hello, this is bbc news with reeta chakrabarti. the headlines: borisjohnson has told his cabinet a brexit deal is on the horizon — but there's still a significant amount of work to get there and they should remain prepared to leave without a deal on october 31st. the westminster leader of the snp has said they have prepared a motion of no confidence in borisjohnson and his government. the family of a teenage motorcyclist, killed in a collision involving the wife of an american diplomat in northamptonshire, are on their way to the united states. hundreds are reported to have escaped from a camp, in northern syria, holding family members of islamic state fighters — as an offensive by turkey continues.

and now david sillito reports on the shortlisted buildings, including the winner, for the 2019 riba stirling prize — one of the most prestigious awards in architecture. platform six and seven for you. you're welcome. the roof is a piece of art in itself. you can't see it at all from the outside. you enter the building and this remarkable space is revealed. we have something that is almost like an artwork that has come out of the ground.

was there a moment when you thought, "what have i done?" obviously there were several days, dark days. me and my partner have both said it since we moved in, we are here for the long run, i think. it's brilliant. welcome to the roundhouse in london, and this, the biggest night for architecture, the stirling prize. this is where the great and the good of architecture, the royal institute of british architects gather together to decide which is britain's best new building of 2019. there are six nominated buildings. and it's an incredibly varied list. we have an opera house, a visitor centre, development in someone‘s back garden. but there is a theme running through all of this. sustainability. what's the best way of being gentle on the planet? we begin with the first of our six buildings, a railway station, and itsjob, how do you turn an old victorian

chaos and confusion into something fit for the 21st century and double the number of passengers? are you coming through? all right there? you're welcome. you need the 31 on platform one. all the way down the bottom, by that glass window, yeah? what's going on here? it's not behaving. oh, dear, that's terrible. let's get you in. mind your knees. are you ready? platform six and seven for you. you're welcome.

i'd much rather work here than the old station. i really would. because it's lovely. describe the mood, before and after, of the passengers. before, in my opinion, no one had any time to say hi, how are you doing, are you 0k today, how's the family? nothing. it's fine. it's ok. there you go. and the mood now? it's brilliant. oh, my goodness. we see our regular customers here, we have conversations. it's hi, how are you doing, i haven't seen you in a while. and they are genuinely pleased that this station has given them that kind of openness. you know, they're more freer. so, for me, as the client, what i wanted most out of it, paradoxically, is that passengers arrive, go through and leave

the station almost without noticing it. because that means it's worked as a station. because nobody wakes up in the morning and says i need to come to a station. this is a means to an end of them getting somewhere. as soon as anybody starts talking about a station, you know that their day has gone wrong. yes, exactly. the thing that strikes you is, where did all this space come from? because the old london bridge station really wasn't so much a station, it was more a confusion of random tunnels, platforms, it was a great place to miss your train. and now, well, you can see one giant space that stretches as far as the eye can see, and you can work it out immediately. the trains are up here, you justjump on the train. they've made london bridge simple.

and, in the past, it was anything but. for the 15 million commuters who pass through each year, london bridge was a place to be endured, rather than loved. the station is really an old set of viaducts that were built at different times, and never really linked up. and then in the 70s it had a bit of a 70s makeover. launched by... as the bishop said to aslef. the bishop of southwark and frankie howard. but the solution... it was just another set of depressing and confusing corridors. the answer, radical.

cut a massive hole through the station. all the platforms, all the supports, all the track was replaced while the station was still operating. it was described as open heart surgery on a patient that wasn't just awake, they werejogging. and to see how it works, i went for a walk with the architect. we were asked if we could avoid filming during rush hour. however, we managed to get around that. this is the absolute rush hour we are in at the moment, it's about 8.30. so this is the busiest time of the day. there's a calm, isn't there? it's bizarre. there are 56 million people a year using this station, currently, it's designed for 96. but it's a kind of calm. it's mostly commuters, so they know where they're going. the thing about the london bridge station, no—one has ever had a great railwayjourney begin or end here, has it? it's not one of those stations

where you go you bring your steam trunk and you are heading around the world. no. it's never been loved. i'm really hoping now that network rail and ourselves have taken the care to build, we think, a beautiful station, designed around the passengers, and people will start and finish theirjourneys here and will like using the station. actually use the station not just for getting trains, but for other things, too. wow, a beautiful commuting experience, that is what you are wanting. what we want is for everybody to have a beautiful commuting experience every single day. there's even a bit of natural light, isn't there? absolutely. i think what's important is that you do have a connection with nature. i think people, if you're just pushed and squirted through underground caverns, i don't think it's good for the soul. i think it's nice to see the light, see the light hitting the structure and the timber. that's what it was like, being squirted through underground caverns. yes, like being shot from a tube of toothpaste. but now you can walk freely.

there are lots of exits and entrances, you can move wherever you want, you can connect with whichever part of the city you want. you aren't forced in any one particular way. we've got us, we've got technology, we've got the shops, we've got a lovely seating area. you know, if it's raining up there, they come down here. they can just chill and relax for the next train. they don't have to go upstairs. it's been such a pleasure. 0h, another lady. are you all right there? do you want me to do it or are you all right? when it comes to being green, taking an ageing piece of public transport and almost doubling its capacity is pretty impressive. but there are other ways of being gentle on the environment. these next three buildings all have something in common, respect for the beauty around them.

we needed a new entrance into the park, we needed more car parking, more cafe space. and we also wanted a building that was going to bring people into this 18th—century landscape in a new way. you approach the building from the car park and you are taken into something which is almost like a kind of slit in the earthwork, like you are going into the hill, and everything explodes when you go into this room. the light explodes, and the landscape explodes in front of you. what we wanted to do was create a complete transition from the motorway and the 21st infrastructure, to cross the threshold you would descend into the building, then we wanted people to be met with a calmness before then venturing out to the park to discover the wonderful works of art and the landscape.

and from yorkshire we travelled to scotland, and another building that almost disappears into its setting. the idea of producing a nice shed, having the stuff in there that produces whisky and having a nice visitor experience wasn't what we wished to create. we felt the whole thing should be a jewel at every level. this area has lots of visitor centres for distilleries. in this one, we set out with a real intent to make it different, and to show the visitors just how a distillery works. graham's great line was that nature abhors a straight line. the roof is a piece of art in itself, for it to be continually moving and allow that glass to stay

in place on the wall, i don't know how it works. with its meadow roof, the distillery almost melts into the landscape. and our next development is entirely hidden. this was originally a stable block courtyard. we've converted this beautiful and historic building into an exceptional, but intimate theatre. you can't see it at all from the outside. you enter the building and this remarkable space is revealed. in contrast to many opera theatres that have gold and red velvet seats, we wanted to retain some of the character of the stable yard. we already had these rich iron stone walls, timber felt a natural material to go to. our first task was to make a new floor, build the stage at ground level.

we then created a new roof over the courtyard to make the room. but we wanted to keep a memory of the courtyard, and so we introduced the large roof light over the space. so, an invisible opera house. but our next development takes on one of the biggest environmental issues. energy. and not wasting it. so, this is it. very nice. into the living room. we've got the garden, my little girl absolutely loves the garden.

she's got the passageway out the back, she's made so many friends. who is this? that's my dog, rusty. rusty? hello, rusty. i would never have thought this would have been a council property. have you turned the heating on? twice. twice in a year? since we've been here, yeah, twice. have a look at how thick these walls are. these houses are designed to be low energy. you're not even allowed a letterbox in the door in case it lets out some heat. and they also make the most of the weather. one thing about it is it's pretty sunny. and there's a reason, because they've designed it that way. because the roofs are kind of really flat, which means that even in the dark days of winter, even on the 21st of december, if there is some sunshine, it will be coming down here and hitting the bottom of the window. and another key feature is this. well, this, to me, is a snicket.

coming from scarborough, it's a snicket i'm looking at. we've been calling it a ginnel. thse were the 12 story blocks of flats at gee street, finsbury. the first of britain's skyscrapers. for the last 50 years or so, the flat has more often than not been seen as the best way of making the most of limited space, but the architects here were determined to prove that houses could be high—density. and the reason they wanted them, sociability. i think we've got a real problem with lack of social connectedness. this housing is thinking a lot about how we can encourage social connections, people meeting each other. but i think there's also ideas about how to encourage children to play outdoors, how to get to play areas without crossing roads and make that safe. and it's this child friendly safe space that made all the difference for chloe and her partner, louis.

they're never going back to a flat. when you first walked into it... yeah? what did you think? i thought, they‘ re lovely, i'd love one. and i managed to get one, which is really good. ijust wanted my little girl to have a garden and some freedom, where she can investigate, pick bugs off the floor, you know what i mean? do what kids do. and i can't see myself moving from here, not for a long time. if you got the chance to buy it... i'd buy it. 100%, yeah, i'd buy it. they're all going to have a chance pretty soon to buy them, aren't they? yeah. i think that's true, under the right to buy scheme. it would be great if the government would reconsider that policy. me and my partner have both said since we moved in, we're here for the long run, i think. it's brilliant. so, as soon as you get the chance... we'll buy it, yeah. that will be ours.

and now ourfinal building. carbon neutral and com pletely recycla ble. for me, this is a very cozy, warm, familiar space. there is a nice play of shadow and light in this building. it's a calm, still building. and that's because you are enveloped, it absorbs sounds, so it's very quiet.

what does a green building actually mean? well, what's interesting about this one is what's missing. there's no mortar, no bricks, no plaster. almost no steel or plastic, or paint. it is just wood. cork. you just want to touch it. it just feels fantastic. it smells great. but this is about more than just being beautiful. this is an attempt to make a house that is truly recyclable. these granules are the by—product of making corks, and they've been turned into building blocks that are just slot together. you've just got a pure plant—based organic piece of lego, if you like, plant—based lego, and they friction fit together,

and take all the compression loads. and the pyramids? it's just the shape that naturally emerges if you want gravity to hold the blocks together to form a roof. you've built a pyramid, haven't you? built a pyramid, but we didn't start off to say i think it would be nice to have five pyramids. the reason it's this shape is because when you decide not to build with glue and mortar, that's the easiest way, structurally, to build the roof, just through one material, and not introducing steel or anything else. and to prove just how easy it is to assemble and disassemble the blocks... i've been told even an idiot such as me can have a go at doing a bit of construction. so, let's see if this really is idiot proof. and... it really is like building blocks. this is, i think, a bit of roof.

there we go. in. that goes there. i think i've just built a wall. not brilliant, but that was about a minute, wasn't it? amazing. the wall, simplified. it even meets building regulations. and the construction team, matt and oliver, who designed, tested, developed and built everything from scratch. yeah, i like that. go on, then. yours a bit left. does look better, yeah.

nothing but large blocks of expanded cork that fit together. so, how many other cork houses are there before this? this is, as far as we're aware, the first cork house where we have tried to use cork for everything. so it's the solid structure of the building, the insulation, the outside and the inside of the building. all in one. so, cork has been used in construction for thousands of years, it's documented as used in roman times as a roof sheeting. and it's been used to externally and internally clad some ancient buildings in spain. as far as we know, this is the first permanent building that uses cork structurally in this way. we've designed it to last indefinitely, it's carefully detailed. so, the aim is that it should last as long as a well—detailed timber building. and there are examples of timber buildings that have lasted several hundred years. what's this about? well, initially, the initial hypotheses, really, came from the idea of simplifying the wall. rethinking the wall.

it's a very simple construction, made of a single biorenewable material which happened to be cork. i have to say, this is a poem in brown, isn't it? and black. there's some black here. so, you've rediscovered the pyramid, you've rediscovered cosiness. can't you think of a better word than cosiness? is cosiness a bad word for an architect? it's not a bad thing for a house. no, no. maybe sheltering forms, cocooned, protective spaces, something like that. yeah, cosiness is fine. was there a moment when you thought, what have i done?

i guess over such a long period of research and development, and genuine innovation, obviously there were several days, dark days, when you wondered, yeah. was i going to get to the end of it, was it going to be successful? i guess that's always a possibility, isn't it, with research. otherwise it's not genuine research. there were lots of days when you tried things and they fail. and the next day you try something else to solve the failure. this is a pilot project for a new construction system. so, that's it, the six nominated buildings for this year's stirling prize. all that's left to find out now is who has actually won.

course, there only has to be one winner. and it's my honour to announce the winner of the 2019 stirling prize. and the winner is goldsmith street. david mikhail, annalie riches, cathy hawley. goldsmith street, a development of council houses in norwich, built to the highest possible standards. energy bills will be about £150 a year if you live there. i just wanted to say that we would not be standing here if it wasn't for the vision of norwich city council. you must be pleased tonight? delighted. so thrilled for norwich, because of their leadership

of the local authority, so thrilled for us because we have been plugging away at this particular scheme for a very long time. yeah, thrilled, it means a lot. it's amazing that council housing even made it onto the shortlist. so i'm certainly shocked that we have won it. but hopefully it will encourage people, other councils to think about doing this. congratulations to you both. 11 years, why has it taken such a long time? i get the feeling there have been some ups and downs along this process? i think the crash was instrumental. the project went to sleep, as so many did, in 2008—2009, around the country. and i think what happened was the government changed the financing structures of local authorities, which meant that norwich looked again at this scheme and realise that perhaps they could do it themselves. and a lot of councils are now on that journey. so there it is, the winner of this year's stirling prize for architecture.

and while it might lack a bit of the drama or spectacle of some previous winners, what it does have a something very special, inspiration, maybe even a model forfuture buildings. this really may change the way we build. with that, thank you and good night from this year's stirling prize for architecture. hello once again. the picture behind me look so very autumnal in so many ways. yes, the pumpkins are ready for halloween, but many areas have seen quite a bit of rain. you have to go quite a long way north in scotland to see somewhat drier, brighter conditions, at least in the short term. this is the set up as we see it at the moment, areas of low pressure dominating the scene, another one just moving into the south—western approaches, more about that in just a second. the rain should, before the day is done, clear away from the southern half of britain. it will take longer to clear

the heart of scotland, but eventually, i think it will probably will do. then the rain returns back into the south—eastern quarter, just when you thought you had seen the last of it. a new area of low pressure closing in into the south—western quarter. it is going to end up being quite a chilly night, away from all the cloud and rain, across the southern counties of britain. this is the set up for monday, plenty of weather fronts around again, the waving front of the weekend back again into the south—eastern quarter. a pretty miserable start to the week. the rain will be indeterminate in just how far north it's going to get, it could get up to lincolnshire a little bit quicker than i'm showing you, could be over towards birmingham. what is a little bit more certain is that that second area of low pressure, with its fronts, will spread cloud and rain towards cornwall, into the western side of wales, and certainly into northern ireland — it could be quite wet here. eventually, up into the western side of scotland. if you get it, you keep it, because there isn't an awful lot of wind at this stage. temperatures about par

for the time of year, some dry weather across north and eastern scotland, the north of england, for a time. watch out overnight because that rain really ramps up, met office warning already in force for the intensity of that rain. but into the body of tuesday, it moves out for the most part into the north sea, save for the north—eastern quarter of scotland, wet here again. tuesday, a pretty decent sort of day, but it crumbles towards the end of the day as another set of atlantic fronts bring more cloud and wind and rain back in towards northern ireland. it's that set of fronts which, during the course of wednesday, push quite rapidly across the british isles. brighter skies following on behind, but the rain never really getting away from the far north—east of scotland, nor indeed, the far south—east of england. wednesday, improving. thursday and friday, a mixture of sunny spells for many.

this is bbc news. the headlines at five. the family of harry dunn — who died in a road collision with an american woman who then fled to the us — fly to the country, hoping for a meeting. we may be able to hopefully get a meeting put together, whether it's face to face, lawyer to lawyer, not really really sure on that basis, yet, but fingers crossed we're stepping in the right direction. borisjohnson tells his cabinet a brexit deal is on the horizon, but there's still a significant amount of work to do to get there. hundreds are reported to have escaped from a camp in northern syria, holding family members of islamic state fighters — as an offensive by turkey against the kurds continues. the escapes occur as president trump

plans to withdraw the remaining us