TROPPO – PHIL HARRIS: A 'WARM AND GENTLE' ARCHITECT

Phil Harris

It was forty years ago when I first met Phil Harris. It was, as Mick Keniger reminded me, at The Market Place conference, an event organised by students. Phil and his partner, Adrian Welke, both turned up at the conference wearing, somewhat appropriately, the latest in olive green louvre glasses, well, 'shades' might be a better term, as there was no glass. They made an immediate impact, as did their work. Their early buildings were light, almost flimsy, timber-and-tin; quirky, thin frames infilled with hand-made louvres and imported Indonesian bamboo screens. They had the look of the self-made hippie buildings seen in alternative settlements like Nimbin, structures that collected together anything and everything cheap, or available at the tip; but Troppo's output managed to transcend this shambles appearance and be accepted as 'architecture' with a deliberate strategy, rather than being collected random forms shaped by the whims of chancy fancy.

Troppo

The Troppo work was all carefully considered, made to a sustainable philosophy, as PH explained at his talk at Bond University's Abedian School of Architecture on Thursday 17th January 2019, in the Paul Pholeros lecture that, last year, 2018, was given by Virginia Kerridge: see - https://www.ted.com/speakers/paul_pholeros and https://voussoirs.blogspot.com/2018/02/virginia-kerridge-seriality-of.html After the usual technical glitches had been resolved, (why do they always appear?: technology has not improved on the Kodak Carousel slide projector that was reliable only in the sense that it always caused problems), PH spoke glowingly of Paul P - "an inspirational teacher; gentle, deliberate, and clear-minded: a leader" - identifying him as a mentor, along with Glenn Murcutt. The work made this influence clear. Russell Hall was also mentioned as a source of inspiration, but PH jokingly identified Russell as "leading them astray." Is it that many a true word . . ? One wonders; in what way?

Paul Pholeros

The talk, titled with a variation of "Uncle Bob's" (Dylan's) words: "It's alright ma, it's only architecture!", (see below), edged its way through the Troppo history and its work, from day one. The real Dylan words were ". . . it's only bleeding," which PH thought appropriate for architects too. Architecture is not easy – see sidebar: Wittgenstein on Being a Good Architect. The Troppo work has remained remarkably true to its origins, but it has slowly grown more sophisticated, no doubt as the clients changed from the local Darwin 'singletted' roofer and his self-help 'stubby' mates, to the Adelaide socialites. Troppo questioned the English, western architectural history and heritage, and asked what architecture in Australia might be and become with its unique "place, natural resources, and environment." PH explained that Troppo was not style driven: "a house was not a tree or a castle." In Darwin, materials were limited. Troppo created shelters and shacks in a "punkas and pith helmets" place, responding to context, opening up inside/outside links, not relying on "switch comfort." The work always involved timber and tin, but grew to include specially veneered ply, carefully detailed galvanised structural steel, precise, insitu concrete, select timbers, rammed earth, polycarbonate, structural glass, and slick reflective pools. The apparent ad hoc was eventually tamed. Throughout the talk, PH repeatedly described the materials and the landscape as "warm and gentle." This was a sensitive architecture, not one demanding attention for its own sake, although it did.

"Less is more" was given a new meaning: less building meant more trees and natural resources in the ground rather than some spiritual sense of Meisian precision and rigour; with "the play of light by day and night" on these structures leading to "architecture by accident." Ideas, materials and place were experimented with. The Bowali Visitor Centre in Kakadu had "no front door . . . The reception desk was an insitu rock; rainwater cascades from the gutters with circumcised terminations." The Weipa project used "bauxite mud render." The Bali compound home was given "an Indonesian fishing boat door, hand-made timber louvres and polycarb sheeting." The concept of dwelling was of "deep retreat and really being out there" – in/out. This concept was illustrated by a cave and the bush: enclosure in open space. The houses became "light, northern sun-catchers," shaped by the "warmth of raw steel and spotted gum." This interpretation meant that a 'Troppo design' could make sense in Adelaide, as an extension to a Colonial brick cottage, as well as in Darwin.

Bill Neidjie

There are not too many architects who quote Kakadu Elder Bill Neidjie, but PH did, with a change of tone in his voice that was deeper, more serious, on the edge of being puzzlingly strange: "keep him in your feeling . . neck . . listen carefully . . body feel . . land never change . . all same as us." Bill Nedjie's words need sourcing so that everyone can access them in their entirety, their integrity: see Australia's Kakadu Man, Story About Feeling and Old Man's Story. These are very beautiful, truly remarkable books about the aboriginal culture and world view that we seem to try to acknowledge at the beginnings of talks etc., in words only, as shallow, politically-correct platitudes, without really knowing anything about the thoughts or lives that occupied the places we use. Everyone should read these publications and dwell on their understandings. We might eventually grow to know more about ourselves and the land instead of blundering on pretending we care. Neidjie decided to document the aboriginal perceptions and understandings, the oral history, because he could see his traditional world changing dramatically, very quickly.

The 'mango tree' meeting

With such roots, Troppo's work has been able to sustain its commitment to its ideals without straying too far. The concepts and the ambitions identified became a core reference for the Vanuatu work which is remarkable in this day and age. PH's sensitive efforts in this community are exemplary. The worry is that 'tourism' was the answer for the economy after the "mango tree chat," when we all know the impacts of tourism: see - http://springbrooklocale.blogspot.com/2012/06/who-or-what-is-tourist.html Vanuatu needs to be careful if it wishes to protect its World Heritage richness that "gently nestles." PH explained the interaction with the Vanuatians as "two-way learning." His work includes Haus Blong Mianda, built "light and strong, on tradition, to withstand earthquakes." It survived cyclone Pam: "more village than house; not architecture - little discourse on the future." The guidelines are summarised as 'Bildimap I Stret': build right way - "safeguard heritage; low-tech structural joints; local materials; respond to climate." The island has some stunning indigenous buildings to remind residents of the possibilities of its culture, its roots. PH was correctly critical of the new rendered block buildings. The people are truly blessed to have PH working with them on new strategies and structures. PH's work in Vanuatu reminds one of Christopher Alexander's The Timeless Way of Building and Pattern Language. Might The Nature of Order also be useful here to help us comprehend subtle matters of life and work?

Troppo's work is now addressing other complex scenarios on a different scale, in civic precincts, using the Alexander sensitivities to enrich place. The Holiday Inn forecourt in Darwin is a grand example of how public place can be made and given meaning, with simple structure and art in spaces inspired by open squares in Italian towns, "pop-up space," providing Darwin with civic edges and meaningful art: here, traditionally woven copper wire and a Rainbow Serpent, symbolic of things "generative, creative, destructive; clouds, storms, country, dwelling, waterfall, rise, cycle; . . . greater than this; a sustaining web important for well-being." It is something that is needed today: see - https://www.aboriginal-art-australia.com/aboriginal-art-library/rainbow-serpent/

One went to the talk knowing that Troppo had opened offices across Australia, and arrived expecting to see the experimental early work transformed into safe, slick, 'blueboard' modernism. While some of the later works do touch on this shallow genre, the efforts to manage this misdirected madness are clear. The strength of the scalawag remains a driving force. PH might look older, but his presence is the same, a warm and gentle being, accessible and caring; thoughtful and sensitive, like his work.

There were no questions after the talk; there was no need. The presentation was clear and driven, happily finishing with its own, deserved recorded applause that initiated the general response from the audience with the typical PH touch of irony and humour. Architecture needs both, (see: https://voussoirs.blogspot.com/2018/12/lutyens-in-india-referencing-humour-in.html ), and the commitment that Troppo displays.

Paul Pholeros

PH gave a couple of simple recipes, one for fish, the other for figs – lightly grill King Island whiting then add a squeeze of lemon; boil cut figs in sangria for fifteen minutes: yum! Were these Cafe Troppo specials? He has an interest in living, its joys, and shares this excitement with a staying in while being out in a number of ways. The approach to and interest in food has also come from Paul P, with help from Glenn Murcutt and Rick Leplastrier (see - https://voussoirs.blogspot.com/2015/01/richard-leplastrier-ephemeral.html ) Is it a Sydney thing? - see: https://voussoirs.blogspot.com/2016/11/drew-heath-bespoke-details-practise.html Drew Heath had regular cooking 'get-togethers' with his mates: see - http://cafetroppoadelaide.com/

Cafe Troppo, Adelaide

It would have been good to see the Troppo work in tropical downpours, or in a cyclone, rather than in the carefully selected, 'architectural photo' format that creates fabricated visions, contrived views of 'accidental architecture.' PH remains a typical architect in this cautious, promotional, PR sense of projection protection, presenting his work to the world as seen by the bespoke isolation and distortion of the lens. It is a stance that differs to his cheeky, openly honest and relaxed, 'let it all hang out,' 'have a grin and a beer' approach to life and his art. His first house was called the 'green tinny' after Australia's famous VB can. Now it seems that the can remains, but not as the happy inspiration for form.

The Troppo talk was as engaging as its catchy business name, but one has to wonder: what are these houses like to live in; and has not this stark, ad hoc sticky minimalism become a style in itself?

On the first thought, we know more every day about the usefulness and importance not only of managed ventilation in hot climates, but also insulation. The Troppo houses are thin skins of metal, ply, and bamboo layered over, under and into an open frame. One is not only intrigued to find out how these habitats perform in cyclonic conditions, but also how these ultra thin, frequently perforated skins of roof, walls and floors behave as shelters in the blazing heat. One assumes that the open space that flows into the bush and makes for delightful photographic images for the coffee table, is perhaps the best solution for the humidity, and for any tropical breezes; but what about the heat and all of the wildlife, the annoying insects? Does one have to ignore these issues in order to admire the architecture? Are these matters not to be spoken of? Do these places become radiators filled with nuisance bugs under the full blast of the day-and-night tropical heat rather than comfortable shelters? Is there an integral conflict in the in/out combination that looks so good, so desirable in the pictures? Are these structures only a fantasy world of architectural hope and hype? - see: https://voussoirs.blogspot.com/2015/02/camp-architecture.html

It is now common knowledge that one can not have enough roof insulation in any climate, and that insulation in walls and floors is only beneficial. So the issue of maximising comfort in reality, in real living - why not? - and altering the minimalist ideas and visual, architectural intent, remains, and prompts the next thought: has the approach all to do with style?

While the chosen points defined in the manifesto to direct the design programme of the Troppo practice include everything that gives these outcomes: shaded walls; light structure; louvres; etc. - the classic, cliché response to climate - has the flimsy, quirky appearance taken over as a 'Troppo' style, rather much in the same way as "gone Troppo" has become a phrase for climatic madness? Are these structures metaphors for this state of being, a visual declaration of that unique Darwinian difference in temperature and temperament? How might this outcome be useful Australia-wide? Can 'Troppo-style' truly be a universal solution to different place and climes?

We saw military housing looking like tanks; posh Adelaide housing struggling to have the 'Troppo' add-ons around polished hoop pine, shiny concrete floors, and class A insitu concrete walls; Perth homes with rammed earth, a range of expensive, exotic Australian hardwoods, posh structural glass and swanky pools; all with an inside-outside intertwining that looks like insides being unwillingly pushed out, through an exposed encasing of bits of smartly detailed galvanised steel framing, screens and polycarbonate sheeting – all "warm and gentle". 'Is this 'Troppo-style'?' is a thought that needs pondering, since the effort to maintain design characteristics in spite of everything else is one that has driven most sustained efforts astray, into dead-end territories of self-reference. Even a drawbridge deck was shown, just like the Kevin McCloud shed experiment and George Clarke's caravan: in an illegal, 'temporary' structure too – see: https://voussoirs.blogspot.com/2016/11/drew-heath-bespoke-details-practise.html Does everyone have to get one these days – a 'Grand Designs' drawbridge/deck/wall?

The Troppo work included prefabs for remote areas: 'trop-pods' for homes, schools, aged care, community centre, etc. - anything, just put them together as needed. There were the containers-plus-roofs too, for an equally diverse set of indeterminate functions. The original Troppo cheeky, almost ad hoc approach, seemed to be taking on a new scale, a new direction; but the landscape was always admired, as in the Kimberleys. PH posed the question: "Who needs architecture with landscape like this?" Is this why things appear random, careless? Maybe this statement on landscape says something about 'architecture' itself; or architects? Surely it is not an excuse to be casually indifferent?

Troppo in the Kimberleys - on the right

One has to ask if Troppo's work has become a socially desirable appearance. It is an Aussie brand? It might be so, but it is the Vanuatu work that redeems these doubts, at least those of intent, even if some outcomes might struggle to cope with different challenging ambitions that could prove too testing for the primary philosophy.

PH finished with a few proverbial phrases prompted by "Uncle Bob," his lyrics and music:

"You feel to moan but unlike before . . ."

Yes, its tough out there in the ocean of life, but that's where we all swim.

Keep to the truth; avoid project managers.

Hang in to fight the final fight.

Learn to grin at Councils.

It seemed to be a creed that PH has worked to in his Troppo practice, with much success too.

Thanks "Uncle Bob."

Recorded applause . . .

THE LYRICS

It's Alright, Ma (I'm Only Bleeding)

Bob Dylan

Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child's balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying

Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fool's gold mouthpiece
The hollow horn plays wasted words
Proves to warn that he's not busy being born
Is busy dying

Temptation's page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover that you'd just be
One more person crying

So don't fear if you hear
A foreign sound to your ear
It's alright ma, I'm only sighing

As some warn victory, some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don't hate nothing at all
Except hatred

Disillusioned words like bullets bark
As human gods aim for their mark
Made everything from toy guns that spark
To flesh-colored Christs that glow in the dark
It's easy to see without looking too far
That not much is really sacred

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have to stand naked

An' though the rules of the road have been lodged
It's only people's games that you got to dodge
And it's alright ma, I can make it

Advertising signs that con you
Into thinking you're the one
That can do what's never been done
That can win what's never been won
Meantime life outside goes on
All around you

You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand with nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks they really found you

A question in your nerves is lit
Yet you know there is no answer fit to satisfy
Insure you not to quit
To keep it in your mind and not forget
That it is not he or she or them or it
That you belong to

Although the masters make the rules
For the wise men and the fools
I got nothing ma, to live up to

For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Do what they do just to be nothing more than something they invest in

While some on principles baptized
To strict party platform ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say "God bless him"

While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society's pliers
Cares not to come up any higher
But rather get you down in the hole that he's in

But I mean no harm nor put fault
On anyone that lives in a vault
But it's alright ma, if I can't please him

Old lady judges watch people in pairs
Limited in sex, they dare
To push fake morals, insult and stare
While money doesn't talk, it swears
Obscenity, who really cares
Propaganda, all is phony

While them that defend what they cannot see
With a killer's pride, security
It blows the minds most bitterly
For them that think death's honesty
Won't fall upon them naturally
Life sometimes must get lonely

My eyes collide head-on with stuffed graveyards
False gods, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say okay, I have had enough
What else can you show me?

And if my thought-dreams could be seen
They'd probably put my head in a guillotine
But it's alright ma, it's life, and life only