Year |
Building |
City |
Architect |
Comment |
Reference
|
1982 |
Ismaili Centre |
London |
Casson, Conder and Partners |
"lumpishness, banality, repetitiveness and repulsiveness of texture" |
Eye 549 p. 7
|
1983 |
Fire Station, Shaftesbury Avenue |
London |
Richard Seifert and Partners |
"It is tawdry fancy-dress architecture, without life or imagination" |
Eye 575 p. 7
|
1984 |
Renault Centre |
Swindon |
Foster and Associates |
"You can tell the Renault Centre is a whizzy High-Tech building because it is painted bright yellow" |
Eye 602 p. 9
|
1985 |
Lloyd's building |
London |
Richard Rogers and Partners |
"a great glazed grey warehouse ... how astonishingly naive it is as architecture" |
Eye 627 p. 7
|
1986 |
Clore Gallery, Tate Britain |
London |
James Stirling |
"a vast hole-in-the-wall entrance, a gratuitous neo-Constructivist unsupported corner" |
Eye 653 p. 9
|
1987 |
Police Station at Buckingham Palace |
London |
Property Services Agency |
"ugly, obtrusive, insensitive, banal" |
Eye 679 p. 7
|
1988 |
Skylines Village, Isle of Dogs |
London |
Maxwell Hutchinson |
"a 45-degree triangle on its side ... hyped-up mediocrity" |
Eye 706 p. 9
|
1989 |
The Mound[n 1] |
Edinburgh |
Allies and Morrison |
"a series of pointless, pretentious structures" |
Eye 733 p. 9
|
1990 |
Concert Hall |
Glasgow |
Sir Leslie Martin |
"a building which looks as if it was designed in 1950 in, say, Bulgaria" |
Eye 757 p. 9
|
1991 |
Sainsbury Wing, National Gallery |
London |
Robert Venturi |
"the elaborate and expensive camp joke" |
Eye 784 p. 9
|
1992 |
United Kingdom pavilion, Expo '92[n 2] |
Seville |
Nicholas Grimshaw |
"a showy, pretentious exterior with nothing behind it" |
Eye 810 p. 11
|
1993 |
Maitland Robinson Library, Downing College |
Cambridge |
Quinlan Terry |
"a gauche and vulgar essay in misunderstood Greek Classicism" |
Eye 836 p. 7
|
1994 |
Principal's Lodgings, Harris Manchester College |
Oxford |
Peter Yiangou |
"illiterate red-brick neo-Georgian" |
Eye 862 p. 9
|
1995 |
Faculty of Law |
Cambridge |
Foster and Partners |
"a long extruded half-cylinder of glass and stainless steel" |
Eye 888 p. 7
|
1996 |
House for an Art Lover |
Glasgow |
Charles Rennie Mackintosh |
"[an] unreal design by [a] long dead architect" |
Eye 914 p. 12
|
1997 |
Scottish Exhibition and Conference Centre |
Glasgow |
Foster and Partners |
"a triumphant betrayal of all that modern architecture was meant to stand for" |
Eye 940 p. 9
|
1998 |
Buchanan Galleries |
Glasgow |
Legge Ericsson, Jenkins and Marr |
"a triumph of barbarism, vulgarity, ineptitude" |
Eye 967 p. 9
|
1999 |
Millennium Dome |
London |
Richard Rogers and Partners |
"a huge circular plastic tent ... [an] extravagant, vapid toy" |
Eye 992 p. 17
|
2000 |
Falkland Islands Memorial Chapel, Pangbourne College |
Pangbourne |
Crispin Wride Architectural Design Studio |
"so very like the Ruskin Library that its 'architects' are obviously shameless" |
Eye 1018 p. 9
|
2001 |
The Forum |
Norwich |
Michael Hopkins and Partners |
"all entrance ... a huge and crude building" |
Eye 1045 p. 12
|
2002 |
Extension to City Art Gallery |
Manchester |
Michael Hopkins and Partners |
"the splendid and really beautiful interiors of the original building .. have been gratuitously spoiled" |
Eye 1070 p. 12
|
2003 |
Juxon House, Paternoster Square |
London |
William Whitfield |
"an overdone embarrassing compromise, a dog's dinner" |
Eye 1097 p. 15
|
2004 |
Scottish Parliament Building[n 3] |
Edinburgh |
Enric Miralles |
"confused and confusing mish-mash of upturned boats and leaflike forms" |
Eye 1122 p. 12
|
2005 |
Monument to the Women of World War II |
London |
John W. Mills |
"crude and inept ... from a distance, the memorial becomes an incoherent dark lump, formless and inelegant" |
Eye 1149 p. 14
|
2006 |
Palestra, Blackfriars Road |
London |
SMC Alsop |
"a giant gimmick that is also plain ugly" |
Eye 1174 p. 14
|
2007 |
The Meeting Place statue, St Pancras station |
London |
Paul Day |
"this tasteless creation" |
Eye 1200 p. 14
|
2008 |
The Public |
West Bromwich |
Will Alsop |
"a big box ... with no obvious entrances" |
Eye 1226 p. 12
|
2009 |
One Hyde Park[n 4] |
London |
Rogers Stirk Harbour + Partners |
"an overweening (half-empty) ... masterpiece" |
Eye 1252 p. 15
|
2010 |
One New Change |
London |
Jean Nouvel |
"on this crucial, prominent site, Nouvel's incoherent, solipsistic glazed lump is an insult to St Paul's" |
Eye 1278 p. 14
|
2011 |
Museum of Liverpool[n 4] |
Liverpool |
3XN and AEW Architects |
"a cheap rip-off of [ Zaha Hadid's ] Deconstructivist style" |
Eye 1304 p. 12
|
2012 |
RAF Bomber Command Memorial |
London |
Liam O'Connor |
"pompous, self-regarding and triumphalist" |
Eye 1330 p. 12
|
2013[n 5] |
Restaurant at the Serpentine Sackler Gallery |
London |
Zaha Hadid Architects |
"as incoherent as it is expressionistic" |
Eye 1356 p. 8
|
2014 |
Reid Building, Glasgow School of Art |
Glasgow |
Steven Holl Architects |
"crude and insufferably arrogant essay in minimalist neo-modernism"[2] |
Eye 1382 p. 18
|
2015 |
Investcorp Building, St Antony's College, Oxford[3] |
Oxford |
Zaha Hadid Architects |
"a long, curved, metallic thing like a big shiny slug" |
Eye 1408 p. 21
|
2016 |
NEO Bankside and The Switch House |
London |
Rogers Stirk Harbour + Partners and Herzog & de Meuron |
"ragged, discordant and rather incoherent in both surface modelling and overall form", "new, discordant brickwork" |
Eye 1434 p. 20
|
2017 |
Statue of George Orwell, Broadcasting House |
London |
Martin Jennings |
"The great man is depicted holding a fag, dressed in a crumpled suit and standing like a music hall artist about to crack a joke. The plinth is pathetic" |
Eye 1460 p. 20
|