16/10/2026
The producer told us she had been looking for a Feng Shui build and had found nothing credible, until our proposal reached her.
WHY GRAND DESIGNS CAME TO DITIANTAI
Kim was the one who wrote to Grand Designs New Zealand. He believed he had uprooted me, and he understood what I had left behind in coming to New Zealand. I had land at Mt Martha and a forever home I had planned to build there entirely to Feng Shui, and a practice that ran on being able to travel. Here, in a country I did not know, I would have neither. His letter was his way of transplanting that dream to this side of the Tasman, and of helping my work become known where no one knew it.
He sent it one evening, and the producer replied at eight the next morning. By the end of our first meeting, she wanted to go ahead. Believe it or not, we are very private people, and it took us two or three months to say yes. When we did, there was a distinct what-have-we-done moment. But I had embarked on my legacy, and that meant stepping out.
I had long wanted to build a home entirely to Traditional Chinese Feng Shui, from the land up. I knew how real its effects are, and how rarely any home is built that way. DiTianTai is that home, ten acres of bush in Northland holding two houses, Weiji and Jiji.
The land came first. Kim took me sailing up the Northland coast, and as it unfolded past us I stood there mesmerised.
“This is the place where dragons play,” I told him.
What followed was a search along 180 kilometres of coastline, and then six trips into the bush to find and settle the building site. I was not looking for ground a house could sit on. It had to be the Xue 穴, and wide enough that the footprint of the house would hold its Qi rather than let it run off.
In growth that thick we could not readily tell where the solid ground lay, which is what made it slow. By the last of those trips, what I had sighted on the first walk was beyond doubt. This was irrevocably the land, and we laid the building lines to within a degree.
Neither of us had built from the ground up before, so Weiji, the smaller house, came first, partly as our trial run. Then came Jiji, our home, more than four times its size. Kim ran the build, and I designed both.
Filming began on 18 April 2018 and ran to fourteen days over the two years of the build. The director was not the producer who had invited us, and she came with the picture of Feng Shui most people now hold, of objects to place and corners for wealth or love. By the time her questions reached me, I had had a great deal of practice in answering them. I came across as quite the nerd that I am, and Kim was the comic relief.
The episode went to air on 5 October 2020 as “Feng Shui Palace”, and to their great credit, what it did show of Feng Shui was technically correct. It was, of course, Grand Designs — made for their general audience, not as a programme about Feng Shui — so it could only touch the surface of the depth and breadth of the practice. But it did something important: it showed that Feng Shui is far more than activating wealth corners or placing objects around a home.
And in the end, it did what Kim had hoped. It introduced my work to New Zealand, where I was unknown, and, as I later discovered, to audiences much further afield — in Switzerland, Croatia, Australia and elsewhere.
For me, though, the deeper fulfilment was the house itself: the vision of a lifetime standing on its land, with every conflict between the way we live and a traditional discipline carefully resolved. I had finally been able to bring decades of knowledge and practice into a home Kim and I would truly want to live in — one whose Qi I knew would support us, and which could stand as a living expression of the legacy my father entrusted to me.
And yet the moment that stays with me most came long before, upstairs, in what would become the lounge. Only the frames and the roof trusses were up. We stood side by side in silence, looking out over the valley, until she turned to me.
“Master Boon, I really feel it. This is the empirical evidence, isn’t it?”
I turned to her and smiled. A feeling alone cannot tell you whether a house is good for you, because a house can feel wonderful and still work against the people who live in it. A feeling can be trusted only when it is known to match the Feng Shui, and I knew this one did. I had put every effort into making that house right by Feng Shui, and a lifetime of practice told me it was.
She was right.
There was nothing in that room yet but timber, though the frames already traced the whole layout. What she felt came from where the house stood, the way it faced, and the Qi I had calculated and set into that layout, room by room. Standing beside her, I was taking in that same Qi.
The land had already decided.
What she felt that day was real, and six years on, we can certainly attest to it. This is what good Feng Shui feels like from the inside. Life still has its natural rises and falls, but there is less unnecessary resistance.
There is a harmony here that is difficult to put into words — an inner quiet, a deep contentment, and a gratitude that seems to arise on its own.
A life in flow with the land. What I call my Feng Shui lifestyle.
A Living Proof story.
— Master Boon 🌈💜