The RIBA's Best Buildings of 2011 Special The Culture Show


The RIBA's Best Buildings of 2011 Special

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

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awards ceremony hosted by the Royal Institute of British Architects to

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celebrate the design genius behind the best building of 2011.

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

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inspiration, to glimpse the building that reflect and shape the

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

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

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

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

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be exploring some of the most interesting buildings completed

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

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

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out everything you need to know about architecture right now.

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

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shaped the year in architecture. Architect Fran Balaam explores the

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

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of three awards to be announced this evening.

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The prize rewards fresh architectural talent and is for

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projects with a budget of under �1 million.

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

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the Lubetkin Prize, which is awarded to international projects

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outside Europe. And he shows us round the six

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

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RIBA Stirling Prize for Building of the Year.

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

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

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

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

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

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

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

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

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

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descend from the great modernist architecture that burst on to the

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

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in dazzling gravity-defying triumphs of engineer at the Olympic

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

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

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on one side of Thames, while Richard Branson crystalline Shard

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

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which buildings with a softer, evolved and more adaptable

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aesthetic have emerged all across the UK.

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

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

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

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

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

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

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

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

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

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

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

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

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they've hidden these steel supporting brackets underneath the

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

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

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

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

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

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

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from the Stirling short list the super light weight Olympic

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Velodrome by Hopkins Architects completed in February.

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

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as much as by their architecture, buildings which require complex

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

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

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design, software, which has liberated architecture from gravity.

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

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

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

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

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

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

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

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this one. In October of last year, a mixed

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

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

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theatre library council building in Northamptonshire by Hawkins Brown.

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In May David Chipperfield's Hepworth Wakefield opened with its

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

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in each case do however unfold in complex ways with beautiful

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

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these buildings represents, of course, another great feat of

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

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

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

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

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shiny, sparkly, colourful bangle buildings towards an architecture

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which expresses a relationship with the natural world, something that

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

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Woodland Trust headquarters in Grantham by Feilden Clegg Bradley

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

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Hussey, great sustainable buildings finished with natural materials

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

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

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private house in the Welsh countryside finished last August by

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

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

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

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

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

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

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

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itself with the modernist principles that underscore it,

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principles which first kicked off in the 1920s.

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Ideas like gravity-defying architecture, simple geometric

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shapes and truthfulness in materials were all there in the

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

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

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we can, thanks to clever construction technology, make those

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

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also evolved socially and styleisticly into a glorious

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

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aided design, to the willingness of architects to experiment and

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

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

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

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

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

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

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

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

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

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on lots of new clothes. -- gawky.

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

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

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

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

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Stephen Lawrence, the London teenager who was planning to become

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

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

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

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Lawrence Prize is awarded to skpwroebgts with a budget under a

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

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

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

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

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

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

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

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

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

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

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possible. I think Stephen would love that.

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

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

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

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

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

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

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

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

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

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

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feel comfy. The first of three houses on this

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

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designed by architects Sarah Featherstone and Jeremy Young.

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

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costly exercise and we quite quickly realised we needed to build

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

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

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

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

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

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teen, precise quality to it, which is nice.

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The woerdz Ty Hedfan mean hovering house in Welsh. Building

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regulations meant constructing within six metres of the river was

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

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

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

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

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trees -- leaves dancing across the floor and walls.

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

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two of the other buildings on the short list.

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

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

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

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

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

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

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

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

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

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

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

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

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

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century ruin. We'd been living in London for

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

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

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

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

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

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

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

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

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

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

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

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

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Ivybridge in Devon is by David Sheppard Architects. Everything

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about the building is designed to make the surgery feel as

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unfrightening as possible. We wanted a more calming influence

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

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

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

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

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

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

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

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

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

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

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

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

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Georgian house has had its bottom two floors remodelled by David

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Mikhail Architects. Inside it's hard to believe that

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

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

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

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

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

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about it is this overlapping and sort of layering of different

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

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

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

:17:24.:17:34.
:17:34.:17:35.

Lawrence Prize? What a delightful set of projects.

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

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

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

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hand over to Doreen Lawrence and architect Marco Goldschmied whose

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charitable foundation funds this award, so they can reveal the

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winner. I should say in addition to giving

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the architect an award, the foundation does give an annual

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bursary to the Stephen Lawrence scholarship for architecture

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

:18:15.:18:25.
:18:25.:18:25.

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

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This was a wonderful opportunity opportunity for Phil Coffey, the

:18:29.:18:34.

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

:18:34.:18:38.

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

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worked for Ian Ritchie architects who have been twice nominated for

:18:42.:18:48.

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

:18:48.:18:52.

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

:18:52.:18:55.

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

:18:55.:18:59.

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

:18:59.:19:04.

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

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the things said about architecture in education this year they were

:19:09.:19:12.

fantastic because they believed architecture really does make a

:19:12.:19:15.

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

:19:16.:19:22.

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

:19:22.:19:27.

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

:19:27.:19:30.

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

:19:30.:19:40.
:19:40.:19:40.

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

:19:40.:19:43.

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

:19:43.:19:48.

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

:19:48.:19:51.

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

:19:51.:19:56.

RIBA Lubetkin Prize given to international projects outside the

:19:56.:19:59.

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

:19:59.:20:09.
:20:09.:20:14.

list. This famous penguin pool here at

:20:14.:20:17.

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

:20:17.:20:20.

century, Berthold Lubetkin. Originally from Russia, avenues

:20:20.:20:25.

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

:20:25.:20:28.

international award for architecture is named.

:20:28.:20:33.

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

:20:33.:20:36.

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

:20:36.:20:41.

me tell you a bit about them. Million dollars.

:20:41.:20:44.

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

:20:44.:20:48.

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

:20:48.:20:54.

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

:20:54.:20:56.

futuristic Masdar Institute in Abu Dhabi.

:20:56.:21:01.

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

:21:01.:21:05.

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

:21:05.:21:09.

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

:21:09.:21:12.

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

:21:12.:21:17.

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

:21:17.:21:22.

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

:21:22.:21:27.

storey residential tower block in Bangkok by architectural practice

:21:27.:21:30.

WOHA based in Singapore. The architects have designed the very

:21:30.:21:34.

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

:21:34.:21:38.

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

:21:38.:21:42.

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

:21:43.:21:45.

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

:21:45.:21:48.

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

:21:48.:21:53.

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

:21:53.:21:59.

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

:21:59.:22:04.

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

:22:04.:22:11.

Mather, the architect who so successfully revamped the ashmolean

:22:11.:22:15.

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

:22:15.:22:20.

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

:22:20.:22:24.

eclectic art collection. In Massachusetts Norman Foster has

:22:24.:22:28.

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

:22:28.:22:32.

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

:22:32.:22:37.

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

:22:37.:22:40.

revolutionised how visitors move around the galleries. The last

:22:40.:22:44.

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

:22:44.:22:52.

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

:22:52.:22:58.

the main auditorium, an acoustic second to none.

:22:58.:23:04.

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

:23:04.:23:07.

the most spectacular Opera House in the world.

:23:07.:23:11.

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

:23:11.:23:14.

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

:23:14.:23:20.

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

:23:20.:23:26.

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

:23:26.:23:28.

I'm sure Lubetkin would have approved.

:23:28.:23:33.

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

:23:33.:23:38.

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

:23:38.:23:43.

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

:23:43.:23:53.
:23:53.:23:55.

Lubetkin Prize is... The Met by WOHA.

:23:55.:23:59.

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

:23:59.:24:03.

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

:24:03.:24:08.

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

:24:08.:24:11.

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

:24:11.:24:14.

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

:24:14.:24:18.

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

:24:18.:24:21.

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

:24:21.:24:27.

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

:24:27.:24:31.

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

:24:31.:24:35.

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

:24:35.:24:45.
:24:45.:24:48.

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

:24:48.:24:53.

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

:24:53.:24:59.

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

:24:59.:25:05.

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

:25:05.:25:11.

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

:25:11.:25:17.

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

:25:17.:25:23.

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

:25:23.:25:27.

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

:25:28.:25:37.

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

:25:37.:25:40.

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

:25:40.:25:46.

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

:25:46.:25:50.

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

:25:50.:25:54.

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

:25:54.:25:56.

prize. This year's Stirling Prize short

:25:56.:26:04.

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

:26:04.:26:07.

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

:26:07.:26:12.

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

:26:12.:26:18.

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

:26:18.:26:21.

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

:26:21.:26:25.

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

:26:25.:26:29.

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

:26:29.:26:33.

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

:26:33.:26:38.

an iconic art gallery or a skyscraper.

:26:38.:26:44.

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

:26:45.:26:49.

really differently yet different in a good way.

:26:49.:26:54.

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

:26:54.:26:58.

because normally other secondary school are square, dull, everything

:26:58.:27:02.

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

:27:02.:27:05.

very well and I think that was very clever.

:27:05.:27:09.

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

:27:09.:27:15.

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

:27:15.:27:20.

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

:27:20.:27:24.

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

:27:24.:27:26.

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

:27:26.:27:32.

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

:27:32.:27:36.

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

:27:36.:27:39.

to pounce. Evelyn grace is arranged around its

:27:39.:27:43.

running track. It divides the building in half.

:27:43.:27:47.

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

:27:47.:27:51.

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

:27:51.:27:55.

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

:27:55.:27:58.

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

:27:58.:28:03.

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

:28:04.:28:08.

Zaha? The idea of smaller schools is key

:28:08.:28:12.

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

:28:12.:28:16.

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

:28:16.:28:21.

take 1100 pupils. One of architecture's greatest ambitions

:28:21.:28:27.

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

:28:27.:28:30.

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

:28:30.:28:34.

violent crime in the UK? People see Brixton as something

:28:34.:28:37.

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

:28:37.:28:42.

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

:28:42.:28:46.

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

:28:46.:28:51.

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

:28:51.:28:57.

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

:28:57.:29:01.

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

:29:01.:29:05.

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

:29:06.:29:10.

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

:29:10.:29:15.

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

:29:15.:29:18.

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

:29:18.:29:21.

Northern Ireland, a city with a history of tension between

:29:21.:29:27.

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

:29:27.:29:31.

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

:29:31.:29:38.

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

:29:38.:29:45.

cultural centre by architects O'Donnell and Tuomey.

:29:45.:29:50.

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

:29:50.:29:57.

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

:29:57.:30:02.

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

:30:02.:30:10.

tradition. Before this centre I find that a

:30:10.:30:13.

lot of the Irish cultural activities would have been

:30:13.:30:16.

scattered around different buildings and locations. So, this

:30:16.:30:22.

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

:30:22.:30:25.

really modernises everything to do with the Irish language. Generally

:30:25.:30:28.

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

:30:28.:30:32.

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

:30:32.:30:36.

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

:30:36.:30:44.

be here. This is an overtly warm and open

:30:44.:30:48.

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

:30:48.:30:54.

the very architecture. Instead of the usual partisan symbolism thaefg

:30:54.:30:58.

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

:30:58.:31:03.

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

:31:03.:31:08.

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

:31:08.:31:13.

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

:31:13.:31:17.

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

:31:17.:31:21.

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

:31:21.:31:31.
:31:31.:31:37.

the whole building a real energy The architects have used concrete

:31:37.:31:42.

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

:31:42.:31:47.

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

:31:47.:31:51.

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

:31:51.:31:55.

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

:31:55.:31:58.

amateur performances. Apologies in advance for the embarrassing

:31:58.:32:03.

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

:32:04.:32:10.

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

:32:10.:32:20.

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

:32:20.:32:24.

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

:32:24.:32:28.

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

:32:28.:32:34.

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

:32:34.:32:37.

symbolises just how culture can heal a rift by stitching together

:32:37.:32:47.

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

:32:47.:32:53.

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

:32:53.:32:57.

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

:32:57.:33:03.

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

:33:03.:33:08.

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

:33:08.:33:14.

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

:33:14.:33:19.

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

:33:19.:33:21.

Shakespeare's many Italian references. One of the biggest

:33:21.:33:24.

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

:33:24.:33:27.

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

:33:27.:33:32.

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

:33:32.:33:36.

shell and then completely reinvent its interior.

:33:36.:33:42.

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

:33:42.:33:44.

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

:33:44.:33:49.

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

:33:49.:33:51.

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

:33:51.:33:54.

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

:33:54.:33:58.

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

:33:58.:34:05.

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

:34:05.:34:09.

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

:34:09.:34:14.

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

:34:14.:34:18.

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

:34:18.:34:23.

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

:34:23.:34:28.

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

:34:28.:34:33.

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

:34:33.:34:37.

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

:34:37.:34:41.

emotion go. Where possible, the architects have

:34:41.:34:45.

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

:34:45.:34:50.

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

:34:50.:34:56.

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

:34:56.:35:06.
:35:06.:35:10.

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

:35:11.:35:15.

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

:35:15.:35:22.

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

:35:22.:35:27.

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

:35:27.:35:31.

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

:35:31.:35:35.

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

:35:35.:35:39.

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

:35:39.:35:43.

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

:35:43.:35:47.

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

:35:47.:35:56.

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

:35:56.:36:01.

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

:36:01.:36:05.

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

:36:05.:36:09.

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

:36:09.:36:14.

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

:36:14.:36:17.

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

:36:17.:36:21.

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

:36:21.:36:24.

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

:36:24.:36:27.

lovely acoustic to the building so people in the restaurants can

:36:27.:36:32.

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

:36:32.:36:38.

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

:36:38.:36:42.

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

:36:42.:36:46.

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

:36:46.:36:56.
:36:56.:36:56.

merits with Angela Brady from the RIBA and structural engineer You

:36:56.:37:00.

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

:37:00.:37:07.

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

:37:07.:37:13.

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

:37:13.:37:18.

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

:37:18.:37:25.

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

:37:25.:37:30.

and tolerance these architects have given with the new economical and

:37:30.:37:35.

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

:37:35.:37:40.

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

:37:40.:37:45.

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

:37:45.:37:48.

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

:37:49.:37:51.

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

:37:51.:37:55.

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

:37:55.:37:59.

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

:37:59.:38:05.

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

:38:05.:38:10.

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

:38:10.:38:14.

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

:38:14.:38:19.

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

:38:19.:38:24.

be a watchmaker. It was ingenious intervention, almost acupuncture

:38:24.:38:29.

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

:38:29.:38:34.

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

:38:34.:38:37.

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

:38:37.:38:43.

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

:38:43.:38:49.

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

:38:49.:38:53.

the Stirling is becoming almost more politicised and the judging

:38:53.:38:57.

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

:38:57.:39:00.

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

:39:00.:39:04.

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

:39:04.:39:08.

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

:39:08.:39:11.

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

:39:11.:39:14.

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

:39:14.:39:20.

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

:39:20.:39:25.

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

:39:25.:39:28.

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

:39:28.:39:31.

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

:39:31.:39:36.

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

:39:36.:39:39.

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

:39:39.:39:46.

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

:39:46.:39:49.

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

:39:49.:39:53.

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

:39:53.:39:57.

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

:39:57.:40:03.

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

:40:03.:40:07.

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

:40:07.:40:11.

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

:40:11.:40:14.

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

:40:14.:40:19.

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

:40:19.:40:25.

for tonight's Stirling Prize. Tom again.

:40:25.:40:27.

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

:40:27.:40:31.

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

:40:31.:40:35.

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

:40:35.:40:39.

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

:40:39.:40:43.

the site which will retain its original function and remain a

:40:43.:40:49.

cycle track after the 2012 Olympics are over.

:40:49.:40:53.

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

:40:53.:40:57.

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

:40:57.:41:02.

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

:41:02.:41:05.

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

:41:05.:41:08.

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

:41:08.:41:14.

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

:41:14.:41:17.

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

:41:17.:41:23.

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

:41:23.:41:26.

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

:41:26.:41:31.

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

:41:31.:41:35.

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

:41:35.:41:38.

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

:41:38.:41:40.

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

:41:41.:41:44.

tennis racket with these pairs of cables strung across and Delors

:41:44.:41:49.

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

:41:49.:41:53.

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

:41:53.:41:58.

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

:41:58.:42:03.

clever invisible stuff going on here today. Temperatures is another

:42:03.:42:06.

important considerations. Track cyclists prefer warm thin air, but

:42:06.:42:09.

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

:42:09.:42:12.

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

:42:12.:42:16.

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

:42:16.:42:20.

majority tree and air conditions should make it the fastest

:42:20.:42:30.
:42:30.:42:30.

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

:42:30.:42:33.

very industrial sheds almost, whereas with this, light coming

:42:33.:42:36.

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

:42:36.:42:41.

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

:42:41.:42:47.

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

:42:47.:42:51.

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

:42:52.:42:55.

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

:42:55.:43:02.

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

:43:02.:43:09.

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

:43:09.:43:12.

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

:43:12.:43:15.

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

:43:15.:43:25.
:43:25.:43:31.

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

:43:31.:43:37.

the Angel in Islington, by architects Alford Hall Monaghan

:43:37.:43:41.

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

:43:41.:43:45.

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

:43:45.:43:48.

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

:43:48.:43:52.

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

:43:52.:43:57.

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

:43:57.:44:05.

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

:44:05.:44:09.

inviting and actually rather elegant. What's really innovative

:44:09.:44:13.

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

:44:13.:44:16.

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

:44:17.:44:22.

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

:44:23.:44:25.

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

:44:25.:44:30.

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

:44:30.:44:34.

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

:44:34.:44:38.

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

:44:38.:44:43.

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

:44:43.:44:46.

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

:44:46.:44:51.

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

:44:51.:44:54.

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

:44:54.:44:59.

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

:44:59.:45:04.

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

:45:04.:45:08.

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

:45:08.:45:11.

challenged that and stretched the windows to three metres, getting

:45:12.:45:16.

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

:45:16.:45:22.

but makes all the difference to the ordinary office worker.

:45:22.:45:25.

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

:45:25.:45:28.

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

:45:28.:45:32.

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

:45:32.:45:34.

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

:45:34.:45:39.

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

:45:39.:45:42.

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

:45:43.:45:45.

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

:45:46.:45:55.

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

:45:55.:45:59.

The Angel is environmentally friendly, by reusing the original

:45:59.:46:04.

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

:46:04.:46:07.

cooling, and lighting have been saved.

:46:07.:46:10.

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

:46:10.:46:14.

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

:46:14.:46:18.

reusing what's already there makes environmental, economic and

:46:18.:46:21.

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

:46:21.:46:31.
:46:31.:46:32.

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

:46:32.:46:36.

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

:46:36.:46:39.

in Germany by David Chipperfield Architects.

:46:39.:46:43.

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

:46:43.:46:46.

walls are made of crushed recycled glass.

:46:47.:46:50.

They subtly change colour throughout the day. It gives the

:46:50.:46:54.

whole building a very strokable feel.

:46:54.:47:00.

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

:47:00.:47:03.

created by a cultural philanthropist whose vision was to

:47:03.:47:06.

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

:47:06.:47:11.

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

:47:11.:47:16.

founding principles. Chipperfield's design is a response

:47:16.:47:21.

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

:47:21.:47:25.

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

:47:25.:47:28.

create a very David Chipperfield building, cool and restrained and

:47:28.:47:33.

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

:47:33.:47:43.
:47:43.:47:46.

centre. All through the building there are

:47:46.:47:50.

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

:47:50.:47:54.

Chipperfield playing with your perception of space. He ruses

:47:54.:47:57.

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

:47:57.:48:01.

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

:48:01.:48:04.

gallery is a real pleasure for the eye.

:48:04.:48:08.

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

:48:08.:48:12.

unusual to see so many sky lights in these galleries.

:48:12.:48:16.

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

:48:16.:48:19.

whole museum the galleries have these translucent ceiling panels,

:48:19.:48:23.

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

:48:23.:48:26.

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

:48:26.:48:31.

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

:48:31.:48:37.

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

:48:37.:48:42.

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

:48:42.:48:47.

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

:48:47.:48:51.

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

:48:51.:48:59.

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

:48:59.:49:03.

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

:49:03.:49:09.

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

:49:09.:49:14.

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

:49:14.:49:18.

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

:49:18.:49:21.

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

:49:21.:49:26.

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

:49:26.:49:30.

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

:49:30.:49:34.

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

:49:34.:49:38.

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

:49:38.:49:42.

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

:49:42.:49:47.

service simply reintroduced itself to the city. Chipperfield has once

:49:47.:49:56.

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

:49:56.:50:03.

The last three very beautiful buildings of the six Stirling

:50:03.:50:05.

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

:50:05.:50:10.

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

:50:10.:50:13.

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

:50:13.:50:18.

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

:50:18.:50:23.

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

:50:23.:50:27.

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

:50:27.:50:32.

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

:50:32.:50:36.

architects more closely. We work with architects as landscape

:50:36.:50:41.

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

:50:41.:50:45.

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

:50:45.:50:51.

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

:50:51.:50:59.

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

:50:59.:51:04.

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

:51:04.:51:06.

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

:51:06.:51:11.

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

:51:12.:51:15.

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

:51:15.:51:18.

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

:51:18.:51:22.

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

:51:22.:51:28.

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

:51:28.:51:33.

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

:51:33.:51:36.

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

:51:36.:51:40.

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

:51:40.:51:44.

talking about block busters and architecture centre folds and

:51:45.:51:47.

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

:51:47.:51:51.

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

:51:51.:51:55.

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

:51:55.:51:58.

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

:51:58.:52:02.

assume television is very good at showing you beautiful pictures and

:52:02.:52:06.

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

:52:06.:52:10.

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

:52:10.:52:17.

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

:52:17.:52:20.

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

:52:20.:52:24.

occupied by real people. It becomes this glamorous and sublime

:52:24.:52:28.

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

:52:28.:52:31.

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

:52:31.:52:36.

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

:52:36.:52:40.

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

:52:40.:52:45.

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

:52:45.:52:50.

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

:52:50.:52:53.

something very specific. It was fascinating to see how many

:52:53.:52:57.

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

:52:57.:53:02.

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

:53:02.:53:07.

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

:53:07.:53:11.

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

:53:11.:53:17.

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

:53:17.:53:22.

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

:53:22.:53:25.

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

:53:25.:53:29.

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

:53:29.:53:34.

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

:53:34.:53:37.

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

:53:37.:53:43.

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

:53:43.:53:47.

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

:53:47.:53:51.

of architects who care about holistic design and not just about

:53:51.:53:55.

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

:53:55.:53:58.

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

:53:58.:54:03.

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

:54:03.:54:06.

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

:54:06.:54:09.

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

:54:09.:54:13.

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

:54:13.:54:19.

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

:54:19.:54:23.

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

:54:23.:54:29.

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

:54:29.:54:39.

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

:54:39.:54:45.

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

:54:45.:54:49.

conditions in which excellent, sustainable architecture can

:54:49.:54:55.

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

:54:55.:55:00.

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

:55:00.:55:10.

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

:55:10.:55:18.

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

:55:18.:55:26.

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

:55:26.:55:31.

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

:55:31.:55:35.

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

:55:35.:55:43.

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

:55:43.:55:47.

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

:55:47.:55:57.
:55:57.:56:00.

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

:56:00.:56:04.

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

:56:04.:56:10.

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

:56:11.:56:13.

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

:56:13.:56:17.

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

:56:17.:56:22.

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

:56:22.:56:26.

speaks of a more expanded notion of beauty which involves the

:56:26.:56:31.

anticipation and realisation of vital and productive life processes

:56:31.:56:35.

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

:56:35.:56:40.

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

:56:40.:56:47.

Walker for being so fantastic and really with this wonderful moral

:56:47.:56:51.

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

:56:51.:56:57.

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

:56:57.:57:01.

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

:57:01.:57:03.

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

:57:03.:57:07.

building which contributes to this kind of wonderful educational

:57:07.:57:13.

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

:57:13.:57:16.

those students owning up the building, loving the building,

:57:16.:57:20.

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

:57:20.:57:24.

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

:57:24.:57:32.

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

:57:32.:57:36.

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

:57:36.:57:40.

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

:57:40.:57:45.

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

:57:45.:57:49.

winners this evening, Coffey Architects for the Stephen Lawrence

:57:49.:57:53.

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

:57:53.:57:57.

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

:57:57.:58:06.

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

:58:06.:58:10.

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

:58:10.:58:15.

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

:58:15.:58:19.

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

:58:19.:58:22.

Presented by Kevin McCloud, this Culture Show Special comes from the Royal Institute of British Architects' annual award ceremony, celebrating the best buildings of 2011. Kicking off with a look at the key trends in new architecture, the programme reveals the winners of three RIBA awards: the Stephen Lawrence Prize, for UK projects costing under £1 million; the Lubetkin Prize, for outstanding buildings outside the EU; and finally the UK's most prestigious prize for architecture, the RIBA Stirling Prize.

The six buildings on the Stirling shortlist, explored here by Tom Dyckhoff, range from projects by star architects - including a school by last year's Stirling winner, Zaha Hadid; the Olympic Velodrome by Michael Hopkins; and a museum in Germany by David Chipperfield - through to projects by less well-known names, including an imaginative office building in London, an Irish language cultural centre in Derry and the RSC's newly-revamped theatre in Stratford.


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