It’s not every day you celebrate a career spanning three decades with one company, but Dominic Eaton has never been one for ordinary achievements. After 30 years at Stride Treglown—20 of those as a Board Director—Dominic is retiring, leaving behind a legacy of unwavering dedication to design.
As we sit down with Dominic to reflect on his extraordinary career, he shares the inspirations and lessons that have defined his journey.
Q: Dominic, you’ve specialised in residential design throughout your career, was that always your ambition?
Most people fall into things almost by accident, but once you’re in you start thinking, “This is a nice sector”. That’s what happened to me with housing.
In my early days, I worked at a practice that specialised in commercial. We had an opportunity to design a high-density residential scheme and there wasn’t much of that around at the time, so we were learning as we went along. We got planning permission for it which felt like a real achievement. After that I joined Stride Treglown and worked on Contemporis in Bristol and then Celestia in Cardiff. One project led to another and before you know it, you’re an expert. Looking back now, I realise it’s what I was always meant to do.
Q: What is it about the residential sector that’s kept you hooked for so long?
It’s incredibly rewarding because it’s where people live, it’s where families grow, it’s about community, and it’s placemaking. But it’s also challenging. There’s so much detail involved. You have to get the layouts and rooms absolutely right. The amount of work in that alone is huge, but I’ve always found that jigsaw puzzle incredibly fulfilling.
Of course, as your career progresses you take on different responsibilities which can pull you in different directions. But I’ve never lost my passion for design, never put my pens down, and still enjoy being heavily involved in the design process.
Q: Are there particular projects you found most fulfilling?
It’s hard to name one because it would be like trying to name your favourite child. But you need a good brief and you need constraints, so I think about projects that brought unique challenges.
Marsworth, for example, faced environmental and historical sensitivities, so the design really had to respect the context while still reflecting a modern residential development. Portishead I feel has stood the test of time. It still feels contemporary all these years later in the way it stands out, yet blends into the marina. Porthcawl means a lot to me personally because my mother-in-law lives there now. I go to visit her, sit in the living room looking out across the bay and think “Yes, we got this right.”
Q: With all of the unique challenges a project brings, what are some of the key lessons you’ve learnt?
A client once told me that time spent getting it right is not time wasted and I truly believe that. I also think it’s important to learn how to communicate your vision effectively and the reasons behind your decisions, which helps if you can build strong, respectful relationships with clients. Part of that is also learning when and where to compromise, without diluting the project’s quality. That’s another skill in itself.
Q: On the subject of communication, you’ve talked before about other industries using architecture as a key part of their storytelling. Could you expand on that?
I see other industries, especially film and advertising, use architecture to create a narrative and convey deeper meaning or emotion to support the story. It’s far more than just a backdrop.
As architects, it’s easy to overlook or undervalue the narrative power of our work. But every building or space we design has a story—of its place, its function, and its impact on people. By articulating these stories more vividly, we can strengthen the connection people feel to these spaces and again, demonstrate the importance of good design.
Q: Are there certain architectural styles and eras you feel do that particularly well?
I wouldn’t want to name a particular style because it depends on the context, but I’ve always been deeply inspired by the optimism and innovation of 1960s Californian architecture. It was a time when architects were really pushing the boundaries of design and experimenting with new forms and materials to reflect a hopeful outlook for the future.
Those projects captured a nation’s imagination and you could see how a whole generation of architects could be completely seduced. In comparison, current housing often seems to lack the excitement of those examples which, in some cases, are over 60 years old. I’d love to see our industry regain that sense of wonder.
Q: You’ve been mentoring architecture students for some time now. Is this something you try to teach them?
Yes, so each year I mentor students from architectural schools around London through the RIBA programme. I try to help prepare them for the day-to-day reality of being an architect, from properly understanding client briefs and administrative tasks like timesheets, to site visits and preparing them for interviews.
It always starts by asking, “What’s your favourite building?” or “Who’s your favourite architect?” and it’s fascinating to observe the generational shift. The answers always used to be dominated by well-known names like Le Corbusier and Frank Lloyd Wright, but now students mention architects I’ve never heard of. I think it’s a healthy sign of evolution that reflects a broader array of influences, showing how the field is expanding and evolving.
Q: Is there specific advice you give to young architects starting out?
Two things. Be the person who gets things done, and don’t lose your sense of wonder. It’s crucial to demonstrate reliability and competence, no matter the task, and every project offers a chance to learn and grow. Embrace each opportunity, and always strive for excellence.
Q: We’ve talked a lot about project work, but you’ve also played a key role in the company as a Board Director. How did you balance those responsibilities?
Years ago, a friend said to me that change is the only certainty in life. You can either push against it or embrace it. I believe we’ve done a commendable job of recognising and adapting to change over the past 20 years, while holding true to our core principles. We are fortunate to have a company full of wonderful, immensely talented, and supportive colleagues who have made that possible.
I sincerely believe that Stride Treglown has come a long way since I first joined. I am not taking the credit for that, but I would like to think that I played a part and contributed to its rising trajectory.
Q: And finally, looking back, what are you most proud of in your career?
I’m proud to have maintained my identity as an architect. Since a young age it’s all I’ve ever wanted to be. Being able to say I’ve been true to my calling is deeply gratifying.
Dominic Eaton’s retirement marks the end of a remarkable chapter for Stride Treglown, but his legacy is anything but final. His work, wisdom, and values have become an integral part of our DNA, inspiring a culture of excellence in the residential sector that will continue to flourish under the leadership of Jacqui Pollard, Robert Sargent and Laura Cassullo.
While Dominic’s next steps are his own, his influence on the built environment—and the people who shape it—will remain far-reaching.
Thank you, Dominic.
