The best detail in Warranwood is an absence: a letterbox window cut through a splashback of Aboda’s Aqua Luna, so the garden sits inside the stone. Around that opening the stone spreads outward, across the benchtops, down both ends of the island, under twin copper rangehoods, and finally into the cellar as a long bench beneath the wine wall. Bands of lighter and darker silver-grey drift across a cool, pale ground the whole way. Then evening comes, the glass goes dark, and the window reads as stone again.