st ives sits as a spit of sand out into the atlantic, which captures both the east and the west lightt that attracted artists here in the first place. the roof of the gallery is made up of massive concrete beams, above which are six very large light chambers that capture this very particular light of st ives. you could say that daylight was the primary material around which the gallery was built. inside the gallery, it was incredibly important that we provide art handling and staff spaces and this created a small building that sat above this landscape, and, as it was looking out to the sea and up at the sky, we chose to clad the building in a glazed tile, which reflects the sea and sky and captures these two primal elements of the cornish landscape. you don't realise the scale of how big this build is and how clever it was to imagine that it would fit here until you actually come into the finished space and you see it for the first time and it was just amazing. i am just thrilled. to me, this is a testament to true dialogue with the communities of cornwall, resulting in incredible arc

st ives sits as a spit of sand out into the atlantic, which captures both the east and the west lightthat attracted artists here in the first place. the roof of the gallery is made up of massive concrete beams, above which are six very large light chambers that capture this very particular light of st ives. you could say that daylight was the primary material around which the gallery was built. inside the gallery, it was incredibly important that we provide art handling and staff spaces and this created a small building that sat above this landscape, and, as it was looking out to the sea and up at the sky, we chose to clad the building in a glazed tile, which reflects the sea and sky and captures these two primal elements of the cornish landscape. you don't realise the scale of how big this build is and how clever it was to imagine that it would fit here until you actually come into the finished space and you see it for the first time and it was just amazing. i am just thrilled. to me, this is a testament to true dialogue with the communities of cornwall, resulting in incredible archi

tate came to st ives because of this amazing legacy — an artist colony that started in the early 19th got to the point where he had four times as many visitors as we expected, so the gallery was bursting at the scenes. the community wanted the gallery to expand but at the same time, they wanted it to be integrated into the landscape. we did this by excavating into the cliffside so that we could create the largest possible gallery level with the existing galleries. st ives sits as a spit of sand out into the atlantic which captures both the east and the west light, and it was this particular double light that attracted artists here in the first place. the roof of the gallery is made up of massive concrete beams, above which are six very large white chambers that capture this very —— above which are six very large light chambers that capture this very particular light of st ives. you could say that daylight was the primary material around which the gallery was built. inside the gallery, it was incredibly important that we provide art handling and staff spaces and this created a small bu

tate st ives, in cornwall.and a new public walkway. tate came to st ives because of this amazing legacy here — an artists' colony that started in the early 19th century and continues to this day. we got to this point where we had four times as many visitors as we expected, so the gallery was bursting at the seams. the community wanted the gallery to expand, but at the same time they wanted it to be integrated into the landscape. we did this by excavating into the cliff side, so that we could create the largest possible gallery level with the existing galleries. st ives sits as a spit of sand out into the atlantic, which captures both the east and west light. it was this particular double light that attracted artists here in the first place. the roof of the gallery is made up of massive concrete beams, above which are six very large light chambers that capture this very particular light of st ives. you could say that daylight was the primary material around which the gallery was built. besides the gallery, it wa

st ives sits as a spit of sand out into the atlantic, which captures both the east and west light.ive concrete beams, above which are six very large light chambers that capture this very particular light of st ives. you could say that daylight was the primary material around which the gallery was built. besides the gallery, it was incredibly important that we provide art handling and staff spaces, and this created a small building that sat above this landscape. as it was looking out to sea and up at the sky, we chose to clad the building in a glazed tile, which reflects the sea and the sky and captures these two primal elements of the cornish landscape. you don't realise the scale of how big this build is and how clever it was to imagine that it would fit here, until you actually come into the finished space and you see it for the first time. and it was just amazing. i'm just thrilled. to me, this is a testament to true dialogue with the communities of cornwall, resulting in incredible architecture. you can find out more about all of the nominated buildings on the bbc arts website

finally, new tate st ives, buried into the bottom of st ives.eat of engineering taking 20 years to make. burrowing. you can't grasp it in one go. it is a new gallery space and the best staff entrance and service lift for the artworks i've ever seen. a good service lift and staff entrance? i've never heard that before!m service lift and staff entrance? i've never heard that before! it is beautiful! the crown of the building is covered with hand glazed blue bricks which change with blood. the whole building is about light, the architects said it was all about the light. we always say about inspiring people about who visit these buildings and also who work there. yes, it was opening time i was watching the staff coming and going, walking down this you landscape on the roof, on top of the gallery. it is one of those civic gift buildings that you feel a lot of care has gone into making something that is part ofa into making something that is part of a place for a whole community of different users. much of the building you can't see but the gallery i

st ives sits as a spit of sand out into the atlantic, which captures both the east and west light.aterial around which the gallery was built. ——you could say that daylight was the primary material around which the gallery was built. besides the gallery, it was incredibly important that we provide art handling and staff spaces, and this created a small building that sat above this landscape. as it was looking out to sea and up at the sky, we chose to clad the building in a glazed tile — which reflects the sea and the sky and captures these two primal elements of the cornish landscape. you don't realise the scale of how big this build is and how clever it was to imagine that it would fit here, until you actually come into the finished space and you see it for the first time — and it was just amazing. i'm just thrilled. to me, this is a testament to true dialogue with the communities of cornwall, resulting in incredible architecture. you can find out more about all of the nominated buildings on the bbc arts website and watch this year's riba stirling prize live here on the bbc news ch

the new tate at st ives in cornwall by jamie fobert architects with evans & shalev. expected, so the gallery was bursting at the seams. the community wanted the gallery to expand, but at the same time they wanted it to be integrated into the landscape. we did this by excavating into the cliff side, so that we could create the largest possible gallery level with the existing galleries. st ives sits as a spit of sand out into the atlantic, which captures both the east and west light. it was this particular double light that attracted artists here in the first place. the roof of the gallery is made up of massive concrete beams, above which are six very large light chambers that capture this very particular light of st ives. you could say that daylight was the primary material around which the gallery was built. besides the gallery, it was incredibly important that we provide art handling and staff spaces, and this created a small building that sat above this landscape. as it was looking out to sea and up at the sky, we chose to clad the building in a glazed tile — which

ten st ives. what makes this special? this is a feat of engineering as much as it is architecture.eve from the beginning the plant and homes to be moved. and it has been smelted into an extension. a lot of granite. 900 lorries were working. it is like a cave. a cave would not describe the beautiful set and feel of this massive and underground public gallery that has been created. beautiful gallery and a whole set of house spaces, the nicest adventures i have ever seen. the nicest staff entrance, what makes a good then?- at the top of the building which is the crown in which you see when you are down on the beach. and it is covered in beautiful hand glazed blue brick. if you sit there you watch the light change and then with wonderful landscaped roof falling down in this new part of the gallery into the sea. everyone has gone back to their seats. who do you think should win? i would like stories field centre to win. such loving care. i also have a soft spot for dictate. that are these extra dairies that have student accommodation and all of that. . can accommodation and all of that.

in terms of the tate in st ives, it is interesting that there is these big windows that look out, that them having meetings looking out over parkland and things like that. all right, layla mccay, good to talk to you. thank you. you are watching bbc news. a convicted british paedophile is being sued for damages by five young people who claim they were sexually exploited by him while he was living in the philippines. douglas slade was jailed for 24 years in 2016 for abusing five boys here in the uk. angus crawford reports. a dangerous and manipulative paedophile. briton douglas slade, now behind bars in the uk. but for 30 years, he lived here, angeles city in the philippines. it's claimed he would entice children into his home and abuse them. whenever i remember the things he did to me, the way he abused us, it comes back to my mind. everything he did. a member of the notorious paedophile information exchange, two years ago he was extradited, tried and convicted of sex offences against children in the uk in the 19605, 705 and 805. but today he faces a new legal battle. five young people

st. joseph's college. the more privileged foreigners lived there. we lived on the coast near the beach and there were only have a dozen or so foreigners who ived in that area. >> here you are, jewish, there are foreigners, i assume from germany, as well. how would you interact with the germans who were nazi sympathizers? >> i was very curious because the german government controlled their opulation. they were all subject to oversight by the germans. germans had gestapo units to watch out for them. we got to know some of them. interestingly enough, my best friend when i was 10 years old was a young german who had een stuck in japan after his family started to go back to germany from new york, where his father was a banker and they were stuck in japan because they cannot continue n the trans-siberian railway after the soviets declared war on germany. so they spent the year in japan instead of going back to germany. my friend who sat in front of me in school and became a close friend, came once a week n his hitler youth uniform and was watched over by the gestapo. his parents allowed him to be friendly with a jewish boy parents my parents accepted him be