Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery

        <a href="http://www.dezeen.com/2016/10/06/caruso-st-john-wins-stirling-prize-2016-damien-hirst-newport-street-gallery/">
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        <a href="http://www.dezeen.com/tag/caruso-st-john-architects/">Caruso St John Architects</a> has won the RIBA <a href="http://www.dezeen.com/tag/stirling-prize">Stirling Prize</a> 2016 with the "highly accomplished and expertly detailed" London gallery it designed for British artist <a href="http://www.dezeen.com/tag/damien-hirst/">Damien Hirst</a> (+ slideshow). <a href="http://www.dezeen.com/2016/10/06/caruso-st-john-wins-stirling-prize-2016-damien-hirst-newport-street-gallery/" class="more-link">(more&hellip;)</a>

Competition: win a book documenting 20 years of RIBA Stirling Prize winners

        <a href="http://www.dezeen.com/2016/09/15/competition-win-riba-stirling-prize-20-merrell-publishers/">
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        <strong><a href="http://www.dezeen.com/features/competitions/">Competition:</a></strong> Dezeen has teamed up with Merrell Publishers to give away five copies of a book profiling each of the <a href="http://www.dezeen.com/tag/stirling-prize/">RIBA Stirling Prize</a> shortlisted and winning projects (+ slideshow) <a href="http://www.dezeen.com/2016/09/15/competition-win-riba-stirling-prize-20-merrell-publishers/" class="more-link">(more&hellip;)</a>

Burntwood School by Allford Hall Monaghan Morris wins Stirling Prize 2015

        <a href="http://www.dezeen.com/2015/10/15/riba-stirling-prize-2015-winner-architecture/">
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        The overhaul of a Modernist 1950s school for girls in London by <a href="http://www.dezeen.com/tag/allford-hall-monaghan-morris/">Allford Hall Monaghan Morris</a> has won the <a href="http://www.dezeen.com/tag/stirling-prize/">RIBA Stirling Prize</a> 2015 for the biggest contribution to British architecture in the last year (+ slideshow). <a href="http://www.dezeen.com/2015/10/15/riba-stirling-prize-2015-winner-architecture/" class="more-link">(more&hellip;)</a>

RIBA Stirling Prize 2015 shortlist announced

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        The <a href="http://www.dezeen.com/tag/riba/">Royal Institute of British Architects</a> has revealed the six buildings competing for this year's Stirling Prize, including <a href="http://www.dezeen.com/2014/10/20/reiach-and-hall-architects-maggies-centre-lanarkshire-walled-gardens/">a Maggie's cancer-care centre</a> in Scotland, <a href="http://www.dezeen.com/2013/01/07/neo-bankside-by-rogers-stirk-harbour-partners/">London's NEO Bankside housing</a>, and <a href="http://www.dezeen.com/2015/02/03/muma-whitworth-gallery-manchester-extensions-renovation-brick-glass-steel/">the expansion of Manchester's Whitworth Gallery</a> (+ slideshow). <a href="http://www.dezeen.com/2015/07/16/riba-stirling-prize-2015-shortlist-maggies-centre-neo-bankside-whitworth-gallery/" class="more-link">(more&hellip;)</a>

RIBA awards Liverpool’s Everyman Theatre the prestigious Stirling Prize

The Everyman Theatre in Liverpool, England—a cultural institution with a democratic spirit and a history of producing thespian talent—has topped the competition including Zaha Hadid and won the much sought-after 2014 Stirling Prize from the Royal Institute of British Architects (RIBA). The new building, designed by Haworth Tompkins, a London-based firm boasting of more than a […]

Haworth Tompkins: Who Are The 2014 RIBA Stirling Prize Winners?

This year’s RIBA Stirling Prize shortlist was seen by many as the strongest in years. The practice who emerged victorious, beating off competition from internationally recognised practices including Zaha Hadid ArchitectsRenzo Piano Building WorkshopMecanooO’Donnell + Tuomey and Feilden Clegg Bradley, was Haworth Tompkins: but who exactly are they? Ellis Woodman pinned his hopes on the successful Everyman Theatre before the award was announced, uncovering the practice’s rich history in designing performance spaces through a discussion with founding partner, Steve Tompkins. For Woodman, their theatre work “has left a legacy of spaces that count among the most beautiful and provocative created in Britain over the past twenty years.”
“It is a body of work as rich in character as that of any practice working in Britain today but strongly informed by Tompkins’s wariness of lumbering his clients with architectural monuments. These buildings feel like eternal works in progress, open to reinvention from production to production, even from night to night.”

Read Woodman’s history of Haworth Tompkins in full here.
Critical Round-Up: Haworth Tompkins’ 2014 RIBA Stirling Prize Win

Critical Round-Up: Haworth Tompkins’ 2014 RIBA Stirling Prize Win

In the great tradition of the RIBA Stirling Prize, the announcement of Haworth TompkinsEveryman Theatre as the winner of the 2014 RIBA Stirling Prize took many by surprise. The Everyman surpassed the public’s favourite, Mecanoo‘s Library of Birmingham, and the bookies’ (and many critics’) favourite, O’Donnell + Tuomey‘s LSE Saw Swee Hock Student Centre - as well as two household names in Zaha Hadid‘s Aquatics Centre and Renzo Piano‘s Shard. In what was seen by many as the strongest shortlist in years, the underdog Everyman has emerged victorious. But was it a worthy winner? Read on after the break to find out what the critics made of this unexpected result.
“The results have been outstanding
Edwin Heathcote, Financial Times
One consistent theme among the critics’ comments is a sense of praise for not awarding the prize to one of the showier buildings on the shortlist. ”If there were awards for changing the cityscape, the Shard and Birmingham’s Central Library would have won, but fortunately, the Stirling prizes architectural quality,” says Heathcote. Clearly he believes that quality is more than visible in the eventual winner, commenting on the significant challenge that Haworth Tompkins faced in replacing a much-loved building in the centre of Liverpool: ”The question was whether architects Haworth Tompkins could reproduce that spirit of cosy, louche and radical artiness. Their victory in the is the answer.”
“Sheer skill and conviction”
Ike Ijeh, Building Design
Like Heathcote, Ijeh praises how the architects have responded to both the cultural and urban context in which they were designing: ”Much of Haworth Tompkins’ most celebrated works have carefully inserted new into old,” he says, which create ”an organic architectural response that fits as effortlessly as a velvet glove. The trick with the Everyman and the key to its and its architect’s success was their ability to upgrade this principle from an architectural scale to an urban one.” It is, he believes, “a building that is a selfless homage to the soul and spirit of Liverpool,” and which “skilfully harnesses architecture to flatter and flirt with its metropolitan suitor.” However, despite his praise for the building, he seems reluctant to single it out as the most worthy winner on the list. Like many before him, Ijeh points out the strength of the shortlist on the whole, highlighting how each has a sense of civic responsibility that has been lacking in many recent award winners. “The Everyman Theatre may have triumphed on the night,” he says. “But the real winners were the long established concepts of city and public building that were lovingly rekindled in each nominee.”
This is a project that Adolf Loos would have praised”
Brian Hatton, Architectural Review
Hatton is another critic who sees the award as a step towards a holistic appreciation of architecture, calling it “a recognition that architectural quality is far more than just slick commissioning of a vanity image.” He concludes: “Not only does this prize vindicate the hopes vested in Liverpool’s 2008 year as ‘City of Culture’, it gives hope that the organizers of the Stirling Prize will set their sights deeper and further than surfaces and ‘icons’, orienting it comprehensively on the culture of cities.”

Liverpool Everyman Theatre by Haworth Tompkins wins Stirling Prize 2014

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        <a href="http://www.dezeen.com/news/"><strong>News:</strong></a> <a href="http://www.dezeen.com/2014/04/02/liverpool-everyman-theatre-haworth-tompkins-brick/">Haworth Tompkins' new home for the Everyman Theatre in Liverpool</a>, featuring a curved auditorium built from 25,000 reclaimed bricks, is the 2014 winner of the RIBA Stirling Prize for the biggest contribution to British architecture this year. <a href="http://www.dezeen.com/2014/10/16/liverpool-everyman-theatre-haworth-tompkins-wins-stirling-prize-2014/" class="more-link">(more...)</a>

RIBA Stirling Prize To Be Renamed As It Regains Cash Prize

The annual RIBA Stirling Prize is set to regain its £20,000 cash prize following a year of no prize money in which Witherford Watson Mann scooped the accolade for Astley Castle. Considered to be the UK’s most prestigious architecture award, the is presented annually to the “building that has made the greatest contribution to the evolution of architecture in the past year”. Brockton Capital have agreed to support the prize for the next three years starting from 2015, after which the prize will be known as the RIBA Brockton Stirling Prize. The lack of prize money in 2013 raised questions about the significance of the award. Let us know what you think about the RIBA’s choice to reinstate the prize money by renaming the award by leaving a comment below.

Architectural Photographers: Timothy Soar

It’s clear that architecture inspires and impassions Timothy Soar - not only has the UK photographer spent most of his life visiting and capturing great architectural works, but – unlike most photographers, or architects for that matter - he also speaks eloquently about the architecture that inspires him. Describing his favorite building, AHMM‘s Yellow Building, he tells us it “delivers exquisite simplicity out of a complex lattice. The building has a lyrical poetry in the way it wraps and folds itself around the occupants – deft, confident and generous. It is one of London’s great spaces.” Moreover, Soar believes deeply that his architectural photography does more than merely idealize built forms; not only do his images enable the architects he works with to “refine and amplify” the ideas within their built works, and thus aid them in defining their next work, but it also seeks to advocate architecture for all: “My work as a photographer is predicated on a desire to [...] to be an advocate for design that elevates, to help construct an argument where good design isn’t an occasional, rare and special thing but an everyday, routine and expected event.” Read the whole interview and see more of Soar’s fantastic images, after the break

When and how did you start photographing architecture? I have always photographed architecture. For me, it all seemed perfectly natural: I was already steeped in the vocabulary. My father, a lawyer, was an enthusiastic amateur photographer (he exhibited with Edwin Smith, one of the great English architectural photographers). Dad and I used to travel to see the latest new buildings – Centre Georges Pompidou, Willis Faber, Sainsbury Centre for Visual Arts, and he loved London’s South Bank complex. Holidays were spent visiting Port Sunlight, New Lanark, The Derbyshire mills of Arkwright and Strutt. He had a real passion for and conviction of the transforming power of architecture and its role in enabling social progress. He, of course, was thrilled when I started working with Foster, Rogers, Lasdun, Grimshaw, Farrell and Hopkins.
Are you an architect? I originally trained in engineering, and I’ve always enjoyed the process of analysing problems and designing solutions. Buckminster Fuller, Joseph Paxton and Isambard Kingdom Brunel were an inspiration. However, early experience with a engineering consulting company (based in a beautiful Rogers designed building in Royston) convinced me that I needed the stimulus of a less office-based life. I switched to a photography degree and then got a job as an assistant to one of Britain’s best architectural photographers, Richard Bryant. Richard had originally trained as an architect and was the photographer of choice for some wonderful buildings by Rogers, Stirling, Farrell, Henning Larsen, Aldington Craig. I learnt a lot, and laughed a lot. It was a happy time and a great experience. Why do you like to photograph architecture?
Architecture represents a great deal more than a need for shelter. At its best architecture engages with profound human issues. Even mundane and seemingly unimportant structures can be lifted by sensitive and intelligent design. My work as a photographer is predicated on a desire to broaden the conversation about our built environment, to be an advocate for design that elevates, to help construct an argument where good design isn’t an occasional, rare and special thing but an everyday, routine and expected event. Some of the most rewarding moments in my life have been spent in the company of the occupants of a new building, sharing in the pleasure and optimism that is to be found when a special place has been delivered. Favorite architect? I have been extremely fortunate to have worked with some of the finest minds in architecture. My longest collaboration has been with Allford, Hall, Monaghan, Morris. We have enjoyed an intense and deep relationship. I’ve been working with AHMM since they started. A great deal of time, energy and thought has been put into the way the work of the practice is photographed. One of the great challenges of working with a growing company is finding ways to communicate their strengths as they grow, to help them stand apart and to be noticed. AHMM have a gift for making ordinary buildings extraordinary and achieving high design standards on low budgets. They have a real drive and commitment to refine the process of architecture so that delight is the outcome. Despite the many constraints and challenges involved in the projects they have delivered, there is an elegance in the way they have resolved so many of the complexities of construction. The photography of their work has become a rich and expressive process, finding the ideas and aspirations we talked about 20 years ago realised in thrilling nominated buildings is a great joy, and the images we make together illustrate the continuity and integrity of their architecture and vision.
Favorite building? My favourite building? There have been many. One of the most satisfying projects to work on has been AHMM’s Yellow Building for Monsoon. The powerful, heroic form of the concrete grid, designed to do away with supporting cores, delivers exquisite simplicity out of a complex lattice. The building has a lyrical poetry in the way it wraps and folds itself around the occupants – deft, confident and generous. It is one of London’s great spaces. The client’s desire to integrate office, art gallery and social spaces has produced a place that is about architectural theatre, responding to the grit and mess of life  and the freedom of an organised but unstructured space for creative spontaneity. That such a building could be conceived, welcomed and delivered is a testament to communicating the strengths of imagination and pragmatism that the architects have in abundance.
How do you work? I enjoy building a rapport with my architects, learning about their desires and ambitions, and thereby creating a dialogue that supports both the emotion and financial investment in each project. I like to think that we work together to photograph a building, that what we photograph is not just the idealised photographic form of a particular project but also hopefully acts as a predictor of the next project. By refining and amplifying the ideas manifest in the built work, we can make the case for the nascent ideas and techniques that will define the yet unbuilt work. There are many tortuous steps to take in winning commissions and achieving built architecture, a strong portfolio of images helps reassure clients and can help build the confidence that’s needed to push on into uncharted territory.
What kind of equipment and software do you use? I work with a technical monorail camera. Essentially, it is the same kind of camera I used when working on film in 8 x 10” and 4 x 5” formats, except that it is now equipped with digital capture. My Linhof camera allows control of perspective to help manifest the illusion of deep space. The minute camera movements I am able to employ subtly manipulate the composition to help reveal the underlying order and structure. It enables carefully constructed images of space that can explore the continuity of interconnected zones, the movement of light, the geometric ordering of planes, views and patterns. It makes for a deliberate and considered style of working, which, I believe, is pertinent to architecture. Along with the camera I use a Phase One 80mp digital back. The enormous power of the system allows for the exact placing of tones in close proximity, a capacity to reveal perfect textures with a meticulous attention to light and shade. It is this ability to consider and carefully place the relative values of tonality, from the deepest shadow to the brightest highlight, that are essential components of my photographic vocabulary.
I use Capture One software together with Photoshop. However, I am always very careful not to over process the images. I think the human brain has a fine and delicate relationship with the world. We have a deeply ingrained suspicion of the fake, the compromised, style without substance, a lack of integrity, too much Photoshop produces a clinical, computer-generated image that I think people mistrust. I want the viewers of my work to admire the building in the image, not be misguided by the slick processing of the software. Architectural Photographers: Timothy Soar Foggo Architects. Image © Timothy Soar Architectural Photographers: Timothy Soar Amin Taha Golden Lane. Image © Timothy Soar Architectural Photographers: Timothy Soar Coffey Architects' Folded House. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Barbican. Image © Timothy Soar Architectural Photographers: Timothy Soar PH+, Orsman Road. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Yellow Building. Image © Timothy Soar Architectural Photographers: Timothy Soar David Lea, CAT WISE. Image © Timothy Soar Architectural Photographers: Timothy Soar The AOC, Collector's House. Image © Timothy Soar Architectural Photographers: Timothy Soar Farrell, The Dean Gallery. Image © Timothy Soar Architectural Photographers: Timothy Soar Eric Parry, 5 Aldermanbury Sq. Image © Timothy Soar Architectural Photographers: Timothy Soar Venturi Scott Brown, Seattle Museum. Image © Timothy Soar Architectural Photographers: Timothy Soar Frank Gehry, EMP Museum. Image © Timothy Soar Architectural Photographers: Timothy Soar David Lea, CAT WISE. Image © Timothy Soar Architectural Photographers: Timothy Soar Architecture PLB. Image © Timothy Soar Architectural Photographers: Timothy Soar Marks Barfield, Liverpool. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Yellow Building. Image © Timothy Soar Architectural Photographers: Timothy Soar Steven Holl, The Chapel of St. Ignatius . Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Unity Building. Image © Timothy Soar Architectural Photographers: Timothy Soar Foster+Partners, Carré d'art at Nines. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Casper. Image © Timothy Soar Architectural Photographers: Timothy Soar Foster+Partners, Lumiere, Sydney. Image © Timothy Soar Architectural Photographers: Timothy Soar Rogers Stirk Harbour, 1 Hyde Park. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Burberry. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Barking Central. Image © Timothy Soar Architectural Photographers: Timothy Soar Eric Parry, Bond Street. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Yellow Building. Image © Timothy Soar Architectural Photographers: Timothy Soar AHMM Yellow Building. Image © Timothy Soar Architectural Photographers: Timothy Soar FCB Studio, Drapers' Academy. Image © Timothy Soar Architectural Photographers: Timothy Soar Derwent London. Image © Timothy Soar