• Bloomberg, London by Foster + Partners

“A highly-innovative new workplace in the City of London, commissioned by an ambitious civic-minded client, which pushes architecture’s boundaries and seeks to enhance the neighbouring public realm.”

• Bushey Cemetery, Hertfordshire by Waugh Thistleton Architects

“An extraordinary spiritual building formed of natural rammed earth walls, oak and rusted steel, with the beliefs and customs of the Jewish faith at its heart.”

• Chadwick Hall, University of Roehampton, London by Henley Halebrown

“Three new, intelligent buildings which surround the Grade II-listed Georgian Downshire House and provide high-quality student housing for Roehampton University, built on a modest budget.”

• New Tate St Ives, Cornwall by Jamie Fobert Architects with Evans & Shalev

“An ingenious reconfiguration and extension of the Postmodern art gallery which doubles the exhibition space, creates a new public walkway connecting the town to the beach and helps St. Ives attract a growing number of international visitors.”

• Storey's Field Centre and Eddington Nursery, Cambridge by MUMA

“A breath-taking building, commissioned by the University, for the new community of North-West Cambridge. Inspired by the college cloisters and courts of the City, this project has a sustainability agenda at its core.”

• The Sultan Nazrin Shah Centre, Worcester College, Oxford by Niall McLaughlin Architects

“A floating auditorium crafted from classic Oxford stone and natural oak to blend exquisitely into the established landscape of Worcester College.”

“The extended gestation of the reconfiguration and extension of the Tate St Ives has resulted in a building with more than twice as much gallery space which resolves the functional challenges of the original building, increases the car parking provision at the top of the site and creates an enhanced public route from top to bottom of the site. The visible manifestation of the new building is minimal and modest, underplaying its impact on the interior experience for visitors and staff.

“Externally the most prominent feature is the faience clad loading bay – visible from Porthmeor Beach, the subtle greenish-grey ceramic turret sits quietly between Evans and Shalev’s original building and the housing adjacent. The gallery extension has been carved out of the hillside, connecting seamlessly to the existing galleries; the top lit space is capped by deep, in situ beams which create a rhythm and character very different in character to the 1990s spaces.

“From the loading bay, soaring etched-glass doors give access to a huge goods lift which connects all floors (also providing enhanced disabled access to the gallery) – provision of a new picture store and workshop also enhances functionality. A winding in-situ staff stair with lacquered steel handrail celebrates simplicity whist also connecting a new, upper-level staff entrance to offices, meeting room and staff amenity which enjoy stunning seaward views. The granite and glass gallery roof lights emerge into a public landscape of granite paving and planting which echoes the nearby cliff tops.

“The evolution of this iconic south west attraction has overcome huge challenges, navigating vociferous local stakeholders and significant site constraints. By architectural ingenuity, a building has been delivered where there appeared to be no site available, with minimal intrusion on an already crowded horizon. It has created an intriguing new public landscape and pedestrian connection from hilltop to beach and, with subtle reordering of the original gallery, it achieves a seamless environment to in which to enjoy art.”

Contractor: BAM

Structural Engineers: Price & Myers

Environmental / M&E Engineers: Max Fordham

Landscape Architects: Jamie Fobert Architects with Rathbone Partnership

Quantity Surveyor / Cost Consultant: Currie & Brown

Project Management: Currie & Brown

Lighting Design: Max Fordham