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30/03/2016 17:07Caruso St John: the architect duo behind London's top galleries …w Vauxhall space | Design | Lifestyle | London Evening Standard

Page 1 of 8http://www.standard.co.uk/lifestyle/design/caruso-st-john-the-arch…-top-galleries-including-damien-hirsts-new-vauxhall-a2958011.html

On the same wavelength: Adam Caruso and Peter St John at Damien Hirst’s Newport Street Gallery Daniel Hambury/Stella Pictures Ltd

Lifestyle › Design

ROBERT BEVAN | Tuesday 29 September 2015 | 0comments

Caruso St John: the architect duo behind London's top galleriesincluding Damien Hirst's new Vauxhall space

After 25 years in practice together, Adam Caruso and Peter St Joh n have become the architects of choice for the capital’s topgalleries — including Damien Hirst’s handsome new space in Vauxhall

10shares

After a quarter of a century of work it is the fate of many

architectural practices to accept that they will be building

house extensions for the remainder of their existence, or that

they have morphed into commercial design factories

churning out ever more bland or expedient buildings to feed the hungry payroll monster.

http://www.standard.co.uk/lifestyle/design/caruso-st-john-the-architect-duo-behind-londons-top-galleries-including-damien-hirsts-new-vauxhall-a2958011.html#commentsDivhttp://www.standard.co.uk/lifestyle/design/caruso-st-john-the-architect-duo-behind-londons-top-galleries-including-damien-hirsts-new-vauxhall-a2958011.html#commentsDivhttp://www.standard.co.uk/author/robert-bevanhttp://www.standard.co.uk/lifestyle/designhttp://www.standard.co.uk/lifestyle


2/8



Not so Caruso St John. Set up in 1990 and coming to national

prominence early on with its spectacular competition-winning

New Art Gallery in Walsall, the practice has determinedly limited

its own size and, unusually, much of its work still comes from

entering (and winning) architectural competitions.

Its 25th anniversary is perfectly timed with a trio of projects that

illustrate the calibre of arts schemes with which it has become

associated — Damien Hirst’s Newport Street Gallery in Vauxhall, which opens next Thursday; the latest space in Mayfair for world-

leading art dealer Larry Gagosian; and a scheme to freshen up and

extend the Liverpool Philharmonic, the city’s magnificent Art Deco

concert hall.

The Newport Street Gallery has been kept closely under wraps but

there are reports of serene gallery spaces and exquisitely crafted

staircases (just look at the practice’s glamourpuss spiralling

number for Tate Britain in monochrome scallop-patterned

terrazzo).

Canadian-born Adam Caruso, 53, met Englishman Peter St John, 59,

after they both worked with architects Florian Beigel and Arup

Associates, and the pair discovered a mutual interest in Sixties and

Seventies conceptual artists and the YBAs of the early Nineties —

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3/8



Old meets new: Caruso St John’s Stirling Prize-shortlisted Brick House inWestbourne Grove

They were also inspired by a love of a London that, back then, still

had swathes of dereliction. It was a melancholy, everyday beauty

caught on film by artist Richard Wentworth and in Patrick Kieller’s

1994 movie, London, before the financial deregulation of the 1986

Big Bang began to turn the city upside down.

“There was a lot of space,” recalls Caruso, “and you could

romanticise that dereliction. London was still full of promise. Now,

even here in Bethnal Green where we work, that potential has been

used up — there is so much over-development.” The point isn’t to

wish for dereliction but to be only too aware of what might have

been…

That hasn’t stopped the pair building a clutch of beguiling, subtle

projects in the capital. Among them the Stirling Prize-shortlisted

Brick House that is like a contemporary grotto in a landlocked west

London site; the remodelling of the Museum of Childhood; carving

out exhibition spaces from within the full-to-bursting Sir John

Soane’s Museum; and a new café next to 18th-century Chiswick

House — the influential building that helped the work of 16th-

century Italian architect Antonio Palladio become the English

national style for the next two centuries.

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4/8



New staircase for the Newport Street Gallery

Caruso St John’s work, which avoids a signature look, is the

antithesis of the shouty one-liner architecture that has come to

dominate the London skyline. A building might include decorative

tiles, deep, expressive brick arches inspired by the northern

European Renaissance, or splendid concrete beams that recall the

timber versions found in old English country houses.

Their successful strategy has been to reference history, conjure

emotion and capture the intellectual content of conceptual art to

produce buildings that are unmistakably contemporary in spirit.

At the outset, Caruso St John appeared to be part of a group of

architectural practices nicknamed “The Whisperers” for both their

quiet and intense buildings and similar conversational style. “But as

soon as Walsall was finished people realised that our work was

rich,” says Caruso. “We aren’t interested in the monastic. Our work

at Tate Britain is opulent. [Former director] Penelope Curtis said it

reminded her of Art Deco — at first I was off

ended but she is right.”

READ MORE

London, he says, has an amazing inter-war heritage of architecture

that is not quite Deco and not quite Modernist but superbly fresh.

Charles Holden’s Senate House and the Bermondsey church by

Goodhart-Rendel are cases in point.

“Whatever the budget we are interested in richness,” continues

Caruso. “Zaha Hadid may use one shape to form the whole of an

enormous building. That doesn’t feel like richness at all — it feels

poor.”

Instead, the Newport Street Gallery promises a subtle luxury when

it opens to display Hirst’s personal collection of 3,000 works by

leading contemporary artists, beginning with its inaugural John

Hoyland exhibition (reviewed on this page).

Three listed Edwardian factories that were once used to create

theatre sets have been combined to create lofty white spaces

perfectly judged and lit (Caruso St John often use full-size mock-ups

to get the atmosphere of an interior just right). These are book-

ended by a pair of sympathetic new buildings that form a sheer

wall of red brick to the railway viaduct leading into Waterloo

station. Inside, lusciously curvaceous staircases are finished in

white-glazed brick.

Caruso St John’s buildings may each look diff erent but that’s partly

because they respond to their situation. The architects walked

London’s streets endlessly and learned the importance of

interpreting the locality, whether it is neighbouring structures orthe economic and cultural character of the area.

Damien Hirst’s new gallery opens with abstract great John Hoyland

London's Nine Elms is one of Europe's biggest regeneration zones:

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5/8



More about: | Architects| Caruso St John| Damien Hirst | Art Galleries

This might sound obvious but in an age of globalised design it is no

longer taken for granted as a starting point: “Nowadays, it has

almost become a critical position,” observes Caruso.

Detractors of the practice might say they have given themselves an

easy life by picking and choosing cultured clients with deep

pockets rather than having to deal with hard-nosed property

developers and volume housebuilders. But this ignores the fact

that they are designing bank headquarters, apartment blocks andsubstantial business institutions across Europe — from Zurich

(where they teach and have a second small office), to Germany,

Belgium and France. So why aren’t they being commissioned for

such commercial projects in London?

“There’s no mystery,” says Caruso. “In Flanders, Switzerland and

Germany any proposal of a scale that will aff ect the public realm

must have an architectural competition and there will be a strong,

official city architect in place. Often only three practices are invited

on a list drawn up by the city with the developer. And these are

commercial projects, private projects. We are on these people’s

radar but that doesn’t happen here.”

It is also a more efficient, linear and certain way of building quality

into a city. “The developer gets what they want and the city

guarantees that the developer will get planning permission. Then

they go for it. If the design is crazy then you won’t win the

competition.”

If such an approach were adopted in London it would help to limit

the shoddy standard of much new architecture — especially mass

housing. But Caruso is gloomy about the prospect given the muscle

of the free market, joking that instead that the practice’s 25th

birthday may mark the point when Caruso St John joins Zaha

Hadid (the Olympic pool), Renzo Piano (the Shard) and Rafael

Vinoly (the Walkie-Talkie) and learns to love the somewhat random

computer-generated curves of “parametric” design.

Fortunately there’s no chance of that because there’s a quiet but

fierce determination to Caruso St John. They know their work is

exceptional. Few practices over the past quarter century have

equalled them.

Newport Street Gallery, SE11 (020 3141 9320, newportstreet

gallery.com) opens on October 8; Palladian Design: the Good, the

Bad and the Unexpected, an exhibition designed by Caruso St John,

is at Riba, Portland Place, W1 (020 7580 5533, architecture.com)

until Jan 9; Caruso St John lecture at Riba on November 17

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