David Bridgman, studio manager at Mode Design’s Darwin office, joined the company 15 years ago.
Bridgman was born in Darwin and grew up there in the 1960s and 1970s. Architecture & Design spoke to him about Darwin’s architecture, why the government should take the architectural lead in the city and why he admires artists who chase their ideals.
How would you define Darwin’s architecture at the moment?
For the most part Darwin’s buildings follow trends found elsewhere in Australia. This is understandable when you consider that architects are responsible for very little of the built environment. There are exceptions of course but they are few and far between with the resulting city somewhat disappointing, especially for visitors expecting an altogether different experience.
The richness of our early built environment and the responses to the tropics that informed architecture of the early twentieth century is overlooked these days in favour of a somewhat superficial and, dare I say, overtly ‘decorative’ architecture divorced from the very essence of what makes Darwin special.
Do you agree with Darwin’s approach to planning?
The recently published vision to develop Darwin as an ideal tropical city is a commendable initiative but how this may eventually be achieved in the built environment is not so very clear.
There is recognition of the unique nature of the tropical environment and how this influences the lifestyle of residents but translating this into built form within the constraints of current legislation and economic policy is one of the great challenges facing us today as planners and architects.
Passive design principles for the tropics suggest wide open spaces that allow breezes to pass over densely shaded gardens before entering and cooling buildings but this can come into conflict with strategies of urban densification, smaller block sizes and initiatives such as infill housing.
What would you like to see changed?
The government is in a position to take the lead and set the benchmark in responsible and sustainable architecture for the hot, humid tropics. As the largest single developer in the region it is uniquely positioned to influence outcomes. After all, the government has a vested interest in these outcomes.
I would also like to see architects more involved with urban planning and, most importantly, a greater portion of the built environment should be designed by architects, whereas at present there is no requirement to involve architects in the design of any building, regardless of size.
How does Darwin deal with heritage conservation, is it a good or bad approach?
Darwin’s heritage is eclectic and very fragile. It is not a city of grand architecture that characterises southern states but an altogether more ephemeral legacy by a largely transient population. As a consequence, very little of our historic built environment remains, having fallen victim to natural disasters such as cyclones and termites or to war, inner city redevelopment and neglect.
As a young city we tend to undervalue the past, yet there is an ever present nostalgia for the ‘old houses’ — that seemed to work so much better in the tropics. This usually surfaces in the heat and humidity of late November when even air-conditioners struggle to cope. Nevertheless, we have some precious buildings that are well cared for, but we could always do more.
What do you think Darwin’s architecture will look like in 10 years time?
My hope is that it will be a unique response to the social and physical environment of which it is a highly visible part. While single-family housing will remain the aspiration for many, houses will reduce in size to better reflect family structure and block size.
Medium and high-density housing will increasingly become the norm, with parklands providing necessary recreation space allowing the city to breath.
Civic and office buildings will embrace environmental sustainability and energy saving initiatives, with technology an integral part of the eco-architecture of the future. While my ideal would be a vibrant ‘green’, my concern is that Darwin architecture will take on a more insipid mask, leaving a legacy that is altogether less endearing.
What has been the biggest influence on you as an architect?
Curiously the first architect I encountered was the Scottish neo-classicist Robert Adam whose work I discovered many years ago through a particularly fine monograph.
The opportunity to travel has also been of great advantage, particularly to Scandinavia where design at every level is such an important and highly visible part of everyday life.
Closer to home, living in a 1940s tropical house designed by another Scotsman, Beni-Burnett, provides a continual reminder of the importance of the environment and how to live in harmony with the changing moods of nature. Sometimes, of course, nature is a little too close but cyclones, wayward possums and lost birds are a very real part of the tropics.
Who do you admire in the industry and why?
Any architect, or any artist for that matter, who is willing to forego fashion in pursuit of an ideal and who has had the opportunity of realising that ideal. Amongst architects the work of Steven Holl holds a special place for the idiosyncratic connection he continually achieves with ‘place’ and the ephemeral beauty of his work.
The work of the American architect Louis Kahn is also admirable, more so for the sense of mysticism surrounding his approach to building. Finally, the several great Scandinavian architects past and present who are much-admired for the deceptive simplicity and undeniable beauty of their architecture.
