Margot Robbie Reportedly Behind $28 Million Currumbin Valley Homecoming

Margot Robbie may have travelled from a Queensland farm to the highest reaches of Hollywood, but a reported $28 million property deal suggests the Gold Coast has never lost its hold on her.

The Australian actor and producer is believed to be the mystery buyer of Redwood, a seven-acre Currumbin Valley estate transformed into the architectural residence known as The Copper Arbour.

The off-market transaction reportedly settled in June 2025. Property records cited in recent media coverage identify the buyer as Pippyyork Pty Ltd, a company established only weeks before the sale. A Gold Coast accountant is listed as its sole director and shareholder, reportedly holding the company’s single share for an undisclosed party understood to be Robbie.

Neither Robbie nor her representatives have confirmed the purchase, so her ownership remains reported rather than established. Nevertheless, the location and secrecy surrounding the transaction have given the story the character of a remarkable homecoming.

Back to Currumbin Valley

Robbie spent part of her childhood on her grandparents’ farm in Currumbin Valley and has spoken affectionately about an upbringing shaped by paddocks, trees and the freedom of the Gold Coast hinterland.

In a Vogue Australia conversation with her mother, Sarie Kessler, she recalled doing homework in a tree and being called inside for dinner from beyond the paddock.

The reported purchase would return her to that landscape in considerable style.

The estate occupies approximately 2.9 hectares on the banks of Currumbin Creek. Despite its privacy and rural atmosphere, an earlier sales campaign placed it about seven minutes from Currumbin Beach and 10 minutes from Gold Coast Airport.

Its combination of acreage, creek frontage and coastal accessibility has always been central to its appeal. Mature trees line the long driveway, while paddocks, rainforest and established landscaping shelter the residence from the road and surrounding properties.

For an internationally recognised actor, producer and entrepreneur, the estate offers seclusion without isolation: a private hinterland base within easy reach of the beach, airport and southern Gold Coast.

Redwood before its transformation

The Redwood listing supplied for the property describes the estate as it existed before the current residence was built.

At that time, the two-storey house contained five bedrooms, three bathrooms, two powder rooms, several living areas, a wet bar, sauna, home office, study and three-car garage. Its defining interior feature was a stone fireplace extending through both levels, complemented by polished hardwood floors, leadlight windows, French doors and a kitchen with stone benchtops.

The grounds already possessed many of the qualities that distinguish the estate today. They included fenced paddocks, Currumbin Creek frontage, horse shelters, stables, a chicken coop, extensive sheds and storage, powered pavilions, a gymnasium and a lagoon-style pool and spa.

After changing hands for a reported $2.55 million in 2017, however, the property underwent a comprehensive redevelopment. The former house was superseded by a new, predominantly single-level residence completed in 2024.

Current reports describe the resulting estate as having six bedrooms, six bathrooms and garaging for as many as 10 vehicles, along with a pool, full-size tennis court and equestrian facilities.

Country living reimagined in copper

The approach begins along a driveway framed by mature trees. At its end, the landscape opens to reveal an expansive house wrapped in a sculptural copper skin, with the creek and gently descending land to the south and paddocks, rainforest and hills to the north.

Rather than impose a sharply contemporary object on the countryside, architect Paul Uhlmann chose materials intended to settle into it. Copper gives the house its defining identity, but it was also selected for the way it changes over time. As its surface develops a patina, the building is designed to become more closely integrated with the colours and textures of the land.

The copper roof is articulated along the length of the building, folding down in places to form wall elements that touch the ground. These changes in height and direction help reduce the apparent scale of the residence while creating the protective arbour from which it takes its name.

Spotted gum, limestone and travertine extend the warm, tactile character of the exterior into the house. Blackbutt floors, timber ceilings, band-sawn wall cladding and bespoke cabinetry give the interiors a richness suited to the rural environment without resorting to a conventional country-house aesthetic.

A home shaped around the landscape

Viewed from above, The Copper Arbour follows a Y-shaped plan.

The longest section contains the principal living spaces, which look towards both the paddocks and Currumbin Creek. At the point where the plan divides, one branch forms the parents’ wing, incorporating the main suite, study, gym and garaging with a southern outlook towards the creek. The other contains the children’s accommodation, oriented towards the pool and tennis court.

This arrangement gives the large residence a clear internal structure while allowing different parts of the family to enjoy privacy. It also enables the main living areas to operate as a central spine opening towards the surrounding landscape.

Arrival is through a forecourt and lobby, where a carefully positioned picture window frames the view beyond. From there, the public areas connect with an outdoor sitting space and planted courtyard.

A mature ornamental cherry blossom tree occupies the centre of that courtyard beside an outdoor fireplace, bringing vegetation into the building and softening the threshold between indoors and out.

The principal external entertaining area occupies a break in the building’s form. It incorporates heated stone seating, concealed screens, a cantilevered fireplace and projection facilities. An outdoor bar links the courtyard back to the living room, creating a circuit of connected spaces for entertaining.

Travertine used in the kitchen continues outside around the pool, strengthening the visual relationship between the interior and landscape. Views from the main living spaces extend in several directions, allowing the paddocks, creek, pool and hills to become part of the experience of the house.

Monumental scale, domestic character

The Copper Arbour was designed to accommodate family life, sporting equipment and large social gatherings without making its everyday spaces feel overwhelming.

That balance is central to the project. Its size, extensive garaging and recreation facilities give it the scale of a major luxury estate, yet the plan is broken into distinct wings, courtyards and gathering places intended to remain comfortable when occupied by only a small family.

The design creates deliberate contrasts: copper against greenery, limestone beside timber, large entertaining areas alongside intimate family rooms, and monumental roof forms enclosing sheltered courtyards.

Those qualities distinguish the present house from the former Redwood residence. While the old listing is useful for understanding the land and its established equestrian and lifestyle infrastructure, The Copper Arbour is not simply a renovated version of that home. It is a substantially new architectural work shaped around the same creek, paddocks and mature landscape.

Gold Coast House of the Year

The project’s design and construction have already received significant industry recognition.

In August 2025, Blenkins Build won the Master Builders Queensland Gold Coast House of the Year award for The Copper Arbour. The company also received the regional award for an individual home valued at more than $10 million.

Judges praised the execution of the hand-rolled copper roof, custom hardwood flooring and other detailed elements. They also recognised the residence’s provision for multigenerational living, health, fitness and entertaining.

The awards give important context to the reported $28 million price. This was not merely a sale of seven acres in a desirable hinterland enclave, but the acquisition of a newly completed and highly customised architectural estate.

The figure represents a dramatic increase from the property’s reported $2.55 million sale in 2017, although that comparison does not account for the scale and cost of the subsequent redevelopment. At $28 million, the latest transaction stands as an exceptional Currumbin Valley result and one of the Gold Coast hinterland’s landmark residential deals.

A personal kind of trophy home

If Robbie is confirmed as the buyer, The Copper Arbour will inevitably be described as a celebrity trophy home. Its price, architectural pedigree, acreage and discreet corporate purchase invite that interpretation.

Its location, however, gives the deal a more personal dimension.

Robbie’s career has taken her from Australian television to major international films and an influential role behind the camera through LuckyChap Entertainment. Currumbin Valley belongs to an earlier part of her story: one associated with family, farm life and the landscape she knew before becoming internationally famous.

The Copper Arbour brings those worlds together. Its award-winning architecture and resort-scale facilities reflect the demands of an international career, while its paddocks, creek frontage, mature trees and changing copper surfaces root it firmly in the Gold Coast hinterland.

For Jack Freeman, a compelling interior should not look as though it was completed in a single shopping trip.

The founder and designer behind FREEMAN & CO prefers rooms that develop through art, travel, commissioned furniture and objects collected over time. It is an approach that treats the home less as a decorative project and more as an evolving portrait of its owner.

“I am a true believer in collecting versus decorating,” Freeman says.

That distinction underpins the international practice he has built across private residences, hotels, property developments, yachts and private aviation. Its projects stretch from Point Piper, Vaucluse, Circular Quay and Toorak to Mayfair, Bel Air and the Caribbean.

Although the locations and architecture vary considerably, the work is connected by a restrained design language. Natural stone, warm timbers and sculptural furniture establish the foundation, while art, bespoke lighting and individual objects give each interior its identity.

The objective is not to overwhelm a room with obvious symbols of expense. It is to create an environment that feels calm, layered and particular to the people living within it.

“The greatest luxury isn’t about excess,” Freeman says. “It’s about creating an oasis where you come home and feel immediately grounded — effortlessly chic and deeply personal.”

Collecting instead of decorating

Decorating can imply the completion of a room: selecting the required furniture, filling the available walls and producing a coherent finished image.

Collecting is less conclusive.

A collected interior has room to change as its owners travel, discover artists, inherit pieces or reassess how they use their home. Its character comes from the relationship between objects rather than adherence to a single brand or season.

That does not mean placing unrelated pieces together without discipline. The designer must understand scale, proportion, material and provenance well enough to create a dialogue between them.

A contemporary artwork might sit beside a historic piece of furniture. A precisely detailed new interior may be interrupted by an irregular object made by hand. Smooth stone can be balanced by timber, textiles or a patinated metal surface that becomes richer with age.

The tension between those elements is part of the appeal.

For Freeman, art is not an accessory to be added once the furniture plan is complete. It forms part of the architecture and atmosphere of the room from the beginning.

Lighting is considered in the same way. Beyond its practical purpose, a bespoke fitting can operate as a suspended sculpture, changing both the room’s composition and the way its materials are experienced after dark.

A design perspective shaped by travel

International travel plays a significant role in Freeman’s creative process.

Design fairs such as PAD Paris and Salone del Mobile in Milan provide opportunities to encounter emerging designers, established galleries, new materials and collectible furniture away from the filter of social media.

More spontaneous discoveries can prove equally important.

“Sometimes it’s the simple things,” Freeman says. “That piece found on a shopping trip with a client in Paris, stumbling across an artisan’s workshop, or a special memory that forms the narrative of the story.”

Objects selected during travel bring more than visual interest into a home. They carry an association with a place, maker or experience, giving the client a connection that cannot be reproduced by ordering an entire interior from a catalogue.

Freeman’s influences are international, but his projects are not conceived as replicas of Parisian, Milanese or Californian style. Each commission responds to its architecture, setting, natural light and the daily lives of its occupants.

A waterfront Sydney residence demands a different treatment from a Mayfair townhouse. A Caribbean estate shaped by brutalist architecture and reflecting pools calls for another response again.

The designer’s role is to absorb those references without allowing them to overwhelm the individual qualities of the property.

Designing the complete experience

FREEMAN & CO extends beyond conventional interior decoration.

The practice’s stated services include interior design and architecture, project management, property acquisition, development advice, concept design, documentation, furniture and lighting design, procurement and art curation.

That breadth allows the team to become involved before a room’s dimensions and finishes are fixed.

Early participation can be important at the top end of the residential market, where architecture, landscape, interiors, technology and art must operate as one environment. Decisions about ceiling heights, wall dimensions, sightlines and lighting can directly affect where art is installed or how custom furniture is proportioned.

The practice can then carry those decisions through to procurement and final installation, maintaining the design narrative as a project moves between architects, builders, specialist craftspeople, dealers and suppliers.

Its residential portfolio includes a South Coast retreat conceived as an escape from urban life, a Caribbean estate with reflecting pools, an East Coast-inspired Palm Beach residence and a Mayfair townhouse organised around an expressive drawing room.

The studio also says it has worked on highly tailored Sydney residences with values exceeding $100 million, although the private nature of such commissions means individual addresses and clients are not always disclosed.

A home that can keep changing

The risk in creating a perfectly resolved interior is that it can become too static — a composition that looks exceptional in photographs but leaves little room for life.

Freeman sees the home as something that should evolve with its owners.

“I love the evolution of design,” he says. “We are talking about people’s lives, and as they evolve, so too should their private sanctuaries.”

That evolution might involve adding art, reupholstering a significant piece, adapting rooms as a family changes or making space for objects gathered through future travels.

The original design needs to be strong enough to accommodate those layers.

This may be the clearest expression of Freeman’s approach to luxury. It is not simply access to rare stone, collectible furniture or commissioned craftsmanship. It is the creation of a personal environment whose meaning deepens rather than diminishes with time.

Fact box

Designer: Jack Freeman

Role: Founder and managing director

Practice: FREEMAN & CO

Base: Australia, with international projects

Project locations named by the practice: Point Piper, Vaucluse, Circular Quay, Toorak, Palm Beach, the NSW South Coast, Mayfair, Bel Air and the Caribbean

Sectors: Private residences, hotels, residential developments, private aviation and superyachts

Services: Interior design and architecture, property development, project management, property acquisition, documentation, furniture and lighting design, FF&E procurement, interior dressing and art curation

Design philosophy: Collected, personal interiors shaped by art, craftsmanship, travel and enduring materials

Website: free-man.co