Edmund Fowles, director of Feilden Fowles Architects, reviews Caruso St John's monograph published by Mack books. Discussing the books openness, he praises the presentation of projects and references alongside commentaries, a 'constellation of culture, memory, construction and emotion'.
Photo, New Art Gallery Walsall Model © Caruso St John
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Sofie De Caigny, director of the Flanders Architecture Institute, reviewed Caruso St John's Collected Works: Volume I for Drawing Matter. She discusses the book's choice to submerge the reader into the cultural sphere of the end of the 20th century, through contemporary texts, lectures and references.
Casabella issue 940 features a review Caruso St John's Complete Works, Volume I, published by Mack Books. Federico Tranfa commends the book's thematic collation of projects, found texts and commentaries, stating it is a 'courageous way to come to terms with the past, because it is not analysed a posteriori, but instead with the cultural context of the epoch of pertinence'.
Book launch, London
Caruso St John: Collected Works
Volume 1, 1990–2005
AA Bookshop, London
18:00 19th October 2022
Adam Caruso and Peter St John will celebrate the publication of their Collected Works: Volume 1 1990–2005, by presenting two personal projects from the formative years of their practice; their homes at Swan Yard and Orleston Mews.
Book launch, Zurich
Caruso St John: Collected Works
Volume 1, 1990–2005
Erikastrasse, Zürich
18:00 CET 1st November 2022
Adam Caruso will be in conversation with curators Fredi Fischli and Niels Olsen to celebrate the launch of Caruso St John's Collected Works: Volume 1 1990–2005.
The first volume of Caruso St John's Collected Works is published this month by Mack Books. The publication covers the first fifteen years of Adam Caruso and Peter St John's partnership, following a thematic course shaped around key phases and aspects of their thinking, and offering a detailed reflection on the practice’s activities between 1990 and 2005. Through a chorus of voices including critics, clients, and artists, it narrates Caruso St John's early emergence and development through to the international recognition which came with projects such as Nottingham Contemporary, the New Art Gallery Walsall, and the Brick House.
Following his January 5th lecture All Buildings are Beautiful at the Museum of Contemporary Art in Warsaw, Adam Caruso was in conversation with architect Aleksandra Czupkiewicz. A transcript of their discussion is published in the March edition of Architektura Murator.
St Pancras Campus is reviewed in the March edition of the RIBA Journal. Chris Foges speaks to Peter St John about the state of commercial development in London, discusses the building's contribution to its urban setting at the border of Kings Cross and Camden Town, and commends its rich detailing and high quality approach social housing.
Hospitalfield features in the third issue of Alder, a publication documenting Scotland's modern architecture, produced by the office of Mary Arnold-Forster.
Rowan Moore includes the new studio building at Hospitalfield features in his top five projects of 2024, calling it "a playful, expressive structure in which fun is had, in the tradition of Arts and Crafts architecture, with eaves, gutters, cladding and other basics of building".
Caruso St John are guest editors of Baumeister's annual curated issue. The issue is conceived as a reader, presenting a series of texts that have influenced the practice's recent thinking, including writing by Material Cultures, Grace Ndiritu, Barbara Buser, and David Holmgren.
St Pancras Campus is reviewed in the December issue of the Architects Journal. Rob Wilson visits the building with Peter St John and Rod Heyes and discusses its position in the emerging cityscape between the railway land of King Cross and the Victorian terraces of Camden Town.
This second volume in Caruso St John’s Collected Works is published this month by MACK. The publication traces an interlacing set of themes through the practice’s work over the first twelve years of the twenty-first century. Its unique approach to history is revealed as a rejection of the myth of relentless novelty in favour of an understanding of the past as present and an interest in working with the existing. The influences of Milan, Chicago, and Rome on understandings of the city are explored, as well as the use of ornament and the place of Switzerland in shaping the practice’s evolving trajectory. Throughout these contexts, collaborations with contemporary artists including Thomas Demand and Damien Hirst continue to shape the practice's relations to the materiality and drama of space.