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Back in 2018, interior designer Melissa Strauch and Leuca Projects founder and builder Brendan Cairns inspected a Rye house that was ‘about to fall apart’, but they were captivated by its location, orientation, and elevated treehouse feel dotted with moonah trees.
‘Even in its overgrown, tangled state, there was something magical about it that felt instantly like home,’ says Melissa.
Unable to practically salvage the original house longterm (a haphazardly renovated shack on stilts with rotting foundations), the couple began living in the home, while planning a rebuild.
‘This was a deliberate decision that allowed us to better understand the land, observe how light moved through the space, and connect with the surrounding wildlife, especially the vibrant birdlife,’ says Melissa.
‘One of the species we have in the garden can only regenerate from droppings of a specific native bird — a small but beautiful reminder of how interconnected everything here is.’
Preserving the century-old native moonah trees — both their root systems and wonderfully irregular natural growth — was the priority.
The new house adopts a mid-century inspired form and curving deck that traverses the trees on the sloping site.
Initially a freehand sketch on Melissa’s iPad, the curved deck was brought to life in a true collaborative effort with the project engineer, draftsman, Brendan, and local supplier Pinnacle Metal who fabricated the frame in two sections.
‘There were so many factors to consider, from the tree roots and structural stability to drainage, alignment, rotation of the curve, weight, and my idea of a visually lightweight aesthetic to counter the boxy shape of the house,’ says Melissa.
Aesthetically, the house and its interiors are inspired by modernism, as well as Melissa’s love of clean lines and functional simplicity, influenced by her German background.
Floor-to-ceiling windows are orientated for optimal passive solar performance, further maximising natural light and encouraging cross ventilation to reduce the need for artificial heating and cooling.
‘Every window in the home frames a vignette of greenery, whether from our own garden, the neighbouring canopy, or piece of sky, creating a constant connection between indoors and out,’ says Melissa.
The material palette is drawn from the land, referencing seaweed, sand, rocks, bark, leaves, and shells Melissa has collected over the years.
‘It was very important to me that the materials chosen for the house feel tactile — that they not only look beautiful but also add a layer of depth and sensory comfort to each space, while remaining durable and practical,’ she says.
‘I believe that our sense of touch plays a huge role in how comfortable and connected we feel in a home.’
The intricate veining and rich burgundy and pink hues in the crimson rose marble (featured in the kitchen and powder room) are reminiscent of the seaweed on Melissa’s favourite beach, while ceramic brick tiles (used in the bathrooms and on the deck) offer a slightly coarse texture underfoot like walking on soft sand.
‘Some people might think the house is “too beige” or not flashy enough, but once you’re here, surrounded by the filtered light, materials mirroring the landscape, and the soft movement of the trees, it all makes sense,’ says Melissa. ‘There’s a deep sense of calm and belonging.’
Most importantly, the house is positioned and detailed to respond to light and climate, allowing Melissa, Brendan, and their children to watch the sunrise from the kitchen, bask in sunlight all day in the living area, and track the sunset from the corner window.
The brass sculpture by Mylene Niedzialkowski enhances this experience, catching and reflecting light throughout the day, and filling the living room with a golden glow.
Melissa says, ‘It’s a home that moves with nature — one that to us feels alive and connected to its setting in every sense.’
