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The Herald Scotland
22-05-2025
- Business
- The Herald Scotland
Scotland's national architecture awards
The RIAS Awards are open to all types and sizes of architectural projects. Buildings are assessed by an expert jury who visit each project in person, and consider the buildings' architectural integrity, usability and context, delivery and execution, and sustainability. The 11 winners of the 2025 RIAS Awards will now become the 'longlist' for the RIAS Andrew Doolan Best Building in Scotland Award – one of the most significant architecture prizes in the world. The Doolan Award shortlist will be announced in July ahead of the winner announcement in November. Recipients of the 2025 RIAS Awards are also eligible for the Royal Institute of British Architects (RIBA) National Awards. READ MORE The judges praised the project as a benchmark in public-realm regeneration, demonstrating the power of sensitive, people-centred design to transform a city's sense of place. The jury for the 2025 RIAS Awards was chaired by Jessam Al-Jawad (director, Al-Jawad Pike), who visited the projects alongside fellow judges Caroline Grewar (programme director, V&A Dundee), Craig Hamilton (founding director, Craig Hamilton Architects) and Ann Nisbet (director, Ann Nisbet Studio). Jessam Al-Jawad said: 'This year's RIAS Awards winners show an inspiring range of responses to Scotland's landscapes, communities, and heritage — from quietly transformative conservation to bold public architecture. "Across the board, we saw a deep care for context, sustainability and the people who use these buildings. Taken together, these projects demonstrate the extraordinary breadth of talent in Scottish architecture today.' The 2025 RIAS Awards winners are: Aldourie Castle, Loch Ness by Ptolemy Dean Architects This five-year project involved not only the conservation of the Category A listed Aldourie Castle, but also the restoration of all the surrounding estate buildings, and the design of new ones - including farm buildings, an energy centre, a boathouse and a pedestrian bridge. The judges admired how the project has restored the spirit of the place and reconnected the disparate buildings to their romantic setting, blending sensitivity and wit to deliver a project where the past speaks to the present and the present speaks to the past. Caoghan na Creige, Isle of Harris by Izat Arundell This home in the Outer Hebrides was designed and hand-built by the architects, and stands as a rare example of deep-rooted, site-responsive design. The judges described the project as a testament to what can be achieved through patience, skill and a profound respect for place: a richly personal and beautifully crafted work that shows the strength of emerging architectural voices. Ellengowan Regeneration, Dundee by Collective Architecture Ellengowan Regeneration replaces 124 deteriorating flats with 130 affordable homes, and responds to the needs of the existing community with a mix of housing including accessible flats, cottage flats, family terraced houses and a corner shop. The judges praised the project's inclusive and contextual approach–one that balances modern needs and aspirations with heritage preservation, to foster a vibrant and sustainable neighbourhood. Fairburn Tower, Muir of Ord, Highland by Simpson & Brown Architects Built in the 16th Century and added to in the 17th, this remote Category A listed structure had fallen into a ruinous state. The design was implemented with great sympathy and close attention to detail, following rigorous research. The judges described Fairburn Tower as an exemplar project, where restoration and reconstruction are beautifully accomplished, while also delivering characterful holiday accommodation. Gairnshiel Jubilee Bridge, Gairnshiel, Aberdeenshire by Moxon Architects The Gairnshiel Jubilee Bridge provides a new route over the River Gairn, eliminating the lengthy detours and delays caused by frequent structural damage to the 18th century crossing as this was no longer suitable for modern-day traffic. The judges described the project as a fine example of how to integrate a modern vehicular bridge into a sensitive landscape, one that hopes to inspire other bridge and infrastructure schemes HM Prison and Young Offender Institution Stirling by Holmes Miller Architects This ambitious and quietly radical project marks a fundamental rethinking of custodial environments in Scotland. Designed with compassion and clarity, it supports women in custody through spaces that promote dignity, equality and meaningful rehabilitation. The judges praised this as a landmark project for Scottish architecture–a model of how public buildings can be both operationally robust and deeply humane. Kinloch Lodge, Lairg by GRAS Kinloch Lodge is an exceptional example of a 'light-touch' conservation project. To maintain the charming and idiosyncratic nature of the original mid-19th century lodge and its clutch of later extensions and outbuildings, each of these has been lovingly, painstakingly and respectfully restored exactly as they were found. The judges noted how the architects' philosophical approach is rarely practised and is a tribute to their experience and humility. The Nucleus Building, University of Edinburgh by Sheppard Robson A vibrant new heart for the University of Edinburgh, this building seamlessly unites teaching, learning and social spaces. The judges described the Nucleus Building as a deftly executed piece of civic architecture–a considered, enduring and generous response to a multifaceted brief that sets a powerful precedent for the future of university design in Scotland Riverside Primary School, Perth by Architype Riverside Primary School is the first Passivhaus-certified school in Scotland, bringing the complex needs of nursery, primary and intensive support provision (ISP) under one roof. The judges described this as an exemplary school project, which will serve as an inspiring model for the design of schools in Scotland and across the UK. Rosebank Distillery, Falkirk by MLA Once considered lost, the Rosebank Distillery has been thoughtfully brought back to life through an evocative restoration that showcases how careful planning and strong collaboration can breathe new life into heritage sites. The jury was impressed by the depth of engagement and ambition shown by the design team, who navigated complex constraints including contamination, conservation, coal mining risk and listed structures. Union Terrace Gardens, Aberdeen by Stallan-Brand Architecture + Design This exemplary transformation of a long-neglected civic space reclaims Union Terrace Gardens as Aberdeen's green heart. Three refined, lantern-like pavilions sit comfortably within their sensitive context, and accommodate a café, restaurant and wine bar. The judges praised the project as a benchmark in public-realm regeneration, demonstrating the power of sensitive, people-centred design to transform a city's sense of place.
BBC News
02-05-2025
- General
- BBC News
Midlands projects win RIBA architecture awards
A transformed 1930s fire station and a carbon-neutral nursery are among five projects to pick up regional architectural awards. The Royal Institute of British Architects (RIBA) announced the winners at a ceremony on Thursday evening celebrating great architecture across the five schemes were selected by an expert jury who visited all shortlisted Collett, chair of the West Midlands RIBA jury, said the winning projects demonstrated how "constraints can become opportunities". "Whether spanning a road tunnel, replacing a car park, or transforming underperforming existing structures into dynamic and exciting places to study and live, these projects deliver outstanding value," he 2025 RIBA West Midlands Award winning buildings are: One Centenary Way by Howells, Birmingham The sustainable, steel-frame office building, bridging over a busy road tunnel in Birmingham was awarded Project Architect of the Year. Hanbury Hall by Howells, Worcestershire The hall picked up its regional award after the addition of a new cafe to the Grade I listed country house. University of Staffordshire Woodlands Nursery by Feilden Clegg Bradley Studios The timber-clad, carbon-neutral nursery, which is built on a former car park, received the Sustainability and Client of the Year award. Coventry University, College of Arts & Society by BDP The transformation of two brutalist buildings into a "future-facing hub" at Coventry Universities' College of Arts and Society was named Building of the jury praised how the architects ambitiously "knitted the formerly disparate existing buildings together". Old Fire Station by KKE Architects Ltd, Worcestershire The 1930s fire station on Copenhagen Street picked up one of the regional awards after it had been renovated into 28 new apartments and a retail space. Speaking about all UK award winners, RIBA president, Muyiwa Oki, said: "This year's winners exemplify architecture's power to transform - turning spaces into places of connection, creativity, and care."The Midlands winners will now be considered for a RIBA national award, which will be announced on 10 July. The shortlist for the RIBA Stirling Prize for the best building of the year, will then be drawn from the RIBA national award-winning projects later in the year. Follow BBC Coventry & Warwickshire on BBC Sounds, Facebook, X and Instagram.
Pembrokeshire Herald
02-05-2025
- Pembrokeshire Herald
Milford Haven Town Council Confirms Mayor and Deputy Mayor for 2025–2026
A BRAINSTORMING session has been held at HaverHub to discuss the next stages of the Haverfordwest Castle redevelopment – a key part of Pembrokeshire County Council's regeneration plans for the county town. Castle Ward county councillor Thomas Tudor was among those in attendance, along with representatives from Haverfordwest Town Council, the Royal Institute of British Architects, Pembrokeshire Coast National Park, and community members including Randell Izaiah Thomas-Turner and Gitti Coats. The Heart of Pembrokeshire team at the county council hosted the meeting to provide an update on the scheme, which aims to turn the historic castle, Gaol building and Governor's House into a flagship visitor attraction. The council says the upgraded site will tell the story of Pembrokeshire past, present and future – with interactive, tech-based exhibits housed in the refurbished Gaol building. The redeveloped Governor's House will become home to a new town museum, while the inner bailey will serve as a space for theatre, live music, fayres and other events. Access to the site will be improved from Castle Square, with new way-marking throughout the town. Plans also include a new 'signature bridge' over the Western Cleddau, linking the site to Riverside. The Herald understands that 88 per cent of Haverfordwest residents surveyed in a recent consultation supported the redevelopment of the castle as a visitor attraction and community space. Many locals believe the project will help make Haverfordwest a better place to live, work and visit. Funding for the scheme is being provided by the UK Government's Levelling Up Fund, with match funding from Pembrokeshire County Council. Further funding is being sought to complete the fit-out and support associated community activities. Haverfordwest Castle is currently closed while the work takes place. The museum has been temporarily relocated to a site on the Riverside, and the car park at the castle is shut for the duration of the development. The flagship attraction is expected to open to the public in Spring 2027.
Telegraph
19-04-2025
- Politics
- Telegraph
How King Charles saved British architecture from oblivion
Everyone knows that King Charles III is big on architecture. It is one of the great royal enthusiasms, along with the armed forces, organic farming, homoeopathy, wildflower meadows, the King James Bible and warning the world about climate change. However, the King's achievement has never been fully recognised; nor has it been taken as seriously as it should. Indeed, it has often been pilloried. The constitution requires the Royal family to eschew politics. By convention they avoid controversy. But the then Prince of Wales would set a different tone when he began to discuss his views on modern architecture openly from the 1980s. The opening salvo came on 30 May 1984. The Royal Institute of British Architects was holding a Festival of Architecture to coincide with its 150th anniversary. That evening it would throw a gala dinner at Hampton Court Palace, where the Prince would make a speech. Most of the audience expected their egos to be stroked; in his many public engagements, Charles had run true to royal form. But this had been a difficult speech to write. He had agonised over it and had only finished the final draft that morning. As he rose and walked to the microphone, he briefly smiled as he removed the folded sheets of typescript from his pocket. 'Instead of designing an extension to the elegant façade of the National Gallery which complements it and continues the concept of columns and domes, it looks as if we may be presented with a kind of municipal fire station, complete with the sort of tower that contains the siren… What is proposed is like a monstrous carbuncle on the face of a much-loved and elegant friend.' 'Carbuncle on the face of a much-loved and elegant friend' became a household phrase. It launched Charles on a new trajectory: using the voice given to him by his position, he would speak truth to a profession that he regarded as pompous and insensitive to public opinion. Speech-making, the Prince would later tell an audience of architects, provided 'one of my rare opportunities to stir things up, to throw a proverbial royal brick through the inviting plate glass of pompous professional pride'. It also had a tangible effect: the proposed 'carbuncle' extension by the architectural firm Ahrends, Burton and Koralek was scrapped and a new design won, by the American post-modernists Robert Venturi and Denise Scott Brown, who completed what is now known as the Sainsbury Wing. That was 40 years ago. Architecture would not prove to be a princely caprice so much as a lifelong passion. The period covered coincides with my career as a journalist, in which architecture and the countryside played a large role, including as editor of Country Life from 1993 to 2006. I have therefore followed the story closely. Sometimes I literally followed the Prince, trailing in his wake as he toured the Duchy of Cornwall's estates in the West Country and the Isles of Scilly – a nerve-racking experience, since he moved at speed, often by helicopter, making it difficult to keep up. As the sole journalist present I would listen respectfully to his conversations with farmers about the charming of ringworm in cattle or anaerobic effluent digesters. (If my mind ever wandered, that would be the moment when he would say, 'I'd say this barn is 18th century. What do you think, Clive?' and I would have to wake up with a start.) Three years after the 'carbuncle', Charles made his next public intervention with the Mansion House speech, directed towards a proposal to rebuild Paternoster Square, beside St Paul's Cathedral in London. This time, his scathing comments defeated an eccentric proposal to erect a high-rise tower by the legend of architecture, German-American modernist Ludwig Mies van der Rohe, who had died in 1969. Addressing the assembled dignitaries of the City of London, including the lead developer at Paternoster Square, at the Corporation of London Planning and Communication Committee's Annual Dinner in 1987, the Prince quickly cut to the chase. 'Countless people are appalled by what has happened to their capital city, but feel totally powerless to do anything about it.' Nowhere was worse than the area around St Paul's Cathedral, he went on. 'Here, even the street where Shakespeare and Milton brought their manuscripts, the legendary Paternoster Row, 'The Row', the very heart of publishing since Elizabethan times, was turned into a concrete service road leading to an underground car park!' The Prince called for an exhibition where the public could have their say, with design entries put on display in the crypt of St Paul's. Paternoster Square went on to be reimagined as an 'urbane, gracious, bustling focus for business, shopping and leisure north of St Paul's', according to the architectural historian David Watkin, while at the same time providing a quarter more space than what had gone before. This could not have happened without the Prince of Wales – indeed, it had practically been his brainchild in the first place. It was during this period that the Prince energetically sought out architects who reflected his ideas, met them on his travels around Britain and kept their names on a list. Charles Morris, John Simpson, Hugh Petter, Alireza Sagharchi and Ben Pentreath are just some of the many names. Occasionally, at receptions, the Prince and I would exchange words and what struck me most was his knowledge. After half a century of travelling the globe, speaking to endless numbers of people, meeting the greatest experts in any subject you would care to name, as well as being shown interminably around the factories, farms, housing estates, places of worship and community halls of his kingdom, the memory bank of his naturally enquiring mind is formidably well stocked. And with knowledge goes passion; there could be no doubting – a few seconds speaking with him are enough to reveal it – that the Prince cared deeply about setting architecture on a better course and making the world a better place for people to live in. The opportunity to create something in the Prince's own image arose a year after the Paternoster Square speech, with the development of Poundbury in 1988. The Duchy of Cornwall had owned land in Dorset since the 14th century, and the ridge to the west of Dorchester, the county town, had always been farmed, but the building of a bypass in the late 1980s made it a natural development site. What was then West Dorset District Council approached the Duchy about building homes on it. The Duchy, under the Prince's chairmanship, would create not just a few unrelated cul-de-sacs but a major new settlement on 400 acres of land outside Dorchester. Called Poundbury, it would be designed to address the big issues in contemporary planning, which most developers and architects had ignored. Incredibly, before Poundbury it had become almost impossible for architects to create that most popular element of the English town – a square. But Poundbury has squares – lots of them. Cars were kept off the streets and out of sight. Parking was consigned to courts behind the houses. Streets were planned in such a way as to slow down the movement of cars. Road markings and signage are kept to a minimum, so that drivers must think as they make their way along. There would be a range of different types of accommodation, so that residents who came to Poundbury as young parents, taking advantage of the local schools, could stay until they entered sheltered housing in old age. A third of the new housing would be affordable, and externally it would look exactly the same as the homes sold at market prices, so there would be no stigma attached. Although virtually all the criticism of Poundbury has centred on its 'toy town' appearance, the look of the place is far from the whole story. With sports pitches, numerous meeting places, family-owned shops and a community farm, Poundbury offers a barely believable, happily-ever-after lifestyle of a type that fairy stories are made of in the early 21st century. The Prince has visited at least twice every year since the project's inception. These are not merely face-showing, hand-shaking occasions. Everyone who accompanies him testifies to his attention to detail. He will notice things that even the architects have missed. Back at Highgrove, one of his pleasures is to look through the architects' drawings that he is sent to approve. Each one is signed off by 'The Boss' himself before it can go into construction. By 2024, Poundbury had become a settlement of 4,600 people in more than 2,300 homes. After more than 30 years, building is projected to finish by 2028. Following Poundbury, the Prince turned his attention to the development of Dumfries House. At the centre of an estate of over 2,000 acres, Dumfries House lies in the bleak former coalfields of East Ayrshire, whose principal employer – the deep coal mines – closed in the 1980s. By 2007, some local families were in the third generation of unemployment. The villages were so devoid of opportunity that, at a time when the rest of the country was racking its brains where to build houses, the council had been knocking down perfectly good dwellings because there was zero demand for them. Unsurprisingly, given his critique of the 'carbuncle' and his attachment to the fabric of the City of London, shown in his Mansion House speech, Charles had always been deeply concerned about the fate of old architecture. In this case he managed to raise a loan against the Duchy of Cornwall for the £20 million needed by the heritage campaigners wanting to buy it. A new street of houses on the edge of the estate, officially known as Knockroon, although inevitably dubbed McPoundbury by critics – would pay back the loan. Imaginative, yes, but also – in the Prince's words – 'an appalling risk'. 'Bonkers' was one of the kinder words by those hostile to the scheme. But the Prince managed it, and in the nick of time. He delighted in getting this once-crumbling estate back on its feet, in such a way as to make Dumfries House a motor of regeneration for the entire community. More than 100 local jobs have been created as a result. Not only have the house and contents been restored but the estate has become home to numerous training initiatives. Quite a few students from the cookery and catering school have been offered employment by the Royal household and are now working in Buckingham Palace and other royal establishments. In the stonemasons' yard, teenagers get the chance to become craftsmen also in dry-stone walling and woodworking. An engineering workshop shows the possibilities of manufacturing. A rural skills centre in an old farm teaches about jobs on the land. Charles followed Poundbury and Dumfries House with other schemes, notably Nansledan outside Newquay, which began development in 2013. The ideas that had been so successful at Poundbury (walkability, mixed-use buildings, affordable homes scattered among more expensive properties) are hard-wired into Nansledan. In an area of low incomes and seasonal employment, supporting the local economy is as important as the character of the streetscape. Sustainability, always a pressing concern for Charles, would occupy an even more important place in the scheme of things than it did at Poundbury. The kerbs of the street are edged with Cornish granite from a nearby quarry that has been given a new lease of life, providing local jobs. Next to a community orchard, the Duchy has given seven acres of land that have been energetically – and, when I visited, back-breakingly – turned into allotments. Orchards and allotments are among the more conspicuous features of a local food web formulated in a 54-page food strategy document, published on the Nansledan website. Outsiders may mock the edible gardens (herbs and fruit bushes are planted next to houses), espaliered pear trees and bee bricks (bricks with holes that are laid into the eaves of houses to welcome threatened bee populations), but they go down well here. As ever, everything at Nansledan was personally approved by The Boss, who would insist on seeing each drawing, sample and idea at Clarence House. Charles may have been a busy man, but nothing was too small to escape his attention; he took a close interest in the paint colours, which are bright and cheerful, in a Cornish, seasidey sort of way – which could be a bit strong for some tastes. 'Make them bolder,' he said. Here and elsewhere, Nansledan is held up as an example of best practice in place-making; in 2021 the Royal Institute of British Architects (RIBA) gave it one of its awards, 'internationally regarded as a mark of excellence'. Clearly Charles has got something right. Not long before he was crowned, the King invited the architects whom he had used at Poundbury and elsewhere to tea at Windsor Castle. Afterwards he took his guests into the Royal Library where he showed them drawings by Palladio, Leonardo and Holbein. It was the stuff of fables, a glimpse of the extraordinary treasures of the royal collection made possible by the kind intentions of His Majesty, not just a king but a warm and thoughtful human being. We might also see it as a rite of passage. A phase of Charles's life – a long one – was over, now that the main purpose for which he was born had begun. He seemed to be telling the architects he had moved into a different space. Events have shown that he would still find time for architecture when he was King – witness the pace of change at the royal palaces and their gardens – but he can no longer be the boldly outspoken player that he was in his Prince of Wales years. Most people's legacy is not judged until they are dead. It is not like that for the King. He could have spent his decades as heir to the throne playing polo. Instead he made himself vulnerable to criticism by laying his cards on the table and saying: these are the things I believe and these are the things that I like. He did not have to do it – but thank goodness he did. There have been moments of controversy and discord but for the most part we can call the result harmony (an important concept for Charles) in practice. For this real and substantial achievement I warmly say: God save the King.
Yahoo
27-02-2025
- General
- Yahoo
Nine projects shortlisted for architecture awards
A net-zero carbon nursery and a disused fire station that has been transformed into homes are among projects shortlisted for regional architectural awards. The Royal Institute of British Architects (RIBA) unveiled nine projects that have been nominated across the West Midlands and said it was "heartwarming" to see the "imaginative reuse" of buildings across the region. Tim Collett, chair of the West Midlands RIBA jury who will visit each of the projects, said they would be looking for buildings that "enhance people's lives and demonstrate care and attention to detail". The winning projects will be announced in the spring. Mr Collett added: "This year's shortlist includes exciting buildings that offer a wonderful range of typologies and scales, from large academic and commercial buildings to homes, a nursery and a pavilion." The nine projects shortlisted are: The winners of the regional award will then be considered for several RIBA Special Awards, including the Sustainability Award and Building of the Year Award, before being considered for the institute's National Award, which will be announced in summer. The shortlist for the RIBA Stirling Prize – the UK's best new building – will be drawn from the RIBA National Award-winning projects and announced in September, with the winner announced in October. Follow BBC Birmingham on BBC Sounds, Facebook, X and Instagram. 'Grandparent' of skyscrapers wins architecture award West Midlands buildings shortlisted for awards RIBA
