Designed by two-time Robin Boyd Award-winning architects, Durbach Block Jaggers, in association with long-time club member and architect Peter Colquhoun, it has attracted intense scrutiny from residents and visitors to Australia's most famous beach.
While some have dubbed it the "Opera House on the sand", others a "block of nougat" and, still others "a busted up fridge with an inverted ridge", the club is destined to become one of the most photographed buildings in this country.
As someone who knows a fair bit of the background to the construction, I can tell you it's no picnic designing such a high-profile building in an iconic location, with such a constrained footprint, under the multiform restrictions of government, heritage concerns, residents and club members.
However, what's been achieved is both stunning and functional and I think many people who'd only seen the club's exterior did not entirely "get it" until they'd gone inside and taken a look around.
"It's one of the great challenges as an architect to be able to paint a picture of the space before it's even built, to lead the client to a point where they're willing to trust in your vision," says Colquhoun, who regularly visits some of Australia's greatest beach houses in his 7 Two series Sandcastles.
It helps to produce scale models and as you can see from this collection of the mock-ups built for the project, almost every conceivable variation of the design has been pondered and considered by the architects.
I had the opportunity to talk with one of the many workers who helped raise the building for Taylor Constructions. He said it was only when a pre-poured concrete roof-panel containing the architects' "signature" arrived on site "we knew what we were dealing with Durbach Block Jaggers".
"I mean, why would you bother?" the worker said.
There are dozens more examples like this in the building: Handrails that taper at the ends or do eccentric little loops at the top of stairs. Life preservers etched into glass doors, curved glass, peek-a-boo windows, sea-shell-like curved skylights and little nooks to sit in, that make the beach your own.
Perhaps the most contentious decision made by the architects was to not resort to the Aussie beach cliché of an all-glass frontage to the building.
The main function room windows instead "frame" the view like you're in a gallery, so that you're constantly surprised by new perspectives wherever you are inside and even get panoramas juxtaposed thanks to clever placement of mirrors.
The exterior too, which is covered in Spanish mosaic tiles, has drawn much discussion, as well as many inhaled breaths of surprise from onlookers, as the building changes colour through the day and even glitters.
As Mambo artist Dare Jennings told architect Neil Durbach: "Who's ever heard of a building that glitters?"
The curved, rising profile of the building, meant to reflect the erosion of its natural surrounds, gives the building the feeling of an object that's come from the sea, if not weathered by it.
Colquhoun says it's one of the first buildings of its kind in the world to not be inspired by religion or high culture but a national past-time - the surf and surf lifesaving.
"If surfing is a religion in this country, this is our first cathedral," Colquhoun says.
It struck me while observing these details that the whole "why would you bother?" question is what separates the cream from the milk in all walks of life and has done for thousands of years.
I'm sure there were thousands of Ancient Greek builders and sculptors happy with good old Doric columns until someone bothered to push things on a little and come up with the more intricate Ionic, then Corinthian, versions.
Sweating on the little things, the frustrating details, the small stuff, is what makes an architect, businessman, artist and even surf lifesavers award-winners, rather than just also-rans.
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