s actually two kitchens. There’s a front kitchen for Bridget and a back kitchen behind and out of sight for the kids and Steve to spoil.

And the mix of exposed brick and dark steel conveys the New York industrial loft look very well. “I think even Lippincott would be impressed,” says Moller.

Despite the huge floor area, the flow between the spaces seems perfect and the glass walls ensure plenty of light. Bridget says it already feels like home, after just a few days.

Steve’s man cave on the mezzanine is reached via a glass-floored bridge, and Bridget tiptoes on the steel around the edge – she hates heights. She won’t stand on the glass.

The bedrooms and bathrooms, behind the walls (which can also be disassembled) are private with great views. The couple even have a terrace off the bedroom. And their guest rooms are gorgeous. Although, the large interior “patio” seating areas throughout seem too much. (Vacuuming is a lot).

Bridget and Steve were worried about what other people would think; after all, there is that sense of “public ownership” of the space, but they are satisfied with the result.

And the budget did not explode. Construction cost $ 3.5 million as expected, making it a $ 6 million project, but it took much longer than anticipated.

Moller asks them what they have learned about each other through this process and Steve says, “Bite my tongue. But I knew she could do it, so it’s not a surprise. “

If this incredible space can no longer be a tearoom or gathering place for the All Blacks, then this penthouse is certainly a great adaptive reuse. We hope they have a lot of parties there.