What London practice can get away with spending eight years planning a glass and concrete house for a pair of art historians? Gianni Botsford Architects -- whose principal will be giving a talk in the Architecture Foundation's Winter Nights series -- did, and the result has been widely lauded. But why? Arguably, the reason is that the house itself is made of the most modern materials, but the design impetus could be no further from modernism, minimalism, or other moral promises. The driving force was light: following on from previous research at the AA, Botsford's interest in analysing light found a partner in structural geniuses Arup, who devised a way of depicting their computations about light levels and weather throughout the site in Notting Hill. This has been a project widely feted in the media, and the practice's international profile is not to be sniffed at. But the real impetus for heading along to see Gianni Botsford giving this talk is the possibility that you might hear something genuinely exploratory which doesn't just claim novelty, in a forum in which questions are welcome. He'll be focusing on a number of the practice's current and past projects to explore the design philosophy of their work.

NB: for architectural fans catch another interesting talk on 06/02 (6:30pm) at RIBA when Wangari Maathai -- winner of the Nobel Peace Prize in 2004 -- chats with David Adjaye.

According to Roger Hiorns, the experience of the viewer just might validate the existence of the work of art. After all, we're talking about the artist who buried a gully into the surface of Tate Britain's Sculpture Court and then set fire to its liquid contents so that flames would rise through the grating (Vauxhall, 2003). To qualify this work as an arresting sight, hinting to an inferno lying under the stately gallery, wouldn't quite do justice to the subtle ways in which Hiorns can reframe our perception of a familiar environment. For Glittering Ground, Hiorns will present a new performance meant to convey that very paradox of familiarity / estrangement to the viewer. This time, the artist will base this tension in the relationship between the performer's physical presence and absence, using a combination of light and music.

For the two Begum sisters -- Londoners born and bred -- the crunch has come: it's time for their ultra-traditional Bangladeshi-style arranged marriage. Older sister Shahanara is an effing and blinding clubber; younger Hushnara tries her best to be devout and do what dad wants. Both women are about to be reluctantly talked into specially-imported, off-the-shelf husbands. Close family friend Simon Chambers (3 Minute Wonders) follows the process -- from the initial decision, to the somewhat altered conclusion -- via tantrums, plot twists and direct-to-camera requests for his opinion on the proceedings. A humorous and honest look at a family hopefully and objectively attempting to reconcile a mix of modern and older generations, with British and Bangladeshi values and traditions. But will the film have a traditional happy ending?

NB: Simon Chambers and the Begum family will participate in a Q&A after the screening.

A lot has happened for Tacita Dean recently. In early 2006, the British artist, who is based in Berlin, had a solo exhibition at Oslo's Museum of Art, Design, and Architecture and in November 2006, she was awarded the Hugo Boss Prize. Next month she will have an exhibition at the Guggenheim Museum in New York. Well known for making 16mm films that capture the fallen ideals of certain architectural spaces, Dean has more than once turned her cinematographic eye onto the human subject. On 31/01, the Goethe Institute will screen The Uncles, Dean's 77 minute long footage of a discussion between her own uncles, the celebrated Ealing Film Studio's Basil Dean and Michael Balcon, their respective sons, and MoMA curator Laurence Kardish. The following evening, Dean will deliver a lecture and if the artist's films are any indication of what to expect, you can certainly anticipate an engaging conversation.

NB: Tacita Dean gives a lecture on 01/02 and The Uncles is screened on 31/01.

People get painfully precious about film adaptations of celebrated novels, especially if they are by and about English people, so believe us when we say that the brouhaha surrounding Zoe Heller's Notes On A Scandal will reach fever pitch. Dame Judi uglies-up to the nines (eeew, her thinning mop is like H from Steps, as worn in the BB house) to play the repellently scheming teacher Barbara Covett, who wheedles herself into the position of confidante to Sheba Hart (Cate Blanchett), the glamorously bohemian addition to the school's drama department. After the novice pedagogue embarks upon an illicit affair with one of the pupils, Barbara becomes quite the Iago of Islington (director Richard Eyre mysteriously relocates here from the novel's Highgate -- what's wrong with N6 is anyone's guess); her emotional manipulation of naive Sheba is nothing if not Shakespearian. The tensions and powerplay shifts in the film are chilling; it's just a shame they stripped the subtlety from the novel and slapped on an upbeat Hollywood ending. It's all very odd, given playwright Patrick Marber adapted the screenplay, and theatrical maestro Eyre directed. Still, on its own terms it's a brilliantly uncomfortable thriller that's unsettling in its simplicity and familiarity, and showcases some great performances from the lead actresses.

NB: Notes On A Scandal is released in London on 02/02.

If Emio Greco's new show wasn't called HELL you may not realise where you are. Although it could be argued that you're not exactly "safe" in the knowledge either; disorientation is a constant, especially if you're expecting anything like his last piece with Pieter C Scholten, Double Points: + -- gone is the minimal elegance of that work (a solo followed by a duo), replaced by a vast array of wildly contrasting ensemble "scenes" that often feel uncomfortable and lengthy. Of course there's not a foot or squeak out of place though, and overall it's the extraordinary synthesis of every performative element that wins over. Lighting designer Henk Danner has embraced the "moving light" and made a performer of it, literally placing one on stage and letting it jiggle around like R2D2 while its brother strokes and isolates audience members with a slowly creeping shaft of lacerating, white light. When he reveals himself, Greco is astonishing as ever, but his energy is so strong and particular that one is left wanting more -- having decided the key to enlightenment in this negative space is to identify what isn't happening (it takes half an hour before one dancer touches another), one is only left craving more of anything that fills it so beautifully.

NB: runs till 03/02.

John La Rose was "aware of the revolutionary potential of literature and culture in the world", wrote critic Ngugi wa Thiong'o. A towering figure of black British history, education and politics, he put words into action when he started New Beacon Books and the Caribbean Artists Movement in the swinging '60s. In this festival, his co-founders of this radical association, Edward Kamau Brathwaite and Andrew Salkey, commemorate the groundbreaking achievements of this cultural activist, poet, writer and publisher, who contributed to Race Today and chaired the George Padmore Institute. Brathwaite will read Rights Of Passage, which launched the artists' movement, and is now seen as the seminal poetic statement on the past and present of the Caribbean: its history, values and people. Director Horace Ove will introduce Dream To Change The World -- a film that explores La Rose's life and influences, together with stories of his associates. Buru Drummers will capture the vibe with music; and Linton Kwesi Johnson and Don Croll will give poetry readings. Key contributions will also come from Carol Phillips and, of course, Thiong'o. This festival promises a wonderful opportunity to explore La Rose's legacy, and reflect on the capacity of folk culture to make us stop and think.

With all manner of music revivals in full swing it seems only right that someone should have billed John Martyn for this concert at the Roundhouse. Although we seem to be slowly getting used to prominent artists re-emerging and simultaneously re-writing their own history (the most extreme example perhaps being Jimmy Page and Robert Plant reforming Led Zeppelin and cunningly forgetting that John Paul Jones wasn't actually dead), we hope there won't be the same pretension where Martyn is concerned. A legendary chameleon, Martyn's career began in folk music from which he has strayed in ever increasing concentric circles over the years. Nevertheless, even in the depths of the '80s, surrounded by synthesisers and rock drummers, there does appear to be some method in this eclecticism and Martyn's penchant for writing simple songs and for long improvised meditations often transcends the immediate contradictions of their context. In view of the fact that this concert is prohibitively expensive it will no doubt suffer the same Las Vegas style production values the Roundhouse seems to sometimes prefer. Despite this, if there is someone who is equipped to cut through the junk it may well be this man.

Bleeps, kick drums and wide open spaces push a little further east, away from the braying masses of Shoreditch to a warehouse party in Bethnal Green. Those rolling their eyes at another mention of some corrugated rough -- and the "mash up" tag -- will be relieved to know that this was actually a warehouse recently and doesn't have a beacon-esque sign announcing "20,245 seconds until last orders" a la Tea Building. Ben Rymer, formerly of Fat Truckers (probably Sheffield's only electro export since the Human League) and now Gucci Soundsystem alongside self-proclaimed gay icon Riton, promises something minimal, techy but funky. Some legs too in a DJ set by Lesser Panda, recent supporters of Hot Chip and The Presets, championed by DFA's Tim Sweeney and James Murphy and known for the kind of disco house that Murphy wouldn't mind passing off as LCD Soundsystem. Raving through til 6 will also be Riotous Rockers, who've done their best to make Nottingham fashionable and are regulars at Bugged Out and the Lock Tavern's ASBO.

Restless clubbers' needs are once again catered to this coming Saturday by Smithfield superclub Fabric; the two main rooms in the gargantuan venue both boast lineups that will have you sprinting from one room to another with no time to wander into the wrong toilets. Joining feted London techno DJ Craig Richards (aka Tyrant) is Jay Haze and South American legend Ricardo Villalobos, bringing deeper, minimally melodic and innovative mixes to his favourite club. Things promise to get a bit more slamming in the second room with Fabric stalwart and tech-house don Terry Francis headlining after appearances from Billy Nasty -- known for shaping London's techno scene with his hard sets -- and Mark Broom, the ex-Black Dog collaborator whose ambient-influenced, intelligent style provides a more gentle foil for the frantic beats elsewhere on the bill. Finally, a live set from Octogen and an appearance in the third room from cheerful disco-flavoured house producers Reverso 68 provides more incentive to attend. Given the size and profile of the club, we're continually impressed by the promoters' desire to stick to their guns and run genre nights like this; nice one, Fabric.

Tony Scott is not exactly the kind of director you would expect to attract the attentions of an arts and culture website such as KutureFlash. The younger brother of Ridley, Tony became synonymous with blockbustin' action pictures such as Top Gun, Days Of Thunder and The Last Boy Scout and was a regular choice of director for "high concept"  production duo Don Simpson and Jerry Bruckheimer. In 1992, after a chance meeting with the as yet unknown Quentin Tarantino, Scott was impressed with a script the fast talking movie geek insisted he should direct. Reservoir Dogs was released shortly before it and altered the course of popular American cinema. Anticipation for what became True Romance was high but the film didn't disappoint. It managed somehow to please all camps. A subtle and clever script packed with knowing film references that delighted critics, and a well paced narrative drive coupled with audacious action sequences that perhaps only Scott could orchestrate insured that people turned out in their droves to see it. The ICA is screening the film plus an exclusive on stage interview with the director. Expect some great anecdotes and even greater plumes of cigar smoke.

NB: True Romance also screens at the ICA on 07/02 and 15/02 and is being screened in conjunction with the ICA's Hot Fuzztival which runs from 03/02 till 18/02.

For the avant-garde circles of '60s New York, the films of Robert Beavers must have seemed terribly out-of-time. Wrought in pristine cadences suffused with lyricism and emotion, the American filmmaker's work is haunted by a spirit of Old World idealism that has resonated for creators as temporally dispersed as Bresson, the Romantics and Da Vinci. Understandable, then, that the majority of Beavers' work was made after he left New York in 1967 for Western Europe. Over the subsequent two decades, Beavers would come to share an itinerant and romantic companionship with filmmaker Gregory Markopoulos, as each drew inspiration from the cultural heritages of their many continental homes. The filmmaker, now 57, will be on hand at the Tate Modern this weekend to help commence one of the first major retrospectives of his work. The multi-part programme offers a substantial sampling from Beavers' oeuvre, including his complete cycle of 18 films, My Hands Outstretched To The Winged Distance And Sightless Measure. Following this Sunday's screening of From the Notebook Of... (1971/1998), his rhythmical investigation of Renaissance and filmic space, Beavers will be joined in discussion by P Adams Sitney, author of Visionary Film: The American Avant-Garde 1943-2000. Prepare to be transformed.

NB: Robert Beavers will also be on hand to introduce AMOR, Work Done and The Hedge Theatre on 02/03 (the Robert Beavers retrospective runs from 02/01 till 25/02).

Blurt are the real deal. Fronted by the anarchic Ted Milton with Steve Eagles on guitar and Bob Leith on drums, the band mould Milton's frenzied lyrics and bursts of saxophone into strategically accurate blows to the psyche courtesy of hard edged guitar work and tight hypnotic drum patterns. From their beginnings on Factory Records to their current internet fuelled escalation, Blurt have never compromised and remain one of the truly independent voices in underground music. Their gigs are legendary; if you've never seen them perform, quite simply you've missed out on of the greatest live groups around. Also playing are the much praised Kill Kenada, a post-punk group from Bognor Regis whose first success was winning a battle of the bands contest in Portsmouth. Having stated Fugazi as one of their influences, it will be interesting to see if their live shows are as off the wall as some of theirs were.

Schilderkonst: The Art of Painting, as set down by the Dutch Masters, forms the subject matter of James Weeks' magnum opus to date. Formed of three sections for vastly different ensembles and lasting almost an hour, Saenredam, Low Country (based on the work of Peter de Hooch) and Duinland (based on the work of Jan van Goyen) are also infused with the work of the Renaissance choral composer Johannes Ockgehem. This piece -- despite being completed in 2004 -- only now is due to receive a first performance. For this premiere the Kurbis ensemble will also enlist the help of renowned soloists Darragh Morgan, Alan Thomas and Christopher Redgate, in addition to Sophie Appleton performing First Steps. The concert will also include two settings of poems by Rainer Maria Rilke, creating an eclectic evening of music, art and poetry.

Refract yourself through the kaleidoscope of Michel Gondry's imagination and chances are you'll come out on the other side wondering what's going on in his latest film The Science Of Sleep. A bizarre, surreal fantasy tale, its narrative arc introduces you straight into the outre world of Stephane Miroux (Gael Garcia Bernal) and his romantic pursuit of neighbour Stephanie (Charlotte Gainsbourg). Gondry utilizes a canon of eccentric sidesteps into a dream world which in turn allows him to subject us to his skewed view on life. Every stylistic fillip in his bag of tricks is presented, which is either going to infuriate or have you heralding him as a cinematic avatar from another world. Either way it needs explaining and you have the perfect opportunity to turn your ears towards him at The Guardian interview at the NFT.

NB: The Science Of Sleep is released in London on 09/02.

Nothing seems more familiar these days than having a cup of coffee with some friends. Whether it's shared with one other or a group, it has become something of a weekend ritual. Phillip Lai's new installation subverts the nature of such group rituals, blending them with something far more sinister. Directly inside the front door of the gallery is a plasma screen displaying what appears to be dry soil shifting around on plastic sheeting. Where the dark crumbs meet water, they glob together like clods of earth, evoking the ancient rite of burial. The next video shows an ordinary group of young people playing around on foam mattresses, sitting, smiling, picking each other up, laughing intermittently and snatching glances at the camera. Sometimes they appear to be listening to instructions, at others acting of their own free will. But the film is silent and it remains very unclear what these people are doing. In the small room opposite lie a number of thin foam mattresses; did the mysterious performance take place in here? In the last and largest space a magnificent patchwork of tent fabric hangs like a curtain from the ceiling; with various pockets falling just low enough to see and smell the dark dry grounds piled inside: coffee.

NB: runs till 11/02.

"In this country, you gotta make the money first. Then when you get the money, you get the power..." For the architect, money alone will not bring power. What is additionally required is "recognition" and universal critical approval. So what better way to build recognition than through winning an award? Shilpa Shetty remarked that in winning Celebrity Big Brother 2007 she had garnered the most significant "award" of her life! At the other end of cultural spectrum, the Royal Gold Medal for the promotion of Architecture was instituted by Queen Victoria in 1848 and is "annually conferred on some distinguished architect". Rather than hollow spontaneity of a "surprise", the RIBA thankfully announces their winner in advance and for 2007 the deserved recipients are Herzog & de Meuron. BB does hold one valuable lesson for the RIBA Competitions Office though: introduce inclusivity in the selection process (phone polls, on-line voting...?) and the administrative hegemony that today results in the same old tried (tired?) and tested finalists will tomorrow produce new forms of architecture. Our lines are open; are yours?

There is something wonderfully illicit and sensuous about David Adjaye's work, a magic formula that has been played out through his recent series of temporary pavilions. His fourth pavilion, Horizon, has just been unveiled. Fame and fortune are just around the corner for an architect with four major public works soon due for completion, and whose name is reverberating around the London cultural ether. The modest scale of his temporary pavilions may be mere scribbles in the wider context of his career, as an architect who is on the verge of breaking into the US, but they are a platform through which a wider artistic public can access his work. Horizon shares with his past pavilions the ability to transverse the thinly veiled demarcation between art and architecture. Adjaye gives form to the notion of material space, playing with and dissolving the binary oppositions between the ethereal and material qualities of light and structure. With a year's travel in Egypt behind him, Adjaye has clearly been inspired by the silent solemnity of the ancient land, putting the understated to work.

NB: runs till 01/03.

Tim Gardner is a young painter from Canada whose masterful watercolours and oil pastels spell out life in the cold vastness of North America. He moves adeptly between large-scale portraits and more intimately sized landscapes, perfect photo-realist pastel drawings and looser watercolours, with bleeding paint and paintbrush hairs left sticking to the paper. For these new works Gardner has painted from a variety of family snaps and holiday shots of train-rides, sunsets and winding roads, banal and grandiose by turns. In Boy On A Bus, 2006, the artist captures perfectly that particular light that comes through the grimy windows and bounces off plastic seats. In other watercolours clearly referencing the sublime of Old Masters like Caspar David Friedrich, we see the backs of one or two small figures facing into an awe-inspiring landscape. Other, much closer subjects are no easier to reach. Nick On Prairie, Facing Into The Wind, 2006, is a large portrait of a young man side on, gazing at the horizon in the half-light, the wind ballooning his denim shirt and ruffling his hair. Coupled with Gardner's immaculate copying, the softness of the pastel makes Nick in his gently inflating clothing almost palpable; and yet the impenetrable hardness of the snapshot remains.

NB: runs till 15/04.

Mark Wallinger's first major public UK show since his 2001 exhibition, No Man's Land, at the Whitechapel Gallery lacks none of the expected political undertones for which his work has become recognised. The installation reconstructs peace campaigner Brian Haw's Parliament Square protest. Like Mark Thomas, the politically active comedian who got authorisation to protest outside parliament against the need to get authorisation to protest outside parliament, Wallinger (who aptly resembles Thomas) highlights the infringement on the ordinary population of the Serious Organised Crime and Police Act, which prohibits unauthorised demonstrations within a one kilometre radius of Parliament Square. Indeed, Wallinger has even illustrated with black tape that parts of the exhibit fall within the 1km boundary. The Duveen gallery is a daunting space to try and fill, but Wallinger makes makes good use of a pertinent issue, and the results are, though not unfamiliar, intriguing.

NB: runs tills 27/08.

Whatever your opinion of one time Britpop prince Damon Albarn, you can't fault his effort. Not content with helming Blur's decade-and-a-half at the coal face of British guitar pop, the Essex-born multi-tasker has subsequently gone stellar all over again with Gorillaz, while earning quite different accolades as a creditable champion of West African music. Not content with that, Albarn formed the nameless combo being erroneously referred to as The Good The Bad And The Queen (it's the name of the album and a song, but not the band) as a vehicle for a song cycle about London, the city Alban has called home since the early '90s and often eulogised since. Equal parts Peter Ackroyd urban disquisition and a melancholic adaptation of mid-period Clash (that band's bassist Paul Simonon, also a noted painter of London riverscapes, is Albarn's right hand man here), it's an album of, by turns, bleak and uplifting thumbnail sketches of The Great Wen, ranging across history with its namechecks for everything from hangers on (those who clung to the feet of the recently hung in Tyburn Field in order to minimise their suffering) to the London Whale. Songs like "Kingdom Of Doom" and "History Song" wield urban allegory to folk guitars, ska organ and cinematic atmospheres and elsewhere the combo essay the kind of pithily memorable metropolitan songwriting not heard since the heyday of Ray Davies.

To buy The Good The Bad And The Queen online click here.

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