It was 11 years ago that Gizzy born-and-bred teachers Cate and Mike King swapped the blackboard for the beehive and ventured into a honey-making enterprise called, aptly, King Bees. The company has grown to a 1500-hive operation and, although the couple acknowledge it has been an idyllic adventure, it has also been hectic. With four children, ranging in age from 11 to 16, they built a cabin on family land overlooking Tokomaru Bay — a multi-purpose escape where they could reconnect with nature and whānau, and provide a base for their team of beekeepers on the move. We asked Cate how it all unfolded.
What was your approach to the design process? Three years ago, we started to think seriously about the cabin. Although the land is seven hectares, the flat building platform was tiny, so we knew it had to be small: just 6m x 5m, plus decks. Even though it needed to accommodate six of us, plus a few friends, we wanted an intimate feel and for the cabin not to require too much work, so that we could spend our time there planting, exploring and catching up.
Tell us about the layout There’s a communal living and dining space down below, and a small kitchen, along with the main bedroom and a bathroom. We knew we had to build up, not out, so beneath the high stud there are two loft areas, accessed via a ladder and connected by a bridge. It was a kind of crazy, treehouse idea that Mike came up with — a real challenge — but it has turned out to be one of the most beautiful features of the cabin.
Crete Studio — Cate’s sister’s business, based in New South Wales. A brushed copper mini wall-mounted spout and Cross tapware from ABI Interiors, will age to a patina and the tiles behind the shower are Italian terrazzo, found on Trade Me by a friend.
How did you choose the material palette? Our builder Stan Scott is such an amazing craftsman, but also a great collector, who helped us find materials that would blend the cabin into its backdrop — a grove of ancient trees, including oaks, macrocarpa, pūriri and walnuts. The cabin is clad in locally sourced Japanese cedar which is silvering off as it ages, and has a lichen-coloured corrugated steel roof with matching mossy-toned joinery. On either side of the loft, there are stained-glass windows salvaged from an historic church in Gisborne. The internal walls are lined in redwood and the ceiling is cedar. The floors are made from untreated boxing timber; Stan gave them a roughsawn finish which is raw and textured. We haven’t painted any surfaces except for in the bathroom.
How did the build go? With four kids and running a business, and a builder who had other work on, it took a good two years. It was a real labour of love. Mike acted as project manager and spent many nights and weekends up on the site, helping out where he could. He was really hands on and built the ha-ha that wraps around the front of the property, using a little digger and an augur. He amazes me with what he can do.
What was your vision for the kitchen and bathroom? The bathroom might just be my favourite space. Because it’s so compact, we could go a bit crazy in terms of a flamboyant tile. A friend of mine, who is a Trade Me guru, picked up an Italian speckled terrazzo tile for a bargain price and we lined the floor and shower walls with it. We also used an orange concrete vessel basin and pendant, made by my sister’s New South Wales-based company, Crete Studios. We chose terracotta orange to team with the splashback tiles in the kitchen which were given to us by a friend. Both rooms also have copper tapware that links to the copper flashings on the exterior. We did consider a secondhand kitchen but ended up using a made-to-measure one from Mitre 10, with a stainless-steel benchtop, blush-pink cabinetry and a gas hob.
How does the main living area key into what you wanted to achieve? Most people who visit are surprised by its volume and spacious feel. We’ve used every inch cleverly, for example the built-in beach seat which fits six of us, snugly, contains storage where we put things like the vacuum cleaner and towels. It took me ages to find the fabric for the squabs as I didn’t want just a boring plain colour. The one I chose has a cool 1990s design with swirls and squiggles. I’ve used an industrial light as a feature in this space. Mike found it, along with three others, on the side of the road and I had it powdercoated orange. Large sliding doors link to the outdoors so that we always have some connection with the landscape.
Describe a typical day at the cabin The morning is amazing — you actually want to wake up so you can watch the sun rise over the Pacific Ocean. On cold days, I love porridge for breakfast with fruit and a drizzle of honey. During the day, we usually push the kids outside to make huts, climb trees, ride motorbikes or help us plant trees. The beach is not too far away and we have a little apiary that Mike likes to tend to. In the winter, we enjoy getting the woodfire going in the evening, hosting friends and listening to the ocean. I’ll often make a drink with gin and honey syrup, topped up with soda or tonic — my version of the Bee’s Knees cocktail.
How does the cabin key into your business ethos? In its simplicity and sustainability, we see it as a physical embodiment of our values. It is a place to work, plan and create, as much as somewhere to slow down and share kai with whānau and friends. It allows us to remember why we do what we do, and to hold space for ideas and conversations about where we want King Bees to grow. One day we hope to secure more export opportunities, and then we can invite our overseas customers to visit — not only to showcase the honey, but to experience the cabin for themselves.
kingbeeshoney.com
Interview Claire McCall
Photography Rúna Kuru Kristjónsdóttir