KIM BRIDGLANDPORTFOLIO OF ARCHITECTURE AND ART 2013

Kim Bridgland is a graduate architect and practising artist living and working in Melbourne’s inner north.

As an emerging architect his interests are focused towards architecture’s interdisciplinary and lateral boundaries, especially where they overlap with the realm of art. A strong interest has been developing here in the ambiguous territories between person, place, context and materiality; and in architecture’s capacity to act as a mediating interface between our cultural and natural environments. In this manner he designs with a strong social and environmental conscience, aiming to produce culturally and ecologically sustainable projects

As an artist, his work is an evolving practice which examines the interstices between artifice, nature, person and context. These interstices and the slippage between them are explored through the critical material practices of sculpture, installation and photography. This art practice seeks not to enforce the primacy of the object.image but instead attempts to establish a state of agency and affect in the viewer in their encounter with the work. Each work is typically accompanied by a commisioned essay, opening up a parrallel discourse on the work.

In 2009 he worked for Sydney practice Architect Marshall as office manager and student architect. Since that time he has worked independantly as a designer in melbourne establishing his own practice, Kim Bridgland Workshop, while undertaking a Masters of Architecture. Under this practice he has designed several houses and renovations in Victoria, New South Wales and the ACT.

In 2012 he was awarded a Masters of Architecture from RMIT University Melbourne, with distinction. In 2008 he was awarded a Bachelor of Design (Architecture) from the University of Newcastle, with merit. During this degree he was the recipient of the 2007 University of Newcastle Eric Parker Travelling Scholarship in Architecture; the RAIA NSW Chapter Bachelor of Design (Architecture) First Degree Prize and History and Theory Prize; and the NSW Architects Registration Board Bachelor of Design (Architecture) prize for years one and two.

27.12.19800432 180 017395b st georges road Fitzroy north vic 3068kimbridgland@gmail.comkimbridgland.com

employment

Kim Bridgland Workshop, sole practice as artist and designerArchitect MarshallSimpson Wilson Architects

education

Master of Architecture, with Distinction. RMIT, MelbourneBachelor of Design (Architecture), with Merit. University of NewcastleCertificate 4 in Architectural Technology, with Distinction. TAFE.

awards, grants & residencies

Australia Council, New Work – Visual Arts (Early Career) grant - $10,000Artist/architect in Residence at the Lock-Up cultural Centre, NewcastleRecipient of RAIA NSW Chapter, Bachelor of Design (Architecture) First Degree PrizeRecipient of RAIA NSW Chapter, Bachelor of Design (Architecture) History and Theory PrizeRecipient of NSW Architects Registration Board Bachelor of Design (Architecture) Year 2 PrizeRecipient of University of Newcastle, Eric Parker Travelling Scholarship in Architecture - $10,000Recipient of NSW Architects Registration Board Bachelor of Design (Architecture) Year 1 Prize

exhibitions & events

Audio Architecture - Dissonance. Pin-Up Architecture and design project space, curated by the Office of Good Design and ‘N’, Collingwood, VIC.Obstinate dust. Scope Galleries Art & Environment Award 2012, Warrnambool, VIC.That’s just the cold. Solo exhibition of sculpture/installation work at the Lock-Up cultural Centre, Newcastle, 1st july - 17th July 2011.I dwell in the city and the city dwells in me (saxifrage). 2009 Laneways: by George! Public art installation, commissioned by the City of SydneyProspect & refuge. Public conversation/forum on architecture, culture & sustainability featuring Rod Simpson, Gerard Reinmuth, Olivia Hyde, Michael Chapman and Chris Tucker. 13 august, Lock-Up Cultural Centre, NewcastleHunting grounds. Architectural installation, part of Renew Newcastle InitiativeFeeding grounds. Interactive sound performance/manipulation within Hunting grounds.The room project. Artist run initiative to explore and exhibit experimental architectural environmentsState of the Arts 2008. acquisitive arts prize. Photographic work in group exhibition. Watt Space Gallery, 27th august - 14th september. High Commendation awardNewcastle emerging artist prize 08. Photographic work in group exhibition. Newcastle Art Space, 10th may - 31st mayIn a beautiful place out in the country. Solo exhibition of photographic work at Newcastle Art Space, 17th april - 5th mayDwelling + city. Collaboration on work for group exhibition of art & architecture. Watt Space Gallery, 31st january - 18th februaryKatoomba ArtSpace photographic competition. Katoomba civic centre, 24th march - 2nd april. Winner of traditional category

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the museum of foreign art

Foreign

adjective

1. of, from, in, or characteristic of a country or language other than one’s own.- coming or introduced from outside.

2. strange and unfamiliar.- (foreign to) not belonging to or characteristic of.

OriginMiddle English foren, forein, from Old French forein, forain, based on Latin foras, foris ‘outside’, from fores ‘door’. Premise - the foreign outdoors.

The Museum of Foreign Art (MOFA) is a proposition for a new contemporary art gallery in the suburb of South Yarra, Melbourne. Underlying this project is a relationship with the remote and foreign continent of Antarctica; a place which exists as a world of science and natural splendor, yet also exists as a frontier site of myth and magic.

MOFA would take curatorial control over the Antarctic Arts Fellowship; an Australian artist in residence program which currently sees several Australian artists journey to Antarctic each year. Situating and contextualizing the work produced from this program, the museum will appropriate and extend the historic estate of Como House. Managed by the National Trust as a ‘historic museum’, the estate is currently closed due to lack of public interest. Thus, in drawing together the no knowledge zones of Antarctica with the domesticated grounds of Como House there is both the opportunity to reawaken a dormant site and also an occasion to trigger a series of foreign relationships between the other and the same.

Formally, the new museum is positioned as a foreign body, both in its immediate relationship to Como House and gardens but also to the surrounding suburban field of South Yarra. The ambition of this project was to offer an ‘elsewhere’ site; a place outside of pre-existing protocols whereby an audience, in their own personal zone of exclusion, can excavate meaning and affirmation from the works they encounter there.

This proposal was completed as a Masters thesis by design at RMIT University, Melbourne. Supervisors: Dr. Michael Spooner & Peter Knight

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The weaver god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it.

Herman Melville, Moby Dick

There is no real end to mythological analysis, no hidden unity to be grasped once the breaking-down process has been completed. Themes can be split up ad infinitum. Just when you think you have disentangled and separated them, you realise that they are knitting together again in response to the operation of unexpected affinities

Claude Levi-Strauss, The raw and the cooked

That’s Just the Cold is a sculptural istallation funded by an Australia Council arts grant and was created as a result of an artist in residency undertaken at the Lock-Up cultural centre in Newcastle, NSW in 2009. The work was exhibited at the same venue in July 2011.

That’s Just the Cold explores the slippage of content in the translation of language, and the capacity for mythology to find root in that slip. The language in the work is both ours, the human, and that of the natural world, and all of those that take hold in the spaces between.

The work finds three elements, each one mimetic of the others. A land-form of an old timber floor, gridded and plotted by residue of the feet that walked those boards; a white whale, protector spirit, withering from the loss of the love of its creator; and a stream of a river’s stones, the written script of the earth and the tides recast as the narrator of the slip and the lack in language and of the myths that take root.

Reclaimed Tasmanian oak floorboards (Eucalyptus delegatensis), plaster, silicone, paint, pigment

that’s just the cold

The days began to fly now, and yet each one of them was stretched by renewed expectations and swollen with silent, private experiences. Yes, time is a puzzling thing, there is something about it that is hard to explain.

Thomas Mann, The magic mountain

A revision and expansion of an existing double brick home overlooking the looming Black Mountain to the East and feeding onto bushland reserve to the West. The house frames the lives of two readers and writers of books, and threads these lives into the landscapes that surround them.

This project is onging, and is currently under application for planning approval

black mountain house

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One could even say that what endows anything withsignificance is solely the history in which it has participated.Yet wherein does that history lie?

Cormac McCarthy, The crossing

Language is a human construction, and speaks the world’slimit as it speaks the world.

Dan Beachy-Quick, A whaler’s dictionary

Untitled #1 (obstinate dust) explores our capacity to engage with a natural environment, with wildness, through our translation of it into language.Be it slander, reverence or mute indifference, the way we describe and communicate our understanding of nature directly informs our will and ability to despoil or delight in it.If the narratives, stories and mythologies we create about our environment, either collectively or individually, will determine our future relationship with it, then may our thoughts and words tread lightly.The work finds a river stone, the written script of the earth and the tides, recast as a medium of pure potential narrative, waiting for that narrative to be thought and told.

Untitled #1 (obstinate dust) was a finalist in the Scope Galleries Art and Environment Award 2012.

Reclaimed Red Ironbark (Eucalyptus Sideroxylon), plaster, pigment.

obstinate dust

What’s the world for you if you can’t make it up the way you want it?

Toni Morrison, Jazz

A reconfiguration and expansion of an existing home within the suburbs of Melbourne. The house is for a family, who always listen to Jazz.

The brief from this client was to reclaim an existing but broken down deck to create a new living space coupled to a new covered, north facing deck, and to define a new entrance to the home. After several additions to the home over its liftime the plannig had stopped making sense, creating the akward arrangement of arriving by a small side passage in order to enter the house through the laundry and kitchen.In response, it was suggested that in defining a new entrance there was also the opportunity to expand upon the existing bathrom and open it onto a new private garden

This project is ongoing and is curently seeking tenders for construction.

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86x19mm Blackbutt screen @ 160mmcrs, w/ oil finish on treated pine posts w/

Dulux Low sheen Acrylic 'Black Caviar'finish as per specification

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through metaphor to reconcilethe people and the stones.Compose. (No ideasbut in things) invent!Saxifrage is my flower that splitsthe rocks.

William Carlos Williams, excerpt from a sort of a song

I dwell in the city is a collaborative public installation commisioned by the city of sydney for the 2009 laneways by george! Hidden networks festival.

The project grew out of a series of great conversations about the levels of empathy, narrative and fragility that we harbour in our skin, and the innate desire to read subtle personality traits into the details of the human body. To take this embedded humanity out of context by lending it to the walls of a worn old building shifts these human traits into our urban fabric - and so destabilises the mythology of the city.

The concept behind I dwell in the city then, is to get people thinking about how their environments affect them. The silicone growths in the work echo the lingering traces of all the people that have been and have passed through the lane, that over time have transformed the very nature of that place. The buildings appropriated in the work are themselves taking on our characteristics and quite awkwardly becoming human. If we look at this in reverse then, if we think about the effect our environment, in this case the effect city has on us then we can understand that where we live and work plays a strong roll in shaping our identity. Its by planting these strange traces of tenderness and frailty that offers a different perspective, as they slowly but steadily take root and crumble away at the hard nature of the city. I’d say that the message under all of this is that our architecture matters, but not as aesthetic fetish. The buildings we design act as a framework for the lives we lead, we shouldn’t forget that.

Silicone, hair, fiberglass, plywood, mechanical animatronics, 5.1 channel sound collage.

i dwell in the city

Euroluce L I G H T I N G

Western brick wall of Burns & Philp Co. building.

Gal or S/S fixings located at mortar joints, pre-existings holes or already damaged sections ofbrick wall. To be patched with colour matchedlime mortar.

Sculpted, textured and pigmented siliconeprosthetic skinover moulded fibreglass frame.

Hair

Animatronic device to replicate subtle pulsingmovement

Concealed speakers and MP3 device, accesiblethough concealed flap in silicone skin.

transitory architecturecastlemaine housing development

If background seems inappropriately modest, we should remember that in our modern use of the word it means that which underscores not only our identity and presence, but also our history. - J.B. Jackson

In wildness is the preservation of the world. - Henry David Thoreau, Walking

Drawing upon selected histories of the town of Castlemaine and from the mytholigies that arose from its foundation as a gold mining settlement, this project situates a new housing development on the fringe of the town’s central district. This development presents a new landform.building extruded up from the street edge. This occupied edge is a porous one, with passageways eroded though the development towards a protected and landscaped communal space, which knits the new development into the existing cultural facilities of the town

This proposal was completed as a design studio at RMIT University, Melbourne. Supervisor: Dr. Richard Black

landform narratives and the sublime

the consumption of the earth for gold, the making of Castlemaine

The new city never filled, Castlemaine as rural town

natural ephemera

future narratives

In wild

ness is the preservation of the w

orld- H

enry David

Thoreau, Walking

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hor to reconcilethe p

eople and

the stones.C

omp

ose. (No id

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ut in things) Invent!S

axifrage is my flow

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arlos William

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t from ‘a sort of a song’

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articipated

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oesthat history lie?- C

ormac M

cCarthy, The crossing

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est,w

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emb

er that in our mod

ern useof the w

ord it m

eans that which und

erscoresnot only our id

entity and p

resence, but also

our history.”- J.B

. Jackson

- landform narratives and the sublime

- the consumption of the earth for gold, the making of Castlemaine

- the new city never filled, Castlemaine as rural town

- natural ephemera

- future narratives

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landform narratives and the sublime

the consumption of the earth for gold, the making of Castlemaine

The new city never filled, Castlemaine as rural town

natural ephemera

future narratives

In wild

ness is the preservation of the w

orld- H

enry David

Thoreau, Walking

through metap

hor to reconcilethe p

eople and

the stones.C

omp

ose. (No id

easb

ut in things) Invent!S

axifrage is my flow

er that splits

the rocks.- W

illiam C

arlos William

s — excerp

t from ‘a sort of a song’

One could

even say that what end

ows

anything with significance is solely the history

in which it has p

articipated

. Yet wherein d

oesthat history lie?- C

ormac M

cCarthy, The crossing

“If background

seems inap

prop

riately mod

est,w

e should rem

emb

er that in our mod

ern useof the w

ord it m

eans that which und

erscoresnot only our id

entity and p

resence, but also

our history.”- J.B

. Jackson

north

east

Hunting grounds was a student lead installation in an underutilised space of Newcastle’s CBD in early 2009. The work grew out of the various needs of a group of architecture students; the need to physically experiment with space and to harness this thing called ‘poetics’; the need to get our hands dirty with materials, to get to know how they could make you feel; and the need to share what it was that we knew was architecture, not as a series of drawings, models or polished renders but as a unique and tangible experience.

With the desire to generate a relationship of physical intimacy the installation quickly became a floor re-cast as a roving, undulation terrain made up of 10,000 small pieces of timber. Cut to varying lengths and placed directly upon the hard tiled floor, the timber pieces were physically supported by each other but not fixed; allowing them to shuffle slightly underfoot, filling the space with the subtle, percussive chattering sounds of a persons movement.

As the experience of a place was at the core of everything we did a 90-minute performance event called feeding grounds was arranged for the closing of the exhibition. The interactive performance saw 16 contact microphones planted throughout the floor to amplify the sound of the audience’s movement through a slow progression into an expressive, ambient soundscape. The four experimental musicians behind the performance were Kane Ewin, Nicholas French, Chris Hearn and Mark Leacy.

The work was built from 90x45mm utility grade construction pine, a waste resource of the construction industry, and a donated supply of recycled hardwood, which for the last 100 years had been the roof structure over a family’s home.

renewnewcastle.org

hunting grounds

architect marshall

theroomproject

DURBACH BLOCK ARCHITECTS

Renew Newcastle

In 2007 Kim was the recipient of the University of Newcastle Eric Parker Travelling Scholarship in Architecture, the only second year student to recieve the award. Over three months during the northern winter period he used the opportunity to travell to Japan, Finland, Sweden, Norway, Denmark, The Netherlands, Germany, Austria, Switzerland, France and England. The plan was to visit and experience the work of artists and architects that demand a more critical response (intentionally or not) from us in their use of materiality, and in their dialogue with the natural environment; to engage with architecture at its most haptic level. On these travels he sought out the works of a range of critical architects and artists including Kengo Kuma, Doris Salcedo, Tadao Ando, Richard Long, Claude Monet, Sou Fujimoto, Steven Holl, Hiroshi Sugimoto, Alvar Aalto, Matti Sanaksenaho, James Turrell, Jørn Utzon, Rachel Whiteread, Peter Zumthor, Nan Goldin, Christian Kerez, Renzo Piano, Walter DeMaria, Yayoi Kusama, Le Corbusier and Herzog & De Meuron.

eric parker travelling scholarship