When art meets architecture in Tasmania

On Tasmania’s dramatic Tasman Peninsula, near Koonya, three strikingly different buildings emerge from the rugged landscape, forming a trio of structures that demonstrate how art meets architecture.

Known collectively as Triptych, this ambitious project by Room 11 Architects is more than just a contemporary residence and a guest house – it’s a conversation piece and experience rolled into one.

The unrivalled property was showcased on Season 11, Episode 1 of Grand Designs Australia and has graced the cover of Tasmania Living magazine. Triptych is fun, a little bit quirky, and a big helping of eccentric.

Completed in 2023, this rare slice of real estate, spanning more than 40 hectares in a remote part of the Apple Isle, has now come to market with price expectations of $3.5 million. It will go under the hammer on June 15, marketed through Georgie Rayner of The Agency Hobart and David Medina of Sotheby’s International Realty NSW.

Crafted by Room 11’s design duo, Thomas and Kate Bailey, Triptych was commissioned by Sydney-based art director and writer Jonathan Kneebone. He wanted a regional retreat that would not only pay homage to the land but also push boundaries and the expectations of what a country house should be.

The result is a trio of individual buildings – each with its own distinct design, offering separate purposes surrounded by the pristine wilderness.

Blunt House, the main three-bedroom residence, is almost invisible at first glance. The low-lying structure is seemingly embedded in the hillside, a concrete construction disappearing into the earth, then cantilevered out towards the horizon.

In a bold decision by the architects, the long rectangular floor plan only allows one room – the main living space – to capture the stunning ocean backdrop overlooking Norfolk Bay.

The gun barrel view of the bay beyond the rolling hills was the inspiration for the architects, who have admitted that they began with the grand window snapshot in mind and then designed “backwards”.

Upon arrival, visitors descend via a dark, leather-lined corridor before entering the iconic lounge area, which offers unparalleled views.

Each bedroom is unique, with one featuring sheep skin-lined walls, while another has “upside down” windows best experienced when lying down on the bed.

The primary bathroom features a bath that is recessed into the floor, with mirrors embedded under the vanity for a distinctive perspective on the landscape, while soaking in the tub.

Packed with bespoke design elements created to withstand the elements, the main house’s brutalist concrete walls are punctuated by a custom ventilation system that harnesses the cross-flow from prevailing northerly and southerly winds, without interrupting the aesthetic.

A second building, known as The Glass House, is a one-bedroom guest pavilion perched higher on the sloping block, offering an entirely different experience to the main house. It has 360-degree views and walls of glass with almost nowhere to hide.

Finally, the third structure is The Folly, a mysterious cube with a rust-like Corten steel door opening to reveal what appears to be an old silo, but in actual fact, is a purpose-built contemplative space hiding a shallow reflective pool that simply mirrors the sky above.

The two designer residences on separate 20ha titles are 3.5 km from the coastal town of Koonya, 18 km from Port Arthur and 90 km from Hobart.

Triptych at 67 & 75 Grooms Hill Rd, Koonya is listed for sale with Georgie Rayner from The Agency Hobart and David Medina of Sotheby’s International Realty. The price guide is “more than” $3.5 million, and the auction is scheduled for July 14.

The Reserve Bank had little choice but to raise interest rates again this week.

Inflation was already proving stubborn before the latest Middle East instability added further pressure to energy prices and supply chains.

Housing inflation alone has averaged six per cent over the past year, remaining one of the single biggest contributors to CPI.

But while the focus remains on rates, the deeper problem is structural and far more dangerous.

Australia is not building enough homes, and the conditions required to fix that are deteriorating simultaneously.

Construction costs remain elevated. Builders are increasingly unwilling to absorb contract risk. Labour shortages persist.

Capital is becoming more expensive. And as borrowing capacity weakens and sentiment softens, fewer projects are becoming financially viable.

The result is a self-reinforcing cycle.

The RBA raises rates to fight inflation. Higher rates reduce development feasibility. Fewer projects start. Housing supply tightens further. Rents rise. Inflation persists. The RBA raises rates again.

The only long-term solution is supply, yet Australia remains nowhere near the National Housing Accord target of 240,000 new dwellings a year.

Completion continues to lag approvals, meaning many projects approved on paper are simply never making it out of the ground.

That gap matters enormously because housing is not just another sector of the economy.

Around two-thirds of Australian household wealth is tied to property, while the sector underpins millions of jobs and related industries. Weakness here quickly spreads beyond real estate.

We are already seeing signs of stress. Auction clearance rates in Sydney and Melbourne have softened, borrowing capacity has declined, and parts of the market are experiencing price corrections as confidence weakens.

At the same time, policymakers continue to debate tax measures such as changes to negative gearing and capital gains tax discounts, despite fears that such reforms could drive private capital out of the rental market at precisely the moment when supply is most constrained.

This is the paradox at the centre of Australia’s housing crisis.

Demand for property remains extraordinarily high, yet the economic conditions required to actually build new housing are worsening.

The Reserve Bank cannot solve that problem alone.

Monetary policy cannot accelerate planning approvals, reduce construction costs or create more tradies. It can only raise the cost of money until something eventually breaks.

And increasingly, that “something” looks like the development pipeline itself.

Paul Miron is the Co-Founder & Fund Manager of Msquared Capital.

When art meets architecture in Tasmania

A rare design trilogy on Tasmania’s Grooms Hill Road, Triptych blends architecture, nature and privacy across two titles with sweeping water views and serious creative soul.

Rising rates, construction inflation and shrinking investor confidence are pushing Australia deeper into a dangerous housing spiral that monetary policy alone cannot fix.