First, the plan, which is interesting in its own right. Min broke the house into modules designed to fit around the trees. There is one living and dining area, another wing for the main bedroom and the third for guests (below). The sea is on the eastern boundary, or right-hand side of the plan.
The photograph below (all these images were taken by Paul McCredie) shows the approach to the house, where cars pull up to the back of the house. Min designed the home's modules to be clad in different materials to break up the bulk of the building even further. Covered walkways connect the home's different parts.
Inside, the house has elegantly simple aesthetics - only two pieces of art feature in the property, so not to distract from its surroundings - yet there are some unique design elements which define the house.
The box window in the dining area (below) is likened to a museum display and exaggerates the feeling of looking inwards through the forest. A Simon James-designed 'Hawk' table accompanies seating by Marc Zuckerman and a smaller rustic 'Uma' bench by Chad Heays.
Huge folding doors off the living area allow a large panorama of the bay (below).
Perhaps even better is the view from the main bedroom where, at high tide, water gently laps on the shore just a few metres away. This is the kind of thing real holidays are made of - when staying in bed seems like one of the best ways to enjoy the views.