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Al l ju st o we cli n t b a ck his nd fo p e r m df m or are ail l e i in live nks fo , rm at io n

The newsletter for RIBA Chartered Practices Valuable support for the business of your practice

In this issue: • Refurbishments – stretching the ingenuity of architects • Practice profiles – from the North West and Wales • The business case for…diversity, flexible working, staying in touch • Exhibitions at the RIBA this winter Winter 2012

RIBA President

Angela Brady

“The RIBA Business Benchmarking report 2011/12 into practice workloads reveals that around 60% involves refurbishment.”

Angela Brady, RIBA President

The RIBA always strives to provide expert support and guidance for members. We do this by providing clear, practical guides and tool-kits to help members stay at the forefront of practice. The spring 2012 issue of the RIBA Chartered Practice newsletter looked at the subject of flexible working and taking time out of practice, and how this flexibility can encourage a happy workforce. Since then we have been working with members to develop a new series of publications called ‘The business case for…’ and the first three look at flexible working, staying in touch and diversity. Each of the guides considers the business case behind the topic and is specifically written for architectural practices. Introductions to all three are on page 9 together with details for how to download these free guides.

The RIBA Business Benchmarking report 2011/12 into practice workloads reveals that around 60% involves refurbishment or projects with a refurbishment element. Our ingenuity as a profession is often tested with these commissions. In this issue we look at three schemes which are all different in scale, location and purpose and all of them breathe new life into existing buildings. I hope that you will find the winter 2012 RIBA Chartered Practice newsletter interesting and helpful and in this festive season we wish you all a Merry Christmas and best wishes for 2013.

Follow Angela Brady on twitter: @angelabradyRIBA

2013 payment now due from RIBA members Help give the RIBA a powerful voice to stand up for architecture. Please pay your 2013 membership now. Visit the Member login page at Why not renew by direct debit and spread the cost? Members who choose direct debit payment will be entered into a draw to win an iPad2.

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Practice Issues

Refurbished, reused, revitalised: breathing new life into existing schemes

A growing emphasis on refurbishment work and changing use of buildings is stretching the ingenuity of architects and challenging them to think differently. Journalist and writer Denise Chevin discusses the problems and solutions of breathing new life into three very different schemes. Optimism is still thin on the ground according to the latest RIBA Future Trends survey. But increasingly what work there is comes in the form of refurbishment rather than new build. Galleries and centres for the arts have traditionally harnessed historic and character buildings for their activities, but spending cuts, sustainability and new government policies mean that a range of buildings is being converted into schools, offices and homes. The RIBA Business Benchmarking report 2011/12 reveals that 61% of practices’ workloads involve refurbishment projects, or projects that have a refurbishment element. On the commercial offices front, the current lack of new-build development raises the likelihood of a

shortage of grade-A office space when the occupier market returns, creating investment opportunities for carefully targeted refurbishment. Sustainability considerations, such as embodied energy conservation, are set to become increasingly important to developers over the next decade as ‘in-use’ efficiency levels improve. Meanwhile, the housing crisis means we will see the trend of converting offices into residential continuing for some time, despite a government U-turn on a proposal to abolish the need for planning consent on this type of conversion. Then we have an entirely new type of refurbishment work on the table – the creation of Free Schools. These new education establishments have been encouraged and funded by Education Secretary Michael Gove and are unshackled from local authorities and the rules governing school accommodation. A combination of speed and budget means that most Free Schools are being housed in existing buildings, challenging architects to think very differently and come up with new conversion solutions and fast.

Project Types (%)

All New-build projects


Refurbishment/ restoration projects 25

Projects with both new-build and restoration 36


Large 16

31 17

28 41 24

Micro practices: headcount 1–4; Large practices: headcount 50+ Data from RIBA Business Benchmarking report 2011/12

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Practice Issues

“I think a school should be neutral and homely and if you went there in 20 years’ time it should not feel dated.”

TP Bennett, East Elevation, West London Free School

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Case Study 1: West London Free School TP Bennett

Michael Gove’s decision to set up Free Schools is one of the government’s more controversial polices, both politically and practically. When Gove threatened to allow offices and pubs to be turned into classrooms he wasn’t joking. There is now a stream of projects coming through on sites that would have been unthinkable a few years ago. In these new types of education establishments there are no grand entrances and foyers – instead the emphasis is largely on simple teaching spaces. One of the most high profile schemes is the West London Free School, a new secondary in Hammersmith being promoted by the author Toby Young who has criticised architects for wasting money by over designing schools under the Building Schools for the Future programme. The West London Free School is now in its second year, and currently based in temporary accommodation in a primary school nearby. It will move into its permanent home in September 2013. This involves the refurbishment of an extended pretty Victorian villa, Palingswick House, with newbuild extension at the rear. Funding comes directly from the Department of Education for the school which will accommodate 600 pupils from 11 to 16. Architect for the scheme is TP Bennett, which is part of the Willmott Dixon consortium. Chris Wieszczycki, a principal director at TP Bennett, says that the £6.5m being spent on the building work represents “a very tight budget” for the 4323sq m scheme. The work is also fast. TP Bennett and Willmott Dixon only came on board this May when the original winning bidder agreed to part company with the client because they couldn’t agree on a solution for the site. TP Bennett put the scheme in for planning permission in July, and it was granted in October when the contractor took possession of the site. Coming onto a high-profile project with a media-savvy client may have been a little daunting for some architects. Not Wieszczycki. “I tend to agree with Toby Young. I think some of the schools that got built have been unnecessarily expensive and palatial, when really what you need is a good airy classroom with lots of light, a good teacher and the right ethos. You don’t need glass boxes on stilts.

“I think a school should be neutral and homely and if you went there in 20 years’ time it should not feel dated.” This philosophy has been played out in the new school by aesthetically making the school all about the locally listed old building, rather than the new 2700sq m extension at the back says Wieszczycki. The new four-storey building will be clad in brick to blend in with the Victorian frontage. The two buildings are connected by a modest glazed atrium accommodating the main vertical circulation core. Limited works are proposed to the fabric of the existing buildings (of which there are actually two, including conversion of a former super-intendants house into a music centre.) The layout of the existing building has been retained in its entirety and it is hoped the refurbishment will be largely cosmetic. As the rooms in the Victorian building are small, the classrooms have been concentrated into the new facility. Much of the space in the Victorian part will be used for staff and ancillary activities, along with only four of the classrooms and the library. The main challenge says Wieszczycki has been shoe-horning the requirements of the school into such a constricted site. The school hall, on the ground floor of the new block, will double as play area and there is more play space on the roof as well. Open space at the front remains. Despite the challenges of re-using an existing building, the project meets 2010 part L regulations and overall will achieve BREEAM very good, helped along by measures like photovoltaic panels on the roof and air-sourced heat pumps. It’s not a sealed building but has assisted ventilation which kicks in if carbon dioxide levels become too high. “Reuse of existing buildings is definitely a good idea. And in the free schools programme all types of buildings are being converted. If you are flexible and inventive in your design, it’s amazing what you can do,” says Wieszczycki. The practice is also refurbishing offices and retail centres. “People too often clear and restart from scratch. Existing buildings give a bit more character. That’s quite an important factor in the schools programme, where restrictions in cost make it hard to do anything but build the simplest envelope.”

Practice Issues

Case Study 2: Brownfield Estate and Balfron Tower PRP Architects

Upgrading social housing stock has been a staple of many architects’ workloads since the Decent Homes programme was introduced in the late 1990s. But few can boast the upgrading of an iconic tower block, one of national importance, that PRP displays in its portfolio.

Photo above: Clive Smith 2007, photo right: RIBA, photo below right: PRP Architects LLP

“We can’t afford to knock down these sorts of buildings and start again. They are only at the end of their life because of neglect and underinvestment. They can be enhanced and preserved.”

The feather in PRP’s cap is the housing complex on the Brownfield Estate, just north of the Blackwall tunnel. Back in 2004, the London-based practice was appointed by Poplar Harca, an east London housing association, to carry out a feasibility study for modernising the Estate, which includes a conservation area with listed brutalist concrete buildings by Ernö Goldfinger. Having established what could be done, PRP put in an estate-wide planning application in 2008, which laid out a fourphase revamping of the estate including landscaping and the creation of a new park. The central focus of the first phases is on the two main Goldfinger buildings, namely the 27-storey Balfron Tower, which was a forerunner to the better known Trellick Tower in west London, and the 11-storey Carradale House. Balfron was built by the Greater London Council between 1965 and 1967 and comprises 130 flats and 10 maisonettes and became Grade II listed in 1996. It has a free-standing lift tower serving streets in the air at every third floor. Carradale, a block of 88 flats, was completed in 1970 following similar principles and was listed in 2000. The blocks are at the heart of what was intended by Goldfinger to create a selfcontained community with residential, community, recreational and retail dimensions. Despite being highly revered by the architectural profession, the blocks had come to the end of their useful life, the ground floor podium had become unsafe, and the community facilities and landscaping neglected. PRP worked with Avanti Architects to create a conservation plan for the

Goldfinger blocks. For the Balfron Tower this has been used to provide specification documentation for the redevelopment which is being put out to the private sector via OJEU. Meanwhile the plan is being put into action at the decanted Carradale, which will be reoccupied in March 2013.The technical challenges the architects have had to grapple with have been numerous – from finding a concrete repair mix that best matches the original to a new replacement window system that will satisfy the planners while not breaking the relatively modest budget. As PRP’s chairman Andy von Bradsky remarks, “The budget works out at about £20,000 a unit which is very low.” Proposals to replace PVC windows with aluminium were rejected by the planning authorities, so the architects came up with a timber window alternative with a paint specification that extended the decoration cycle from six to 12 years and which can be accessed via a rope and cradle arrangement, thus doing away for the need to scaffold the block. Bringing the block, with its thermally inefficient solid walls and crosswall and floor slabs which stick out into the open air, up to modern day energy standards also called for design ingenuity. Window replacements are double glazed where possible and PRP has dry-lined the walls – though the thickness of this insulation has been limited by the size of the window frames. “That’s the thing when you are working with listed buildings, there are compromises to be made,” says project architect Gordon Harvey. “Listing does impact on energy efficiency. The key things for us has been restoring a building of national significance. We can’t afford to knock down these sorts of buildings and start again. They are only at the end of their life because of neglect and underinvestment. They can be enhanced and preserved.”

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Case Study 3: John Peel Centre for Creative Arts Martindales Architects

Practice Issues

“We had to decide as we went along what we could and couldn’t afford.”

“The kind of project that doesn’t come along very often” is how Martindales Architects director, Nick Bryant describes the refurbishment of the John Peel Centre for Creative Arts, in Stowmarket, Suffolk. “I was a big fan of John Peel so I had a real personal interest in being involved in the work, and I’ve been very excited by it.” Peel had made his home in a nearby village. Having a client group made up of volunteers – the John Peel Trust – and not knowing how much money there was to spend on the project as it progressed, are challenges Bryant and his team have had to grapple with since getting selected two years ago. The John Peel Trust has been using the building for about three years, but it was closed down this summer for the refurbishment, largely paid for by a £700,000 grant from the Biffa awards, a community fund set up by the waste disposal company. The first phase of the project, the installation of artistdesigned glazing and oak front door was completed last summer, with £50,000 worth of lottery funding. The 350sq m building was designed in 1850 and resembles a small railway station, with tall windows, light cast-iron columns, glazed roof and roof lights. The works involve general refurbishment of the fabric of the building, including replacing roof lights and thermally insulating the envelope and installing new raised timber floors. Another key aspect of the programme was installing a new mezzanine level covering two fifths of the floor area to provide space for café, bar, bar cellar and plant room. There is a 3sq m glass box at the top of the stairs, forming an “architectural feature”. The downstairs foyer houses toilets and a lift. The building has also been upgraded to allow it to be linked at mezzanine level with former assembly rooms in the adjoining building – which is currently being used as a bank on the ground floor. This involved digging mini concrete piles in the foundations to take extra weight should this link be

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opened up. The installation of renewable energy technologies such as an air source heat pump and photovoltaic panels on the roof were was made possible by other grants. “The key difficulty of converting the building into a modern performance space and gallery was fitting everything in, we could have done with twice the space,” says Bryant. “Another complication was not knowing precisely how much funding would be available for the project. We had enough money to cover the basics, but we were also trying to raise funds from supporters. It meant we had to decide as we went along what we could and couldn’t afford – like nice taps and glass balustrade around the mezzanine level.” Ideally, Bryant would have started the work a few months later, but a condition of the grant was that it was spent within a fixed period of time. Another unusual twist was that the John Peel Trust and Martindales ran a student competition with RIBA East. The winner was Matt Loosley, a local student, studying for his Part I at Huddersfield University. He was involved in the development of the project and worked for Martindales during the summer of 2011 and then stayed with the practice for his year out.

Practice Profile

60 Seconds with Kristian Hyde Hyde+Hyde Architects

Hyde+Hyde is a husband and wife team, Kristian and Kay, who set up their practice in 2006 in Swansea. They have five staff and a satellite office in Cardiff. Projects currently include private and social housing and arts schemes around the UK. So how has 2012 been for you? 2012 has been no different to any other year we have known. We set up the practice unaware we were going into double-dip recession. When we started we had only a handful of projects, and the majority of those were probably funded by mortgages that would not be honoured now. Today we tend to have clients that have come to us specifically because they like our work and can connect with what we are trying to achieve.

If you could wave a magic wand what would you change? The key threat to most architectural practices I speak with is always cash flow. Obtaining statutory approvals, such as planning, will release the next stages of the project. But the quantity of reports that are necessary to accompany an application and the timescales that are involved to obtain these can be problematic. Application requirements seem excessive and sometimes out of proportion with the type of project that is being submitted. You have to question why you need a highways report for a replacement dwelling with no increase in parking spaces. What is Hyde+Hyde’s big selling point? We do good work. We limit the type of work that we take on. This allows us to focus 100% on the clients that come to us. Learning to say no to certain types of work is as important as learning to listen to what people actually want. And you have to ask yourself honestly at the end of a client meeting, ‘Am I prepared to spend the next one to two years of my life on this?’ What’s your approach to marketing? To reduce overheads, we now do our own marketing rather than use an agency. This has allowed us to build personal relationships with key people, like editors. I was once asked how we get such good clients, and I jokingly responded, ‘We don’t get good clients we make good clients.’ But now I think there’s truth to that, in that our clients often come on a journey with us and vice versa.

Contemporary courtyard home within Pembrokeshire Coast National Park with panoramic views of the Atlantic

Has there been a Champagne moment? Being involved every day in something that inspires us. This may sound overly optimistic, but we only undertake work that motivates us and aligns with a certain philosophical view of the world. That makes it easier to ride through the tough times knowing that each project is the best it can be and there is no compromise. How has the practice adapted to cope with the recession? By reducing our overheads where we can through shopping around for better deals on utilities and insurance, adopting paperless office principles and minimising stock levels. And our fees have increased as we have become more aware of the value we add to projects. What are your fears/expectations for the year ahead? We expect workload to increase as it has done in the last few months and fee levels for the type of work we do to keep steady. We have learned that nothing is certain and to always work to the worst case scenario.

Are you using BIM? We use Vectorworks and have come to terms with the reality of an annual subscription. It ensures that we always have the latest updates. Five years ago we would only update our CAD software perhaps every two years, but with the practice adopting BIM, the small incremental updates contain improvements in workflow efficiency that translates in to less time doing the same task. What’s your approach to social media? Social media has always been a big part of our practice. We now have more than 6,000 followers on Twitter and value the conversations and connections that we have made globally. It also reaffirms that there are people out there that are tremendously helpful and forthcoming. If you happen to have a question, you can pretty much guarantee one of our followers will have the answer. Tell us something surprising about the practice? Living next to the Gower Peninsula with many of its desolate beaches feeds our spirit. Living on the fringe has its advantages. When the swell comes in we go surfing.

RIBA Chartered Practice Newsletter 7

Practice Profile

60 seconds with Michael Goode Croft Goode

Croft Goode is based in Kirkham, near Preston. The practice was set up by Michael Goode and David Croft in 1994. It employs 19 people and turns over about £1.2m a year. Around 65% of workload is in the public sector in affordable housing, education and health. Croft Goode operates across the North from Hull to Scotland. What’s it been like for you in 2012? Tough. It’s been really tough. Fee levels are as low as I’ve ever seen them. But busy too. We did take on four staff last year to resource the work, but we’ve had to subsidise it until it’s got to a stage we can invoice for it. We’ve had to work smarter and make savings.

What’s your approach to social media? We do work with a PR consultancy, but we have Facebook and Twitter accounts for the practice. We tweet to each other within the office and then two to three staff tweet on behalf of the practice. Tell us something we might not know about Croft Goode We still sponsor up to four architectural or architectural technology students, split between Part I and Part II. We also place great importance on providing work placements for school pupils in years 10 to 12. And where we can our staff volunteer to help with community groups in some of the deprived areas where we have projects.

How has the recession changed the way you operate? We’ve had to be careful about the time we spend on projects and we’ve made sure all of our staff are fully aware of the financial side of the business so that they can balance competition and speculative work against fee earning work. We do continue to pay staff overtime and a decent salary. We don’t want people working for nothing. We believe we should treat people fairly and be as responsible as we can. We’ve cut other aspects of the budget though such as entertaining – we don’t do any of that. We’re more targeted and strategic with our marketing too. We don’t spend money advertising in magazines at all now. Instead, we tend to target clients in sectors that are busy. We don’t do anything generic, it might simply be a case of contacting someone through an existing client with a bit of news of something we’ve done or just won. Has there been a Champagne moment? Not really as I’ve seen, no. It’s been more about sleepless nights than popping corks. That said we’ve got some great clients and most of the work we do is repeat business, so that is something to celebrate. What are your expectations for next year? We’re hoping the hard work we’re doing now for which the funding is yet to come through will lead to more activity next year. There’s such a long time lag between funding being announced for something until it actually happens. Affordable housing is picking up now and we’re seeing more joint ventures between the public and private sector housing providers, and that includes councils too.

Ribble Valley Homes Offices at Clitheroe

If you had a magic wand what’s the one thing you’d change? It’s got to be the banks’ lending to developers. If they can’t borrow money it just frustrates the whole process. Are you using BIM or other new technology? We’ve been using building information modelling using Autodesk’s Revit system since 2004 and sharing information with contractors using BIM. We have a 3-D model printer that we use in the office.

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Walker Street, Preston – student accommodation

RIBA Initiatives

The business case for… series

The RIBA Chartered Practices has launched a series of documents called ‘The business case for….’ These are short, on-line, publications for RIBA chartered practices. Each publication provides a summary of information on a particular topic and demonstrates its business value to architectural practices. Written by RIBA members working in practice, the documents include links to useful sources of further information as well as practical case studies. The series is planned to cover a range of relevant topics including employment practices, business skills as well as more technical matters. The first publications focus on human resource issues and comprise: The business case for…Flexible working, The business case for…Staying in touch and The business case for…Diversity. These will be supplemented by further publications on business skills in 2013.

To download The business case for… guides: 1. Go to the Member login page at 2. Login using your practice’s Main Contact’s personal RIBA Membership number and password 3. Click ‘Chartered Practice services’ then click ‘Policies and Toolkits’

RIBA Chartered Practice Newsletter 9

RIBA Initiatives

CPD 2013 A programme of structured seminars to meet your CPD requirements

The Core CPD Programme comprises 10 different seminars covering all of the RIBA Core Curriculum areas, which are repeated in 13 different venues across England and Wales.

1. 2. 3. 4. 5.

6. 7.

8. 9. 10.

Being safe: CDM for architects – practice procedures and competence Climate: Building physics and retrofit design External management: Professional liability and risk management Internal management: Business planning and marketing for architects Compliance: Party Wall ACT 1996 – Understanding legislation affecting architects in everyday practice Procurement and contracts: Design liability and contracts Designing and building it: Passivhaus myths and realities – a “get you started” active workshop for architects and designers Where people live: Tools for engaging communities in the design process Context: Understanding historic buildings – refurbishment and building performance Access for all: Designing inclusive, accessible buildings and spaces

CPD Club Ticket Gateshead RIBA and CIAT members are offered the CPD Club Ticket at the exclusive price of £350 + VAT (£500 + VAT for non-members) The RIBA CPD Club Ticket entitles the holder to attend each of the 10 Core Curriculum seminars choosing the most convenient location for them.

Leeds Liverpool

Manchester Nottingham

Benefits of the CPD Club Ticket include: • Free documentation and refreshments at each event • Flexibility to transfer your place to any one of the 13 regional venues

Birmingham Cambridge

• 20% discount at selected additional regional CPD events and conferences • 25 hours of RIBA Core Curriculum training. Bath Cardiff

Reading London

For more information or to join the CPD Club, visit, contact your RIBA regional office or email

Crawley Exeter Members are also able to attend any of the seminars on a pay-as-you-go basis. The cost per seminar for RIBA and CIAT members is £55 + VAT (£80 + VAT for non-members and £15 + VAT for students). Terms and conditions apply.

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La st few

RIBA Initiatives

RIBA Business Forum Is bigger really better?

29 November 2012. 6.30 PM – 9.30 PM. RIBA, 66 Portland Place, London, W1B 1AD Hosted by the RIBA Insurance Agency, in association with HP, this is the third event in the Business Forum series which has been devised by the RIBA to enable practices and clients to share information and reflect on key business and risk issues. The evening, chaired by RIBA Council member Dale Sinclair, Director at Dyer Group, will focus on business growth topics including discussion of: • Architects’ practices in the UK are generally small in comparison with other professional services such as accountancy and law. Why is this so? • What is a good model for growth and what company structures exist to support this?

tic ke ts rem ain ing

• Do the benefits of economies of scale outweigh the challenges of growth? • How do other professional service sectors deal with growth? Speakers will include Chris Littlemore, Chief Executive at Archial Architecture; Guy Rigby, Partner and Head of Entrepreneurs at Smith & Williamson Investment Management; and Clare Grayston, Corporate Partner at Nabarro, the City law firm. Following presentations and a debate, the event will conclude with drinks and an opportunity to network. Tickets: £10 (£8.33 + VAT), which will be donated to the RIBA Education Fund. Booking: 7307 3797

RIBA Conservation Course Do you have a passion for conservation architecture? Do you want to develop specialist knowledge, skills and connections in the field? Are you interested in taking a route onto the RIBA Conservation register? The RIBA Conservation Course is a four-day intensive course comprising three classroom-based days with a ‘hands-on’ practical application day. The course will provide you with sufficient skills, knowledge and understanding to enable you to apply for recognition of your skills within the RIBA scheme. Full details about the RIBA Conservation Register can be found at Booking now open for the following 2013 courses. • East of England: 19, 20, 26 , 27 March • Birmingham: 9, 10, 16, 17 April • London: 11, 12, 18, 19 April • Reading: 23, 24, 30 April and 1 May • Lincoln: 14, 15, 21, 22 May • York: 4, 5, 11, 12 June

RIBA Product Selector 2013 Register for your FREE copy The RIBA Product Selector is the only comprehensive printed directory of building products in the UK. The 2013 edition will reference up to 10,000 suppliers, over 25,000 trade names, 1000 advisory organisations and almost 500 RIBA accredited CPD providers. To collect your free copy visit the Member login page at and complete the registration form.

RIBA Chartered Practice Newsletter 11

Culture and Events

Exhibitions at the RIBA, 66 Portland Place, London W1

Admission to exhibitions is free Galleries at 66 Portland Place are open Monday – Saturday, 10am – 5pm; and until 10pm on Tuesdays until 18 December 2012. Galleries may be closed for special events. Call +44 (0)20 7307 3694 to check opening times. Christmas closing: from midday on 21 December, reopening 2 January.

21st Century Light Space Modulator: an installation by Jason Bruges Studio Until 29 January 2013 Explore the approach taken to Jason Bruges Studio’s recent installation on London’s Southbank, which transformed the Embankment under Hungerford Bridge into a ‘technicolour spectacle’ – Evening Standard.

The RIBA President’s Medals Student Awards 2012 5 December 2012 – 26 January 2013 Selected student work from 300 schools of architecture in over 60 countries invited to nominate entries for the RIBA President’s Medals.

Image: Jason Bruges Studio

A Primary School for a Future Nation, Athens 2013 by Ifigeneia Liang, submitted for the Silver Medal (Part 2) by the Bartlett School of Architecture (UCL). RIBA Christmas Card The above design has been chosen by the RIBA President as the 2012 RIBA Christmas card. Profits will go to the RIBA Education Fund, which helps architecture students in financial hardship. Cards are available from 1 December at the RIBA Bookshop at 66 Portland Place, and from

The Polychrome Lens: Colour in Architectural Photography Until 31 January 2013. RIBA Library. Open Tuesday 10am – 8pm, Wednesday and Friday 10am – 5pm, Saturday 10am – 1.30pm. Photo ID required for entry Display examines the history of colour in architectural photography.

Emerging Architecture 30 November 2012 – 1 March 2013 Explore work by young architects from the annual ar+d Awards for Emerging Architecture. Dance Band Studio, BBC Broadcasting House, London, 1932. RIBA Library Photographs Collection.

Exhibition at the V&A, Cromwell Rd, London SW7 Chromazone: Colour in Contemporary Architecture Until 19 May 2013

This newsletter is printed on 100% recycled Forest Stewardship Certified stock using vegetable-based inks

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Key projects by major UK and international architects who use colour to create identity, define space and heighten our experience of buildings. Display features images, drawings and models, alongside innovative and traditional material samples. Free admission.

Sauerbruch Hutton, Five Beehives for Olaf Nicolai. Photo: Jan Bitter

RIBA Chartered Practice Newsletter November 2012  

RIBA Chartered Practice Newsletter November 2012

RIBA Chartered Practice Newsletter November 2012  

RIBA Chartered Practice Newsletter November 2012