Minjerribah, also known as North Stradbroke Island, lies between Moreton Bay and the Coral Sea, 30 kilometres east of Brisbane, Queensland. The lack of a bridge connecting the island to the mainland presents multiple challenges to the construction process, but for those who overcome them the rewards are generous: ancient landscapes, pristine beaches and a wildlife population encompassing beach-going kangaroos and migrating humpback whales. “Straddie” resonates deeply with those who live and holiday here, as it has done for the Quandamooka people for tens of thousands of years.
Corymbia tells the story of a site passed down through family lines and acquired by Nick and Margaret to enjoy as a weekender with their two teenage sons. With time, it will transition into a place for their retirement. The original shack was once the centre of extended family gatherings on the island and the memories of this tradition continue to be honoured in and around the new house, which occupies the same footprint as the old. In the design of the new house, Brisbane-based architect Paul Butterworth, whose own childhood was shaped by sand fishing and surfing on Straddie, has layered architectural imagination with personal experience to further explore and celebrate the ceremonies of camping and the traditions of island life.
A central “living deck” for dining, lounging and gathering is used like an annexe to a tent.
Image:
Christopher Frederick Jones
The house is conceived as a series of sheltered platforms designed to formalize occupation in the vegetated dunes that rise up from Cylinder Beach. To best capture a northern aspect, the house is pushed to the southern boundary, forming a defensive edge to close-by neighbours. A deep verge to the north provides a heavily vegetated foreground to the horizon. Between the verge and the house, a “great room” is formed in a clearing. This sun-drenched patch of lawn enables the site to adopt the flexibility of a campsite, encouraging an ease of movement around the house and garden. Local kangaroos are reportedly familiar with the sanctity of this resting place and are regularly spotted here, “lolling on the grass,” says Paul.
The rituals of island life have influenced the architecture as much as the site’s position and aspect. This is evidenced on arrival, where a formal address has been traded for a landscaped arbour that acts as both passageway and privacy screen to the house and lawn. Stone walls, a paved path and an outdoor shower cleverly structure this passageway as an antechamber to the beach house while also servicing the washing of bodies, surfboards and fishing paraphernalia. With raw and robust materials, this arrival sequence reveals a respect for the ceremony of beach going and espouses a barefoot informality. Over time, maturing landscape will obscure the house from the street and the stone walls will become the only visible fragment of this humble shelter in the bush.
With skylights and gill-like windows, the bathing spaces give the illusion of being outside.
Image:
Christopher Frederick Jones
In deference to the hot, humid climate and vernacular traditions of Straddie, the beach house is cloaked in a lightweight envelope of fibre cement sheet and rough-sawn weatherboards. Large openings that hinge out and stack away help to dissolve the sense of enclosure. At the centre of the plan a double-height room or “living deck” is imagined in the tradition of an annexe to a tent or caravan: open to the outdoors and used flexibly for dining, lounging and gathering. Flanking rooms benefit from the climatic regulation of this tall central volume, which draws cool breezes through the plan and expels warm air at high level to maintain passive thermal comfort.
Materials and finishes are curated to amplify the client’s brief for a “refined camping-like experience.” On the ground floor, the transition from the duckboard edge of the living deck to the kitchen on the opposite side of the plan is cleverly expressed in the spacing of deck boards. As the gaps between the boards close, a sense of enclosure is introduced to the otherwise fluid, open-plan spaces. Only the bedrooms are considered truly internal, an idea reaffirmed by plywood-lined walls, ceilings and floors. The cocoon-like atmosphere of these most private spaces is a counterpoint to the bright openness of the living deck, sitting room and kitchen, which are designed to bleed out into the landscape.
Corymbia by Paul Butterworth Architect.
Image:
Christopher Frederick Jones
While Corymbia is deliberate in celebrating the modesty of camping, it simultaneously embraces the luxury of experience that comes with enhanced connections to nature. This notion is manifested most intensely in spaces reserved for bathing. Here, richness abounds in the sensory experience of sunlight pouring down from skylights above and of views of the bush and sea, framed by windows that open out like gills. Considerable effort has been invested in capturing the essence of Straddie life in these places of reflection and pause, and the pay-off is reaped in the memories shaped by days spent here.
Pitching a tent will surely offer shelter but the pleasure of camping comes with having a deeper appreciation for the ways in which people gather together, find refuge, manage thermal comfort and connect with nature. The key to re-creating a camp-like atmosphere is not to remove luxury but rather to reveal the richness in a natural experience over and above that of the constructed experience. Corymbia does this, with a humble intelligence and genuine deference to the land, the sky and the sea.
