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Hello and welcome to this the Culture Show Special. We're at the


awards ceremony hosted by the Royal Institute of British Architects to


celebrate the design genius behind the best building of 2011.


This is a chance to pause and drink of the fountain of design


inspiration, to glimpse the building that reflect and shape the


mood of our times. We're coming to you this evening from the Magna


Science Adventure Centre in Rotherham. Ten years ago it won the


RIBA's most important award, the Stirling Prize. Tonight, as we gear


up for the big announcement of this year's Stirling Prize winner, we'll


be exploring some of the most interesting buildings completed


this year across the globe. So, if you love great design, sit tight


for the next hour and you'll find out everything you need to know


out everything you need to know about architecture right now.


Coming up tonight: I look back on a few of the big ideas which have


shaped the year in architecture. Architect Fran Balaam explores the


six buildings short-listed for the Stephen Lawrence Prize, the first


of three awards to be announced this evening.


The prize rewards fresh architectural talent and is for


projects with a budget of under �1 million.


Critic Tom Dyckhoff takes a look at the buildings in the running for


the Lubetkin Prize, which is awarded to international projects


outside Europe. And he shows us round the six


buildings nominated for tonight's most prestigious award, the �20,000


RIBA Stirling Prize for Building of the Year.


It's a very strong line-up for this year's Stirling Prize but also for


the Lubetkin and Stephen Lawrence Prizes which we'll be coming to


shortly. But before we start to fine out who's won what, I'd like


to take a light skim across the muddy waters and swirling eddies of


the architectural tide of the last year and have a quick look at some


of the big ideas that appear to have floated to the surface.


This last year in architecture has provided us perhaps with more than


ever before with a gloriously mixed diversity of building species. They


may appear wildly different, but in true Darwinian terms, they all


descend from the great modernist architecture that burst on to the


planet after the First World War. It's a year that's given us dramy


in dazzling gravity-defying triumphs of engineer at the Olympic


Park. It's a year that's given us monumental scale and shiny surfaces


in projects like Jean Nouvel's One New Change, that opened back in May


on one side of Thames, while Richard Branson crystalline Shard


has been racing sky wards on the other. But it's also a year in


which buildings with a softer, evolved and more adaptable


aesthetic have emerged all across the UK.


I like adaptability. It's healthy. I also think it captures the spirit


of architecture in 2011. In evolutionary terms, the idea is no


better expressed than in this building which is a bird-hide in


Rainham Marshes in Essex, by the architects Haysom Ward Miller. It


opened last November, it was prefabricated off-site and put


together in just two days in order to minimise its impact on the


nature reserve here. It is eco- friendly, it's small and it's quiet,


but, I think it encapsulates three big ideas that we've seen a lot of


in the past year in building. So, how's this for a big idea?


Anti-gravity design. The idea that a building weighing dozens or


hundreds or even thousands of tonnes can appear to float or drift


off into the ether as though weightless. Here, for example,


they've hidden these steel supporting brackets underneath the


building to make it look as though it's hovering above the marshes.


The fact that it's canted and skewed to one side and yet doesn't


fall in to the reed bed, well, that completes the illusion of zero


gravity, makes it compelling and for that matter, it's catching, too.


This year there's the jaunty City of Westminster College Paddington


Green campus by Schmitt Hammer Lassen. Which opened in January and


from the Stirling short list the super light weight Olympic


Velodrome by Hopkins Architects completed in February.


You see, these are buildings which are define by their engineering as


as much as by their architecture, buildings which require complex


calculations just to stop them from falling over. And they would not be


possible without the computer. It's computer power, computer-aided


design, software, which has liberated architecture from gravity.


There is another big idea that sort of runs counter to the complexities


of the anti-gravity principle, and this idea's got everything to do


with simple geometric shapes. So, for example, if the building I'm in


now were shrunk right now you could easily imagine a small child


picking it up and playing with it. This idea of simple, block-like


structures runs through so much in building design right now. However,


there is one shape that architects are particularly fond of, and it's


this one. In October of last year, a mixed


use development by MAKE, architects, opened in Birmingham, called The


Cube. It was swiftly followed in November by The Corby Cube, a new


theatre library council building in Northamptonshire by Hawkins Brown.


In May David Chipperfield's Hepworth Wakefield opened with its


series of cubic galleries. These simple shapes, somewhat repetitive,


in each case do however unfold in complex ways with beautiful


detailing. I mean, where are the guters and drainpipes? Every one of


these buildings represents, of course, another great feat of


engineering, owing just as much to the power of the computer as it


does to the pencil. There's a third last, and very


welcome big idea in my view, simply put, wot? No bling? More than ever


over the past year we've seen a shift away from our fascination for


shiny, sparkly, colourful bangle buildings towards an architecture


which expresses a relationship with the natural world, something that


is perhaps healthier and certainly far more engaging. From the new


Woodland Trust headquarters in Grantham by Feilden Clegg Bradley


to a little wooden Love Shack in the lick traibgt by Sutherland


Hussey, great sustainable buildings finished with natural materials


have been completed this year all over the UK. Two of my favourites


are on the shirt list for year's Stephen Lawrence Prize, Ty Hedfan a


private house in the Welsh countryside finished last August by


architects het het and Brown's Dental Practice in Ivybridge in


Devon -- Ty Hedfan. By David Sheppard completed last November.


Maybe, just maybe, we're entering a visually quieter period as with he


get more confident about what we're saying. And looking back over the


past year, but also over the past dbg aid, I do think that the --


decade, I do think that the way we engineer our buildings, we insulate


and glaze them, the way we put them together has finally caught up with


itself with the modernist principles that underscore it,


principles which first kicked off in the 1920s.


Ideas like gravity-defying architecture, simple geometric


shapes and truthfulness in materials were all there in the


first years of Modernism, but those early 20th century buildings were


often cold, poorly insulated and suffered from condenisation. Today,


we can, thanks to clever construction technology, make those


ideas work. And if Modernism has come of age technologically, it's


also evolved socially and styleisticly into a glorious


variety of species and forms, thanks to engineering, to computer-


aided design, to the willingness of architects to experiment and


hybridise it. You know, we can now design shapes and buildings that


just 20 years ago were thought unthinkable or too expensive. We


now have the confidence to cloak those buildings in a variety of


materials that can respond to their context. I think architecture is


entering a new and highly evolved age, one where the character of


buildings seems more rooted in place and more rooted in our memory


as well. You know, Modernism has been around since before you or I


were born. But it is an animal which is only just now finally


grown up. It's stopped being gaubgy and spoty and it's started to try


on lots of new clothes. -- gawky.


Well, time now to see the extent to which some of those ideas are


making their presence felt in the buildings short-listed for the


RIBA's prizes tonight. We kick off the awards handout this evening


with the Stephen Lawrence Prize. It was set up to honour the memory of


Stephen Lawrence, the London teenager who was planning to become


an architect before he was brutally stabbed to death in 1993. There are


six buildings on the short list for this prize. Here's architect Fran


Balaam to tell us about them. Now in its 14th year, the Stephen


Lawrence Prize is awarded to skpwroebgts with a budget under a


million pounds. This year's short list includes three homes, a bird-


hide, a dentist's surgery, and a school. Doreen Lawrence, Stephen's


mother is on the prize's judging panel. What do you think Stephen


would have thought about the prize? I think Stephen would love it. He


was an extrovert and I think the fact that he from such a young age


wanted to be an architect, I think the fact that the prize, one of the


prizes is in his name, I think, first of all he'd probably feel a


bit shy about it but at the same time I think he'd really appreciate


and look at all the talents that have come through and all the young


architects that's always trying to achieve as good a building a


possible. I think Stephen would love that.


This is St Patrick's school in Kentish Town in North London. It's


been nominated for a new music room and library by Coffey Architects.


This space feels very intimate and intricate. It's been designed so


that everything has a place, all slotting in within the birch ply


panelling. What's nice about this project is that it's not just a box.


The screen with the green perspex, the depth of the shelving, the


overhang of the mezzanine all gives the room a sort of sheltered,


cocoon-like feeling. It's good for people who like to


play music and read books and do drama, because we do all those


stuff in here. It's a nice place made of wood and wood makes you


feel comfy. The first of three houses on this


year's short list is Ty Hedfan in Brecon in Wales. It's own and


designed by architects Sarah Featherstone and Jeremy Young.


initial idea was to design a family home for us, but this is quite a


costly exercise and we quite quickly realised we needed to build


as much flexibility into the house design as possible in the event we


might need to let it out. We wanted to use local materials. So we've


ended up with these two large screen walls almost in the local


Pennant, South Wales stone. The rest of the building we conceived


as a slate-clad box. It's worked very well and has a sort of press


teen, precise quality to it, which is nice.


The woerdz Ty Hedfan mean hovering house in Welsh. Building


regulations meant constructing within six metres of the river was


impossible, so the couple came up with the ingenious solution of a


cantilevered wing. You really do get a sense of the changing seasons


when you're sitting in the main living room. Because you're over


the river and amongst the trees you get the amazing shadows of the


trees -- leaves dancing across the floor and walls.


A feeling of being rooted in the landscape is also fundamental at


two of the other buildings on the short list.


One of these is the RSPB's Marshland Discovery Zone in


Purfleet Essex designed by Peter Beard Landroom land. This could be


considered quite a tough site to build on. It's not a classically


beautiful landscape, it's dramatic, industrial, there are pylons


marching across it. What I really like about this design is the way


it responds to this setting. It's old shipping containers set out to


form three different buildings. A conventional bird-hide is usually


a cold, dark box with a narrow viewing slot. But here there's a


classroom, a composting toilet and an elegant observation shelter. The


most striking thing about this space is the view, with this vast


opening you feel like you're almost touching the marsh. A strong


connection with the environment is also key at the White House on the


Isleof Coll in the Hebrides built by WT Architecture around an 18th


century ruin. We'd been living in London for


seven years or so. I wanted to come back to Coll to take over my


father's farm. We wanted to build a house near the farm. We had no


house to live in. We walked round the bay here, looking for someone


to build the house and kept coming back to the ruin. We always wanted


to do something that incorporated the ruin but made it into a family


home. It was a great opportunity to do something interesting with a


house that was a bit of an island landmark as well.


One of the deliberate design features of the house is to try and


bring the great outdoors inside so you have the expanse of patio going


from inside to outside and you really have a sense as you're


sitting, particularly in the sitting room, you have a sense of


being part of the landscape. Brown's Dental Practice in


Ivybridge in Devon is by David Sheppard Architects. Everything


about the building is designed to make the surgery feel as


unfrightening as possible. We wanted a more calming influence


for the patients when they came into practice, we wanted to steer


away from the sort of cold, clinical hard surfaces you get in a


lot of practices and more the sort of warmth and the wood that we have


here today. The light that flows into the room is really very


different to anything I've experienced in a surgery or a


dental practice and I think you only need to look up through the


trees and the drill really doesn't seem relevant; or not so bad


anyway! Now with our new building we're not in such a rush to get


home at the end of the day, you feel quite relaxed, even being at


work is lovely. We're not a stuffy surgery and the building shows you


that. That's exactly with a we are. The final project on the Stephen


Lawrence Prize short list is in Hoxne tonne, East London. A


Georgian house has had its bottom two floors remodelled by David


Mikhail Architects. Inside it's hard to believe that


this is a Georgian house. And what they've essentially done here is


rework the guts of the building to recreate a far greater feeling of


space. What's interesting about this project is that it's only been


extended by one metre. Everything else has just been re-organised. It


gives the house a sort of very calm, ordered feeling. What I really like


about it is this overlapping and sort of layering of different


levels and spaces. It brings a kind of complexity to what at first


appears a quite simple project. So, there you have it, six very


different designs, which of them will win this year's Stephen


Lawrence Prize? What a delightful set of projects.


Almost all of those projects cost substantially less than the �1


million set by this award, proving you don't have to spend a fortune


to end up with an inspiring building. It's my great pleasure to


hand over to Doreen Lawrence and architect Marco Goldschmied whose


charitable foundation funds this award, so they can reveal the


winner. I should say in addition to giving


the architect an award, the foundation does give an annual


bursary to the Stephen Lawrence scholarship for architecture


students. I'm now going to announce the winner of this year's Stephen


Lawrence award which is St Patrick's school, Coffey Architects.


This was a wonderful opportunity opportunity for Phil Coffey, the


young architect who has won this award. He's been in practice just


six years. Although he's no stranger to awards because he's


worked for Ian Ritchie architects who have been twice nominated for


the Stirling. Wow! I'd just say thank you to the


RIBA, to Marco, do Doreen and Philip. It was a great day when


they came to judge the building and thanks to the design team and the


guys who work very hard in the office but also importantly to the


diocese of Westminster who were a fantastic client for us. Some of


the things said about architecture in education this year they were


fantastic because they believed architecture really does make a


difference to those people who go to school, enjoy great spaces and


learn in those spaces and it's better for their outcome. For us


it's reward enough to go in see these kids, playing their music,


reading books and performing theatre. But really, this is like


the icing on the cake. Thanks very much, cheers.


Well, many congratulations to Phil, our first prize-winning architect


of the night. The next award sees us move from the small scale to


some of the biggest budget buildings of the year. It's the


RIBA Lubetkin Prize given to international projects outside the


EU here's Tom Dyckhoff with news of the five buildings on the short


list. This famous penguin pool here at


London Zoo is by one of the most radical architects of the 20th


century, Berthold Lubetkin. Originally from Russia, avenues


pioneer of modernist design and it's after him that the RIBA's


international award for architecture is named.


The buildings nominated for this year's Lubetkin Prize are all laugh


irpb big-budget affairs, each costing more than �100 million. Let


me tell you a bit about them. Million dollars.


The first two buildings on the short list share a common theme,


sustainability in a very hot climate. Norman Foster, who's been


nominated twice for this year's award is the architect behind the


futuristic Masdar Institute in Abu Dhabi.


It may look a bit like something from a science fiction film,


complete with driverless cars, but it's actually a university for


studying renewable energy. It's part of a grand plan to build a


carbon neutral city over the next 15 years. Everything has been


designed to minimise energy use. The same is true of the second big


sustainable building on the short list. It's called The Met, a 66-


storey residential tower block in Bangkok by architectural practice


WOHA based in Singapore. The architects have designed the very


opposite of a standard sealed skyscraper. This is designed as a


self-cooling building so you can opt whether you want to turn on the


air-conditioning or not. Remarkably for such a tall building all the


apartments have balconies and gardens. It's the kind of place


where you can open the window, enjoy a view and go for a swim,


even on the top floor. Next two buildings up for the Lubetkin Prize


are both renovations of fine art maou Simms in -- museums in America.


The first, the Virginia Museum of Fine Arts in Richmond is by Rick


Mather, the architect who so successfully revamped the ashmolean


in Oxford last year. He's doubled the space of the museum, put in a


new main atrium and reordered the space to make sense of the museum's


eclectic art collection. In Massachusetts Norman Foster has


also come up with a plan that gives you life to an old building. His


scheme for the Boston Museum of Fine Arts stays true to the plans


of the original architect, but adds a new glass courtyard that's


revolutionised how visitors move around the galleries. The last


building in the running for the prize is a new Opera House in


Guangzhou China, by Zaha za. It has curved Foyers wrapped around


the main auditorium, an acoustic second to none.


It shows vision on an theatrical scale and has already been called


the most spectacular Opera House in the world.


So, for this prize showcasing the best in international architecture,


you have the quiet elegance of the museums in Virginia and Boston. You


have sustainable visions of the future in Masdar and The Met and


the wild exuberance of Zaha's Opera House. What an incredible range!


I'm sure Lubetkin would have approved.


Well, I'm pleased to hand over to the new President of the RIBA and


chair of the Lubetkin Prize judges, Angela Brady, whoel announce which


of those spectacular buildings has won. The winner of the 2011 RIBA


Lubetkin Prize is... The Met by WOHA.


The reason it's such an interesting building is that it's in a city


full of skyscrapers with grass, curtain waulg and they're consuming


huge amounts of energy, what The Met says is do I have to live in a


flat and always use air- conditioning. You all have a


wonderful balcony that you can go out on to. You can swim in a


swimming pool, your own private swimming pool at that level, which


is extraordinary. It's almost like a kind of super natural experience,


to be in touch with nature and yet be up in the clouds.


In terms of architecture nobody has ever done that before. Nobody has


offered occupants the choice to open their window quite so high up


in a tropical climate. It's really a completely new type of building.


We're very honoured to receive this award. I think the category of high


rise, high-density, speculative development housing is not often


represented in awards and so we're particularly pleased to have it


recognised tonight. We think in the developing world this form of


housing is going to be one of the major areas of construction in the


coming century. We think there's a although of opportunity to rethink


and revise the model and so we're, we think it's very exciting to have


it recognised tonight. Thank you. Great news there for WOHA


architects, the winners of this year's Lubetkin Prize. Many


congratulations. So, now we come to the main event, the RIBA - steady


on! The RIBA Stirling Prize for Building of the Year. Here's' Tom


Dyckhoff again, with a look at the first three contend for this year's


prize. This year's Stirling Prize short


list has a rich mixture of buildings. Including the RSC's


revamped theatre in Stratford-upon- Avon. A cultural centre in Northern


Ireland and this school by last year's winner and Lubetkin nominee


Zaha. It's the Evelyn grace academy in Brixton, South London. The


school wanted a proper grown-up building, something that treats its


pupils like members of society, not just as kids. So there are no crazy,


or whacky colours here. Zaha treats the children like adults, with a


kind of complex overall majority trees and design you might find on


an iconic art gallery or a skyscraper.


The first time that I saw this building I was like, wow! It's


really differently yet different in a good way.


What I think Zaha is a genius to come up with a building like this


because normally other secondary school are square, dull, everything


is fitted into one small building. But in this year she used the space


very well and I think that was very clever.


Evelyn Grace is an academy, one of the schools created independently


of local government to educate kids in areas of low academic ambition.


All academies have specialisms, one of he have grin Grace's is sport.


There can't be many schools that have a bright red running track


through the middle but sport is essential to the school's identity,


you can read it in the architecture, the go-faster strikes and angled


columns, the building looks like it's on the starting blocks, poised


to pounce. Evelyn grace is arranged around its


running track. It divides the building in half.


It buildings, in fact, divided into two distinct schools. You can see


from the model here. We've got the Evelyn hao over here, the Grace bit


over here and they're divided into upper schools on the top deck and


middle schools on the middle deck, all bound together in this central


block and the whole thing is united in this dramatic Z, shape, Z for


Zaha? The idea of smaller schools is key


to this academy's philosophy. It's meant to create the same intimate


feeling of a primary school, even though at maximum capacity it can


take 1100 pupils. One of architecture's greatest ambitions


is to create a better society. Could Evelyn Grace help do that


here, in an area with a history of some of the highest rates of


violent crime in the UK? People see Brixton as something


more positive now, it's somewhere you send your children to go to


school every day. It's not like any other building, so it's not common,


it makes it feel a bit special. was really impressed that they


spent all this money on just a building. I was like, yeah, thanks,


that's great. I get to go to a nice new school. Your school is one of


the most influential bits of architecture you'll ever experience.


The debate will rumble on for years about how best to build them, but


if one proves anything it's that ambitious design inspire pupils at


a very critical part of their lives. Depending on your politics, the


second building on the short list is in Londonderry, or Derry in


Northern Ireland, a city with a history of tension between


unionists and republicans. The city has seen some of the most


violent outbursts of the Troubles, but it's a chapter are that


building could help draw to a close. This is An Gaeleras Irish language


cultural centre by architects O'Donnell and Tuomey.


In the past, speaking Gaelic was discouraged by the authorities.


Here it's now actively celebrated. The centre has language classrooms,


a book shop, offices, and spaces that celebrate Irish culture and


tradition. Before this centre I find that a


lot of the Irish cultural activities would have been


scattered around different buildings and locations. So, this


centre is sort of like the linchpin, if you like, of culture. To me it


really modernises everything to do with the Irish language. Generally


people think of Irish, they think of old things, whereas this brings


it into the 21st century. I think it's a welcoming building. Nobody


would come in here and feel threatened or feel they shouldn't


be here. This is an overtly warm and open


building. From the wide entrance, to the cosy cafe, right through to


the very architecture. Instead of the usual partisan symbolism thaefg


for an abstract modernism but still very warm. This is a building with


its arms open wide to the whole community. The centre is just 15


metres wide and 50 metres deep, but everything fits in like a 3D


Chinese puzzle. It might be a small building, but its architects,


O'Donnell and Tuomey, have packed it full of incredible complexity.


It's full of zig-zagging angles, walkways and passage ways that give


the whole building a real energy The architects have used concrete


to great skull taourl effect here, but skull taourl effect here, but


have broken it up with these bright colours. The sky lights let lots of


natural light in so the concrete doesn't feel dark and oppressive.


The biggest space in the centre is this theatre for professional or


amateur performances. Apologies in advance for the embarrassing


English person. Tom, I'm going to teach you the


second step, it's very simple. One, two.


Perfect, two ways, Peter, beautifully...$$NEWLINE


History is still very present on the streets of Derry, but the whole


city is completely transformed from the place I first came to 20 years


ago. Derry becomes a UK's City of Culture in 2013. If any place


symbolises just how culture can heal a rift by stitching together


the past and the present, it's a place like this.


Next up is the RSC's rezaoepbd theatre in Stratford-upon-Avon by


benefit et cetera associates. What's impressive about this design


is that it had to work within the context of its famous list ed


building. The before the revamp the most well known view of the theatre


was from across the River Avon but the architects have re-or


orientated the site and have added a landmark bell tower a nod to


Shakespeare's many Italian references. One of the biggest


changes is that the theatre finally has grand entrance that it really


deserves. At least now you know where to go in.


What benefit et cetera Associates have done is to use the original


shell and then completely reinvent its interior.


This wall has been left as a reminder of where the old theatre


auditorium ended. The old theatre may have been beautiful but it was


a bit of an enclosed box. What the redesign has done though, is to


create these great big new walkways that invite the town into the


theatre. It means you can come here for reasons other than to go and


see a play. You can come and buy your Shakespeare mug or have a cup


of tea. Anyone can have a bit of a Shakespeare experience.


As used expect, the redesign has meant that the backstage facilities


have also been changed. Not everyone has a balcony in their


dressingroom, that's quite a luxury. Not every theatre has the River


Avon running outside. Obviously it has such resonance for us here.


must be so important to have a breathing space when you come off


stage. If it's a difficult emotional journey you're going on


it's incredible to step out and look on to nature, let some of that


emotion go. Where possible, the architects have


used parts of the old building, like these floor boards, which were


taken from the original stage. The layers of the old building are also


on view, a reminder of the theatre's illustrious history.


All the world's a stage and all the men and women merely players.


It's the east and Juliet is the sun. Whether it is nobleer in the mind


to suffer the shripbgs and arrows of our greatest fortune... Inside


the main theatre they've completely changed the stage, gone is the


Proscenium arch I remember from a school trip. The most dramatic


change is in the heart of the theatre, they've completely


demolished the old auditorium. Its design was based on that of a 1930s


cinema so all the action was over there. I remember coming as a


teenager to see King Lear and the actors may have been in Birmingham


they were that far away. Instead they've created this intimate new


auditorium so that wherever you're sitting you're never more than 15


metres away from the action. And they've also created this new


thrust stage which literally thrust the action out into the audience.


You really feel part of the action and from part of the stage is so


close. You can almost touch the actors. You can really see the


facial expressions from different parts of the theatre. As soon as


you walk in through the building there's a real buzz. There's a


lovely acoustic to the building so people in the restaurants can


chatter comes down to the Foyer space. And especially this tower, I


think is really good cos people can go up and then see the whole town.


Those are the first three buildings on the Stirling Prize short list


for 2011. I have come to join this table briefly to mull on their


merits with Angela Brady from the RIBA and structural engineer You


described the judging as a process of trying to sort out the


difference between apples and spoons. How do you find a level


platform from which to assess a platform. It's difficult, you need


all, you need apple and spoon and comparing all. What is very


interesting was as soon as you step back and you apply what restraint


and tolerance these architects have given with the new economical and


ecological constraints they're facing, all of them for me, I have


to measure will the level of excitement I'm left with.


enjoyed it? It's difficult to judge, but I had to separate the heart


from my mind and apply my rules but find the excitement in each one. If


you took the project in Ireland, for instance, I felt very much,


very difficult, when we first arrived when you got inside it, it


felt like a calf earn, almost like a flower opening up to you, you


don't see anything from the outside. The school, a smooth, very smooth


line in a very compact site to fit so much on to one site, again,


ecology, economic, technology but a beautiful thing that is delightful.


If you go to the theatre, it required the architect, I think, to


be a watchmaker. It was ingenious intervention, almost acupuncture


around the building. Unpicking and remaking? Unpicking and remaking,


making the patient live longer. Angela across the six projects this


year, they're all very strong but they also bring back, agendas,


whether it's the repairing of scarred areas, or whether it's


sustainability or whether it's education. I wonder whether or not


the Stirling is becoming almost more politicised and the judging


process becoming more politicised? Well, they say that architecture is


shaped by politics and to a certain way it is. I think what's special


and unique about these first three projects we've looked at is that


they engage the public in different ways. I think even to get those


projects off the ground in their day was a good thing and I hope


that there are still going to be these quality buildings in the


future. But it's very much about, I think it's very much about who is


pushing these projects? Who is backing them. If you look at An


Gaeleras, a wonderful, a wonderful little building on a very tight


site and you're drawn into that building, once you get in it's a


bit like a TARDIS, it opens up and there's colour and light. It's a


real people building. If you look at the school, again, it's a youth


building, and when you see it first, you can see the sport is a very big


thing, it's a sports and mathematics building. To see that


building in South London in Brixton I think is a wonderful statement to


see that building right there, so exciting, so different. Then, when


we look at, in Stratford-upon-Avon, when we look at the Shakespeare


yaoeurbgs she ter, the clever, replanning of that building, again


a people drawing, but all different people vaoeultd to different types


of building. That's a fascinating point. Thank you both for your


views. Let's take a look at the last three projects in the running


for tonight's Stirling Prize. Tom again.


The remaining three buildings on the Stirling short lest, are a


museum in Germany, an office block in London and one of the star


attractions of the new Olympic Park in East London, the Velodrome by


Hopkins Architects. It's one of the few buildings on


the site which will retain its original function and remain a


cycle track after the 2012 Olympics are over.


This building is a brilliant fusion of that old architectural pairing,


form and function. The architects have engineered just what you want


from a top-class sport sporting venue starting with this 250 metre


track but then upped the ante to create something truly beautiful.


This feels like a building that was made by people who really care


about cycling. One of the advisors was Olympic gold medal winner, Sir


Chris Hoy. He helped get the placing of the seating just right,


so the cyclists would be able to enjoy the crowds' cheers of


encouragement as they take lap. They've done two really clever


things with the seating here. First of all they've hunkered down close


as possible to the action. Secondly, they have put most of it alongside


in two tiers, so you can get that all-important view of the finish


line. The roof's made a little bit like a


tennis racket with these pairs of cables strung across and Delors


Kately balanced on top of those you have these very light wooden roof


panels, some of them with built-in roof lights so you minimise the


need for artificial light and cut down on energy use. There's some


clever invisible stuff going on here today. Temperatures is another


important considerations. Track cyclists prefer warm thin air, but


6,000 spectators don't really want to sit here sweating away as


Britain goes for gold. So, the engineers have put vents in beneath


the seats. They suck in cool air from outside. The track's overall


majority tree and air conditions should make it the fastest


velodrome in the world. A lot of indoor cycle tracks are


very industrial sheds almost, whereas with this, light coming


through windows at both ends, seating either side, I just think


it's a really nice building inside. I just love the smooth ness and the


track is so fast around. It's the fastest track I've ridden on.


able to ride in this track, I feel priflepbld and happy. It's great,


because famous cyclists it's going to host the Olympics and they're


going to be on the track I rode on so it's really good.


The Velodrome is UN priplprofbl, mog could be added to it, nothing -


- unimproveable; it's economic, sustainable, ambitious, I think


this building will leave its mark on the country long after the


Olympic Games have been and gone. The next building up for prize is


the Angel in Islington, by architects Alford Hall Monaghan


Morris. Now on first sight this isn't the flashiest building on the


list but it's definitely not os taepbtairbs, but this is sort of


building is one which has the biggest impact on our working lives.


It's an office. I don't feel like I'm walking into an office, more


like I'm checking into a swish hotel. Lots of office spaces can


feel quite cold and soulless but this is definitely feels a lot more


inviting and actually rather elegant. What's really innovative


about the Angel is that it has re- used the concrete frame of the


building that used to stand on the site. A 1980s office block. This is


the plan of the old building. It's got weird bits like this cut off


corners and this central garden that nobody could ever find they're


way to. So what the architects did was to strip it back and unites the


existing skeleton. They extended the out the front here like that,


and at the side like that and where the garden was they created this


lovely aid rum and it extended the office space so there's more a win-


win situation. The phraor space has been increased by nearly a third


but that is note all that's clever about this redesign. Among this


building's hidden qualities is how the architect treats the exterior


wall. In an ordinary office block the developer likes a 1.5 metre


grade, it's about about there. -- grid. It allows them greater


flexibility in how they carve up the space. Here the architects have


challenged that and stretched the windows to three metres, getting


rid of the bars and allowing light to flood in. It doesn't sound much


but makes all the difference to the ordinary office worker.


What's great about this is that nearly everybody has a view of the


outside space. Everybody has light, it's really cool.


I think it really makes you look forward to coming to work knowing


you're working somewhere really exciting, really well designed. I


think often offices, not much thought goes into how they're out


for example. One of my favourite bits is the roof terrace which is


absolutely fantastic. It's so open, it has amazing views across the


whole of London. We're really will you cany to have that space.


The Angel is environmentally friendly, by reusing the original


structure of the building, 13 years' worth of energy of heating,


cooling, and lighting have been saved.


What this building proves is that you don't have to build something


from scratch to create something truly great. In fact, adapting and


reusing what's already there makes environmental, economic and


architectural sense. We're going to be seeing a lot more buildings like


this in the future, let's hope they're all as good.


The final building on the Stirling short list is the Museum Folkwang


in Germany by David Chipperfield Architects.


Set against the tough urban backdrop its cool al basser-like


walls are made of crushed recycled glass.


They subtly change colour throughout the day. It gives the


whole building a very strokable feel.


Folk folk loosely translates as people's hall. The museum was


created by a cultural philanthropist whose vision was to


place modern art at the centre of urban life. So, the challenge for


David Chipperfield was to stay true in his design to the museum's


founding principles. Chipperfield's design is a response


to the museum's original listed 1950s building over there. But he


hasn't slaveishly copied it, but used it as a starting point to


create a very David Chipperfield building, cool and restrained and


calm. In fact, it's so calm, some have likened it to a meditation


centre. All through the building there are


these incredible reflections and views through to the outside, it's


Chipperfield playing with your perception of space. He ruses


architecture to its bare essentials, solid and void, light and dark,


inside and out, and plays around with them. It means the whole


gallery is a real pleasure for the eye.


Daylight is often seen as the natural enemy of paintings, so it's


unusual to see so many sky lights in these galleries.


You can see how these natural light here in this room. Throughout the


whole museum the galleries have these translucent ceiling panels,


they have pulled them down here so we can look beneath them. They


filter the direct natural light that come in through those windows,


they're facing north, to grab that all-important north light which


artists like so much, with an even tempo, it means the whole museum --


museum isn't dark and enclosed, instead, it's light and open.


All the room are -- rooms are very important. Because of the glass the


sun comes in. You can focus on pictures because there's no other


things around it. You have this very, very nice play


of architecture and nature inside this building. It just makes you


feel comfortable. It's not like being shut away from the world.


You can look outside, you are always in contact with people


passing by the museum and you always feel like you're somehow in


the middle of the city. All the passage ways and court


yards give the whole place a very monastic air, it's very peaceful


and contepl playtive, although here it's not God you are contemplating,


it's the art. Since the gaougen highly arrived in


Bilbao, building a museum or art gallery has been seen as a way of


building new life into a place. Here, though, the new design has


service simply reintroduced itself to the city. Chipperfield has once


more turned the folk folk into the people's hall.


The last three very beautiful buildings of the six Stirling


projects short-listed. I'm joined by the landscape designer Dan


Pearson, one of the judges this year and the architect Deborah


Saunt who helped judge the Lubetkin Prize. You also, incidentally


chaired the awards committee. You oversaw everything here. Dan, how


easy was it for you to bring your tools and your approaches as a


gardener and landscape designer to looking at buildings? I think for


me it was absolutely fascinating, the process of engaging with the


architects more closely. We work with architects as landscape


designers all the time. But the chance to really sit down and mull


through what each of these projects had, what was special about them


was really interesting. I think the disciplines are much more closely


related now than they were. There's more overlap? Much more overlap.


We're often working at the very inception of a project and to see


how all those meeting points have been addressed with each of the


sites was very intriguing. Deborah, just parking my little farm about


building language to one side, so much of the success about the


projects across all the prizes this year seems to be vested in the way


that people react to buildings, in the user response. Is that


something, does that represent a new direction for the RIBA? I think


it's the emergence of the voice of the user and the voice of the


experience of the building. I think we're just saturated with these


images, these pictures of architecture and it's time to stop


talking about block busters and architecture centre folds and


actually look at the real experience of every day life, of


going into those buildings. This year I think we paid particular


attention to hearing the voice of the user and that made us have a


very interesting short list as a result. It's interesting, you


assume television is very good at showing you beautiful pictures and


buildings, actually where it really scores is talking about people,


showing buildings and people's experience of those buildings, it's


that experience that is what it's about, why we build them and go to


them? The way architecture is presented people forget it's


occupied by real people. It becomes this glamorous and sublime


experience, but it's for people, they pay good money for it. They go


through hell to deliver it. The commissioning process, you know,


getting this thing to be built is a real challenge. It's got to be used


at the end of the day. All these buildings on tonight's short list


they all have this magical experience quality, it's been, you


particularly enjoyed visiting them? Yes, I think each one offered


something very specific. It was fascinating to see how many


different ways architecture can be applied. I have to ask you as a


judge, you probably can't tell me, but whether you have a particular


project you would like to see win? My lips are absolutely sealed.


knew used say that, you have been gagged. But Deborah, you as chair


of everything, have no such gag. No doubt you have an opinion. For me,


particularly from seeing the films this evening, is the, that slow-


burning project in Ireland, I think is an absolute treat that has


shocked everybody. It came out of nowhere. So, that's got my vote,


even though I do like an every day office block that brings glamour to


your journey to work. And to your life. Do you see that the awards,


the way they're going if the way the jury committee is are awarding,


does that cheer you? Absolutely. Particularly for a new generation


of architects who care about holistic design and not just about


the sort of trophy architecture we've seen. It's a good clarion


call and we want more of it next year, please.


Thank you, thank you both. We've heard from thrao of this year's


judges from the Stirling -- three of this year's judge from the


Stirling Prize and all of them have been commendably tight-lipped,


however, it is now time to find the news that everybody here at least


has been waiting for. Which of those six outstanding projects has


won the RIBA Stirling Prize for Building of the Year 2011.


And a cheque for �20,000 that goes with it. Behind me is Angela Brady,


with Christine Murray, editor of the architect's journal.


This is all very exciting. The RIBA is here to create the


conditions in which excellent, sustainable architecture can


flourish. It's the UK's most important architecture prize and it


goes to the architects of the building that has done the most for


British architecture in the past year. And the winner of the 2011


RIBA Stirling Prize is, the Evelyn Grace School in Brixton.


What an extraordinary surprise. It was Hopkins Velodrome tipped as the


number one potential winner, but instead it the prize goes to Zaha


practice who is now stepping up to the stage. Zaha is not with them


this evening. This is a project costing �37 million. Two architects


and the school principal. Please come and accept your much-deserved


award. Congratulations. Fantastic. It's wonderful. Thanks a


lot to the RIBA, thanks a lot to the jury. It's a great feeling, a


wonderful feeling to come back, second time. This one is


particularly meaningful, I think. It's the beauty of the building is


recognised not only by the jury but by the people living and breathing


in space and the building, as we saw earlier. I think that really,


speaks of a more expanded notion of beauty which involves the


anticipation and realisation of vital and productive life processes


and I think weaving quite a number of times back to the -- we've gone


quite a number of times back to the school. I want to thank Peter


Walker for being so fantastic and really with this wonderful moral


purpose, a kind of flopbthropic purpose, with high aspirations and


passions. I'm so happy that we're finally able to deliver, calling to


such aspirations and ambitions that this project recognised. It's


really an inspiration and challenge to live up to this and make


building which contributes to this kind of wonderful educational


project. As I've said, we've gone back and it's wonderful to see


those students owning up the building, loving the building,


seeing the quality and the beauty. That's what I think architecture


beauty is, in an expansive and extended set. Thanks to the client


and thanks to RIBA. Well, many, many congratulations to


Zaha Hadid Architects, the winners of this year's Stirling Prize for


Building of the Year for the Evelyn Grace academy in building. It's


loved by its users. Cong laigsdz again, too, to the other prize


winners this evening, Coffey Architects for the Stephen Lawrence


Prize and WOHA for the Lubetkin Prize. That brings the visual feast


of glorious new architecture to an end. Those were the RIBA's best


building of 2011. Goodnight. For the building to look special,


it makes people feel that we're going to be well educated. I really


was surprised that they actually put a great architect to do this


and they did spend a lot of money and time on this. The first time I


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