Australian Wood Review – September 2019

68 Australian Wood Review

PROFILE

However training in architecture has given Bryan a

better understanding of manipulating space and form.

‘Just dimensionally I think a lot of makers will stick to

standards, whereas I would say if you want to design a

slender piece, stretch it out to be extra long and svelte.

If you want to design a tall piece, make it tower above

standard heights and narrow it in at the base to exaggerate

the perspective, as opposed to staying within the golden

ratio. I find that an awkward way to design, really limiting.’

Despite being adept with CAD technology, Bryan feels

he is fortunate for probably being the last generation of

architecture students at Glasgow University that didn’t use

a computer for the first two years. After that Bryan studied

in Holland where ‘it was all very technical, very advanced

computer based subjects but their model making workshop

was out of this world. They had every piece of machinery

you could wish for. That was inspiring, I learnt a lot there.’

His training has been an advantage in other ways as well.

up until World War II. At that time goods were floated up

the Maribyrnong River and then carted in and out by rail

from what is now a heritage site that overlooks a canal and

grassy floodplain surrounds.

Two and a half years ago Bryan leased this space, overlaid

flooring to protect the original jarrah boards, but left access

to rails that run its length. With an 1870s trolley these are

now the best workshop aid a sole business proprietor ever

had for moving work within, and to and from a delivery van.

Bryan was born in Belfast, studied architecture in Glasgow

and Holland, then travelled to Melbourne to work for an

architecture studio before meeting his Australian future

wife, and settling permanently 15 years ago. Completing

his masters at Melbourne University he fell under the spell

of woodworking in the architecture school workshop, then

headed by Hamish Hill. Influenced by that experience

but more so by his grandfather, also an architect turned

furniture maker, Bryan eventually changed career.

Making things was more satisfying and suits him better

Bryan explained. ‘The main thing I found frustrating

about architecture was how slowly everything went. It

could be years before we’d broken ground. What with

council issues and building permits – you end up begin a

project manager. The creative side ends up being 10 per

cent of the job, the rest is negotiating and documenting.’

Now it’s different, as a designer maker he can control

every stage of the process. ‘I wouldn’t get the same buzz

out of designing something if someone else made it, and

I wouldn’t get the buzz out of making it if someone else

designed it,’ he said.

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