Conversion of two large railway arches into a wine drinkers’ club house with restaurant and kitchen, wine bar and cellarage space in East London.

 The existing building was gritty and industrial in use and nature, formerly housing a car repair workshop. But the arches and proposed use suggested a grander architecture.

 The word Planque is a French word that means ‘hideaway’. In line with this, the design keeps a low profile from the outside, with just the new windows along the narrow side street allowing glimpses into the converted space to hint at what is inside. The entrance adds further intrigue drawing you in through a bottle neck of two curved screens to a thick curtain hiding what lies behind. Inside at the heart of the design is a long communal table for eating, drinking and use as kitchen worktop, connecting to the open kitchen behind. Further bespoke furniture accommodates more diners and partitions a lounge area, with retail space. A giant glass display wall of bottles backs this, with temperature-controlled wine cellarage racking behind for thousands of bottles. Off the lounge area a smaller brick arched space accommodates a private dining room with deep blue walls.


Lipton Plant Architects were engaged by an existing client to rework their house situated on the private road of Fitzroy Park in Highgate. 

 The greatest asset of the property is the setting – surrounded by mature trees and rich planting. As you walk through the house and into the back garden, the pressures of the city dissipate and you begin your escapist journey.

 The design developed a sequence of spaces that gives a sense of progression away from the ‘real world’ and towards a house that is both a home and a secret garden, a physical and emotional refuge, a modern urban oasis.

The concept seeks to connect the house to the garden and equally let the garden connect into the house – allowing it to grow from beneath up into and through the interiors, with tree branches spreading through the rooms, up the walls and across the ceilings. Providing screening, allowing light to penetrate through the branch canopies and giving areas of shade below.


Lipton Plant Architects are thrilled to be at the heart of designing and developing new electrical vehicle charging hubs as part of the new electric vehicle revolution.  Working with BE.EV,  a new electric vehicle charging infrastructure provider in Greater Manchester ​appointed by Transport for Greater Manchester, we will be providing full architectural services to drive, expand and maintain the city-region’s public electric vehicle (EV) charging network.  With BE.EV, we hope to make Greater Manchester truly EV-friendly and sustainable.

Our Car-Parks will be pivotal in the future expansion plans for the NorthWest and allow EV drivers to charge their vehicles in as little as 5 minutes in a lush green ‘Car-Park’ environment.  Lipton Plants proposal will complement smaller charge-while-you-park mini hubs at retailers, workplaces, leisure centres and more.

Much of the charging infrastructure will have to be built to support a fast transition to electric. Lipton Plant Architects have taken the opportunity to reimagine a common feature of the built environment and transform urban spaces quite dramatically for the better. With electric vehicles there is no longer the risk of spilling petrol or diesel, the ground will no longer be polluted, there are no requirements for underground tanks only clean ground that is suitable for trees and roots, we can now make our charging stations green Car-Parks.


This warehouse building sits at the heart of the vibrant multicultural area in London’s East End. Over time the building has made; umbrella cases (open/closed), then lampshades (light/dark) and finally it was used as a cloak workshop (warm/cold), by sheathing, either; an object, light or the body. Ultimately the express purpose of each item manufactured was to transition between two different states, in response contrasting circumstantial change.

Despite a restrictive budget LPA passionately persuaded the client of the significance of delivering a design which communicated both the building and the area’s characteristics. LPA’s design celebrates the fact that the warehouse’s products and the local population are, and have since the 17th century, been a predominantly migrant community who are adaptable, diverse and dynamic, necessarily responsive, in transition, changing from one state to another.

We entirely re-configured and refurbished the existing building and created two new floors for 4 double height penthouses.  The new top two floors tangibly contrast and ‘sheaths’ the older building. LPA took a simple but symbolic detail from the historic fabric, the Crittal window panes (light/warm/open), which appear to transition from the original fabric of the building, changing in scale and geometry as the window panes ‘drift’ up across the surface of the new top floor envelope, finally breaking free, blending and disappearing into the light of the skyline.


The project is located in Dungeness, on the South coast.

The geological formation of Dungeness has been a process of continual environmental forces shaping the land. This movement is clearly visible in the terrain through undulating shingle ridges. The wildlife sits on a constantly shifting ground, hugging it low to avoid the salt winds.

The local architecture derives its charm from a patchwork of distinct styles – it is a place where individualists have sought to escape the outside world, building quirky and often charming homes. Dungeness’ charm lies in its inhabitants unique character, and their self-expression of this through their dwelling, each one is manifestation of their personality.

LPA’s proposal seeks to add to this patchwork by creating a home that follows the tidal movement and reflects the ridged terrain.


Lipton Plant’s Creative Strategy is based on the need to derive a new relevant story sourced entirely by identifying, respecting and reflecting (historic/present) context. This is then reflected in our designs crafted from the fabric of the present with the intent of continuous narrative enduring into the future. Our Creative Strategy guarantees particularly thorough research as a means to discover and define a unique story for each of our schemes ensuring equally that our resulting designs are as engaging, relevant, enduring and valuable as the site-specific stories which inspired them.

The Conceptual Container for The Old Bakery at Deptford Broadway draws upon the historic use of the site as bakery and the process through which the bread is made. In the process of baking, the dough is placed into a bread tin. As the dough cooks, the tin restrains the shape and the bread rises to form an arched top as it pushes up and out of the tin. At Deptford Broadway, the site is the tin; the building the dough; and the protruding bricks the CO2 bubbles rising.

On a heavily restricted mixed use historic site within a conservation area the project provides six new apartments and 11 converted apartments across a pair of converted mid nineteenth century period properties and a 4 story new build rear development incorporating a full site basement dig, brick detailing and a green roof maximizing the sites potential with a near 100% built area.

LPA took a key ingredient from the historic fabric, the stock brick – reimagining how this material could be utilised to allow the geometry of the building envelope to reflect to physical and historical context. This approach was welcomed by the planners allowing the client to achieve their required development quantum and deliver a builder to the benefit of the wider community.

Brick selection and detailing has been key to the success of this project. The colouring of the brick allows the new building to sit comfortably in its historic context and urban grain which is characterised through the use of yellow stock bricks in a multitude of varying shades and fluctuating levels of patina. Brick detailing has allowed us to represent the conceptual container in its built form. Protruding brick headers and their ascending pattern have been used to signify rising bread whilst deep brick reveals, sills and heads have been detailed around the openings to reference the ovens. Where the building elevation wraps around the existing angles and constraints of the site cut and glued angled brick corners have been used to maintain a clean crisp fold.


Creation of 24 new homes for our clients, Fennies Nurseries and Origen Developments.

There are two predominant architectural typologies along Kings Hall Road, semi-detached housing built in the early 20th century. Both typologies feature double-pitched gable end projections that form a rhythm along the street, with features that are symmetrical about the party wall line. LPA has sought to reference these typologies while producing a building that is clearly contemporary in style.


A new purpose built nursery for 150 children and creation of new homes for our clients, Fennies Nurseries and Origen Developments.

The site is adjacent to a park which was developed to be a pleasure ground when the area moved from agriculture to suburban. The design of the park was heavily influenced by the style of Capability Brown. The site is now reimagined in the form of a formal garden. This allows each nursery space to have its own garden, while the form of the nursery steps downwards to break up its massing.


We are absolutely delighted that our highly unusual scheme to turn a disused WWII bunker into a holiday home on the Dorset Coast has been granted planning permission and listed building consent. Originally part of the WWII Chain Home radar detection system, the bunker played a significant role in Churchill’s ‘Wizard’s War’. Previously lost beneath the landscape and vegetation, by re-inhabiting the bunker, we hope to celebrate the significant historic yet redundant structure as a historic ruin. By ‘blasting’ a new opening in the elevation, not only can the space be enjoyed as a holiday home, but views of the Jurassic coast are revealed.

We are particularly pleased to have planning permission granted after a yearlong planning process, which included a surprise but not necessarily unexpected Heritage Listing half way through. Thanks to Donald Insall Associates for their expert heritage input, Boyer Planning for their planning advice, our forward thinking client and our own design team.

We for one can’t wait to stay there

The project has also been featured on the BBC

BBC News:

BBC Sounds:



Lipton Plant Architects has transformed an apartment overlooking Regents Park in central London, part of the palatial, Grade I listed, Nash designed terrace.

We were engaged by an existing client to ‘rethink’ their home and to enhance the connection between the interiors, architecture and stunning park surroundings.

We drew inspiration from John Nash’s original vision for the terrace and the landscape beyond, which was designed to interact like an auditorium and a stage. With carefully framed views and staged settings, this ‘metropolitan picturesque theatre’ was intended to be enjoyed looking to and from, between the interiors and the park. Modernising and expanding on Nash’s intended arrangement, Lipton Plant Architects has reimagined and recreated a sense of theatre.

Internally, the huge 60ft central room is now framed by multiple ‘opened’ rooms, each with new views, through the columns, across the interiors and beyond across the park. The design also celebrates the terrace’s layers of history. Concrete columns created to remedy extensive WWII bomb damage have been revealed, cast and multiplied to dramatic effect. Spaces with distinctively different characters cleverly connect through new views, through staggered levels and grand double and triple height spaces.

Lipton Plant Architects commissioned bespoke, hand-crafted furniture for the scheme which delicately balances both Georgian and contemporary sensibilities. New shutters have been made to match the period windows, new plaster cornicing is a playful nod to the past, and eye-catching blue linen lines the walls of the living space, providing visual warmth, elegance and opulence.

The view from each room and of each room is created to be both a backdrop and a dramatic setting, for the unfolding scenes of the occupant’s life.

By transforming the entire interior outlook of this expansive apartment, Lipton Plant Architects has staged a completely immersive experience of landscape and architecture.

Jonathan Plant, Managing Director at Lipton Plant Architects, said:

“Working on this project has been a real pleasure for us. We were able to capitalise on the relative freedom from stringent rules that normally govern the refurbishment of a period-building whilst also creating beautifully crafted, elegant interior spaces and finishes that would no doubt satisfy the original designer and occupants. We also enjoyed embracing the theatrical analogy, the wider, historical story behind the original design – we wanted to play with this idea of a performance space overlooking the park, with the two half levels above and below the central living space as ‘backstage’ spaces. It was our intention from the outset to celebrate this important story, reconnecting the apartment, as intended, with the park surroundings and creating a new home for our clients which offers both drama and tranquillity.”


The Big House Theatre Company, known as ‘The Big House’ is a charity organisation set up in 2012. It primarily provides support for at risk young people who have left the care system and now need guidance in their rehabilitation and integration into adult life. The Big House works with these young people across a multitude of creative and cultural platforms, breaking destructive behaviour cycles that can lead vulnerable young people into trouble.

The design takes inspiration from the site’s former use as a mirror factory. A dusty old mirror reflects to create a distorted image. There is a duality of sameness and difference between the object and the reflection; in the world of theatre a duality is one of opposites.

The scheme plays upon these dualities and this is expressed through the juxtaposition of new elements within the existing fabric. The proposed interventions are moveable pieces of “furniture” which generate a flexibility within a permanent envelope.


Victoria Square in Woking town centre is a £500 million development spearheaded by Sir Robert McAlpine and is a joint venture between Woking Borough Council and shopping centre owner and investor, Moyallen Group.

The development includes the construction of two residential towers of 32 and 34 storeys, a third 23 storey tower which will be home to a new flagship Hilton Hotel,125,000sq ft of commercial space featuring the new Marks & Spencer food and clothing store above a 50,000 sq ft multi-storey car park, a medical centre and two public plazas. In addition to the new car park, sited under the M&S and retail units, the project has also incorporated the demolition and redevelopment of the Shoppers’ Red car park; a new 12 storey car park with retail and leisure use on the ground and upper ground, the total area of which is 516,668sq ft.

Lipton Plant were commissioned by Sir Robert McAlpine to provide architectural services for the Shoppers Red car park to take the scheme from RIBA Stage 3 through to completion of the construction (Stage 6).

Lipton Plant’s role has involved complex coordination between the design team and the greater consultant team. Our role has involved collaboration with site architects; Gensler, RPS Group, Benoy and McAlpine Design Group. The project has been managed and delivered through BIM 360, a unified platform in Revit and one which is at the forefront when it comes to the progressive use of technology in construction.


On a street of Victorian terraces sits a 1957 semi-detached house on a wedge-shaped plot.  To create more space, the team designed an angled two storey brick extension providing additional space and a new architectural identity.  From the sliding front door, to ‘floating’ kitchen and thin steel-framed doors, the project focuses on maximising space. At its heart is a faceted staircase, its underside creating a reading nook and on the landing, a cushioned ‘den’ area.  The project had over 500 visitors during London Open House.


The house on 9 Cruden street is the client’s first home and was previously a late Georgian Terraced townhouse. Sitting within a conservation area the street is characterised by its traditional features, branding the street on which the building sits on. The brief of the scheme was to design a home that presented large open spaces with a clean and modern setting, while harmoniously coexisting with the preservation of the building’s historic characteristics. The clients described their fondness for rich texture from timber and brick, while also highlighting a desire for clean lines, flowing spaces and natural light. By establishing the interest in the relationship between old and new, a friendship of traditional materials and modernist concepts were.


The reconfiguration of an existing nursery that lifts the overall feel and usability of the building, and enhances the experience of using it for both the children and members of staff. The proposal is a showcase example of a nursery environment that can then be replicated across the organisation’s other nursery centres.

Each space is themed by light:

Twinkle (0-1 yrs)

Sparkle (1-2 yrs)

Shine (2-3 yrs)

Rays (3-4 yrs)


The design concept is to revive the house with a missing, social heart of the house. Here, the boundaries between the formal house, square, garden and its historic industrial context are broken down and woven together like the ivy that covers much of the rear elevation. Encompassing these elements, the social heart is proposed in the lower ground floor of the house, seamlessly wrapped in garden, house and workshop


The site is most often viewed on the move as a glimpse from passing trains into and out of Waterloo. Its famous neighbour (The Newport Street Gallery) sets the screen – currently dominating the street with its collection of buildings and spiked roof. The elevated railway opposite with high rise city beyond opposite provides an ever-moving backdrop. The railway arches rhythmic pattern provide focus, interest and activity at street level. You are aware of a sense of rhythm and movement. Its neighbour – now the art gallery was originally specifically designed to paint scenery and construct large sets/props for the Theatre

Movement and display – A glimpsed view from passing trains – A moving façade – A digital canvas



Westminster has a high concentration of fine public art in its streets and open spaces, and integrated into its buildings. East Marylebone lacks the grand spaces or ceremonial thoroughfares where free standing public art is often located, and as a consequence ART in the Conservation Area is principally to be FOUND ON THE FACADES OF BUILDINGS.

Margaret Street was once known for its bustling FASHION INDUSTRY takeover with blouse makers at its heart; this has all but dissapeared. This lost industry should be represented in the facade of the building…


The facade to be a structurally decorative piece of art referencing the forgotten fashion industry of Margaret Street, and using POLYCHROMY as a way to highlight it’s features to create a landmark building. We will be stripping the building back to its bones, ready to be dressed and wrapped in fabric.


Lipton Plant’s Creative Strategy is based on the need to derive a new relevant story sourced entirely by identifying, respecting and reflecting (historic/present) context. This is then reflected in our designs crafted from the fabric of the present with the intent of continuous narrative enduring into the future. Our Creative Strategy guarantees particularly thorough research as a means to discover and define a unique story for each of our schemes ensuring equally that our resulting designs are as engaging, relevant, enduring and valuable as the site-specific stories which inspired them.

The Conceptual Container for Wolsey Road draws upon the historic name of ‘Newington Green Gardens’ and the former forest clearing which was lost to create streets and houses in the Victorian era. The terraced house sits opposite a surreal mural of a garden which has since faded, we designed the extension around the concept of re-establishing the faded mural and history, to cultivate the illusion of a forest in the property.

Using a palette of simple materials Lipton Plant extended into the roof of the house to create a new bedroom and en-suite that curves and ‘floats’ upon the top floor. The new space creates a haven in the treetops, flooded with light and warmed by timber.


‘Devonian’ is geological period, which is when plants first evolved to occupy dry land, the first time they had roots and leaves.

Our client briefed us to convert this terrace into a family home. The existing house was split into four flats, with a rugged, neglected feel inside and out with dark and enclosed spaces, particularly the stair.

The evolution of the house parallels Devonian period plant evolution, a new format of development and growth upwards, evolving light-gathering leaves, as a

direct result to the relationship of its growth downwards, by evolving roots. The stair is the root and stem, the growing evolution within the old house.




We are delighted that our Hampden Road project has gained planning permission. The Development & Planning Committee quickly came to a unanimous decision, and the scheme was welcomed by the Chair of the committee, and the design was praised by many of the committee members.

Hampden Road redevelops a former industrial site delivering a 3 to 7 storey mixed use residential led development providing 79 new homes with a work hub, police office and associated parking, play areas and landscaped gardens, terraces and walls. The scheme has taken inspiration from the sites boundary on the Hogsmill River Valley and the historic role The Thames and its tributaries have played in shaping London’s abundant natural landscapes, the development brings together the two opposing positions; nature and the built form.  The architecture of the development has been designed to knit together the sites unique contextual juxtaposition – The urban and natural landscapes. The Hogsmill River is a transition and boundary between two contrasting landscapes.

The building and its landscape provides a gateway environment, mediating between the fine grain, hard edge suburban form of the street and the expansive green spaces of the Hogsmill River Valley beyond. It has been designed as a carefully counterbalanced celebration of two co-exiting yet contrasting landscapes, one urban and one rural, a contrast that has been created and preserved thanks to the Hogsmill river.

It is a building that is built around the principles of controlled yet contrasting views (from the ground up) but is carefully manipulated to equally balance the contrasting views of urban development and the open and undeveloped, of URBAN & RURAL landscapes.

It is a celebratory portrait of a London sub-urban landscape, and a key feature of 21st century London, the greenest metropolis in Europe.


The Duke is a Hotel and Service development above and to the rear of the Duke of Edinburgh pub. Wood Green was transformed in the 1900s when the Barratts sweet factories arrived, employing hundreds and defining the area. The Duke of Edinburgh Pub was the heart of the community, serving all. Our proposal takes strong reference from these historic themes, inspired by Barratt & Bassett’s inventive sweet design. Our design encompasses the black and white stripes of a Liquorice Allsort, bringing an immediately identifiable association with joyful escapism and a national cross generational nostalgia.

The pub is retained and restored to its historical glory, ready to serve the new communities drawn to Wood Green through major developments. The provision of a restaurant, extra seating, guest rooms and residential units complements Haringey Council’s vision for Wood Green and brings extra life and commercial activity to the area.

The unique form of the rear is a direct response to the daylight & sunlight analysis, following the sun-path this form ensures no overshadowing to the neighbouring buildings. The separation of the mass into two allows light down into the void and distinguishes two ‘stacks of sweets’ that sit on top of the existing plinth level continued from the pub.


Refurbishment of a family home. The architect who designed the house was George Coles, who went on to be a successful Art Deco cinema architect, but this house, having been built in 1928, falls into the later period of the Arts and Crafts movement.

LPA’s refurbishment took the house from a state of looking a little sorry for itself, to a fresh and enjoyable home that celebrates the existing details. New additions were designed to juxtapose the existing and sit overtly and proud as pieces within a room along side the existing features with the aim of celebrating and modernising what was already a space with beautiful qualities.


Our Proposal converts existing ground and lower ground from office space to residential flat units.

We are interested in reflection. We want to mirror the surrounding to throw back natural light, creating the impression of rich luminosity. Using natural light to create artificial lighting.


This project sits on a site with a varied history. In the mid 18th century it was once the workplace of a prodigious strongman who performed balancing acts with water-filled barrels and rolled pewter plates. During the 20th century, the site was used as a paper works factory for the mass production of paper using large mechanical rollers arranged in a stacked alignment for pressing and storing the paper. Later the site was let to a family run carpet and tapestry repair and cleaning company who would stack rolls of carpet, tapestry, rugs and fabrics.

The proposal takes inspiration from stacking barrels, rollers and fabrics to generate its form.


A vision for development of a station carpark and embankment. Residential led development over commercial, with public realm benefits to improve accessibility into and around the station.


Our vision for this station and its surrounding area, at its core, strives for an improved public realm. We propose extending the public square by widening the existing bridge, creating a ‘shared space’ – pedestrians, cyclists and vehicles will occupy the same surface, increasing awareness and responsibility of all parties. This will create retail opportunities along either side of the street and over the bridge.

Providing an additional entrance to the station, with step free access, will improve connectability to the new crossrail station.


A regular client asked us to redesign their home, to improve the connection to the garden and bring daylight into the property.

We learned that our clients each had a contrasting idea of home, stemming from their upbringing – energetic and social (full) vs. peaceful and private (empty).

The site is close to Kindepore Reservoir which catalysed development in the area. Just as the reservoir triggered the area and the building of this property, we wanted our clients to experience their new home as a reservoir, that opens up and fills with people, daylight and the garden, letting them flow in, in the same way water flows into a reservoir. Bringing daylight and garden into the home allows it’s inhabitants to live a better and healthier life, the same way that a reservoir supplies fresh clean water to the local population.


The Light Works occupies a distinct triangular shaped site, bound by terraced properties on two sides, with a railway line running along the south. The site was previously occupied by a neglected car workshop which resulted in poor visual amenity for the neighbouring residential occupiers.

LPA developed a high quality, contextual, residential scheme for seven new homes, which is sensitive to its neighbouring context whilst providing a catalyst for change for this neglected area.

The Light Works makes reference to Brocks Fireworks, a famous firework company who were based locally to the site during the mid-19th Century. Inspired by the world famous light exhibitions at nearby Crystal Palace Park, which created explosions of patterns and visual interest against the night’s sky the golden metal detailing of The Light Works explodes upwards and outwards from the two-storey brick form, as though a firework has punctured through from the centre of the site.

Whilst making a direct reference to the history of the area the metal mesh also allows for diffused light to secondary windows and prevents overlooking to ensure privacy to neighbouring properties, their associated amenity space as well as future occupiers

The proposal transforms the backland site, enhancing the appearance and character of the area through its sensitive use of high-quality materials, detailing, subordinate scale and mass.


Heron Court is an existing residential building in Raynes Park, LPA were brought on board to reimagine the building and site’s potential. The residential use of the site is intensified to optimise the land use in this highly accessible and sustainable urban location. The proposal consists of a new roof extension which will provide four new apartments as well as new home to the rear of the existing building.

Through the off-site research LPA found that during the 19th century Merton was home to John Innes, the founder of the John Innes Horticultural Institute. The organisation was the first research centre for the study of plant genetics in Britain, it became world famous for undertaking ground-breaking research in plant genetics. At the heart of the original institute was traditional glass house structures and today modern controlled environment rooms and glass houses are still used at John Innes Research Centre.

The design takes inspiration from the glasshouses of the John Innes Research centre and the repeating pitched roof forms of the surrounding residential typology. The historic reference to the famous horticultural institute and founder John Innes is represented in the roof form of the proposed development but also the notion of growth and change. John Innes’ horticulturists used soil and compost to facilitate the germination of seeds into flowers. The design uses the host building, Heron Court, for germination, growing the proposal form the earth of the existing building. As Heron Court grows, its pollen will be naturally dispersed, acting as an inspirational catalyst for change and facilitating further growth in the local area.


‘Frogpool Manor’, located in the greenbelt, has been designed to preserve the character, appearance and openness of the surroundings, as well as enhance the setting of the adjacent, Grade II listed manor house.

The new scheme replaces under-utilised commercial and storage buildings on the site and will provide much needed repairs to the listed house. In addition, the existing listed cottage will be extended and upgraded, and the existing gatehouse replaced.

Accessed through the historic courtyard to the north, the new community, with its central frog pool and curving lines, is envisaged as a contrasting, contemporary interpretation of the local vernacular. The new houses have been designed in such a way as to allow modern methods of construction to be best utilised. Whole life carbon emissions have been considered in the design to ensure the scheme reflects Lipton Plant’s commitment to achieving net-zero carbon.

Jonathan Plant, Managing Director at Lipton Plant Architects, said:

“In keeping with the inherent character of Kent farmsteads, the new homes are designed around a courtyard with a ‘frog pool’ at its centre. The courtyard adopts a circular plan, allowing the houses and layers of landscaping to ripple out from the centre. The vistas of greenery and surrounding greenbelt land are carefully drawn inbetween the boundaries of each home and into the heart of the development.”


This 38,000 sq. ft. warehouse next to East London’s Old Street roundabout has been owned by LPA’s clients since the 1970s’. The multi-purpose building contains a yoga centre and commercial offices, but takes its name from it’s main function as a private university. LPA’s research revealed this early Victorian warehouse to have originated as the factory and offices of ‘The London Fancy Box Company’ printing packaging and stationary. LPA traced and met up with the 4th generation of the family run company who showed us historic methods and machinery. It transpired one of the company’s particular specialties was gold embossing. The idea of embossing; embedding a valuable layer and of leaving an impression became the buildings new story relevant to both to the historic and the present purpose of the building, as a symbol of the impression made on the University student’s minds! In architectural terms LPA ran the story throughout the refurbishment and reconfiguration of the whole building, the studio’s, office’s, classrooms and the newly created commercial spaces on ground floor.

The form and materiality of the new-build top two floors tells the story more prominently. The floor plates have been translated as the dynamic interlocking plates of an embossing die, as if the top plate has just risen up, leaving its negative now gold embossed form below it. The vacuum between the plates are the inhabited spaces, consisting of 9 new homes (multiples of 1,2 & 3 bedrooms) each with balcony gardens.


2A Lindley Road is an unusual triangular plot forming the point at which two roads converge, Lindley Road and Sedgwick Road. The shape of the plot is defined by the acute angle of the two streets and their relationship to one another.

Having previously been occupied by a house (visible on a previous OS map), the now underutilised land wedged between the two roads currently dissolves the junction between the streets and the volumes that define the site.

The scheme is a new two bedroom family dwelling with open plan living, generous spaces, and excellent amenities. Our design directly responds to the triangular plot with the first floor level offset from the ground level and the two volumes pivoting over one another to follow the splay of the site and follow the converging roads. The volumes are overlapped and bound in such a way that the proposed building hinges around the curved rear wall, allowing the building to respond to both axis, creating an intersection that connects the currently disassociated streets. The circular brickwork to the rear corner of the building both softens the corner and prevents any part of the building at first floor level from sitting on the boundary line.


A short walk from Shakespeare’s Globe and the Shard, this area is frequently divided by historic and contemporary perspectives, and uniting them creatively is justifiably celebrated.

The street’s name derives from the union of two once divided boroughs. LPA’s client; a travel, PR and media company, are split across two sites. The buildings most significant neighbour is a towering Church with a spectacular round window, famed for its recent and radical union of Catholics and Anglicans for the Eucharist. From one of the two approaches to the client’s building, it would have acted as a barrier to the church, rendering its grand historic neighbour completely invisible. The site-specific-story therefore defined the need to bridge two elements, uniting two halves, using the circle (window) to represent the whole. LPA designed a means to penetrate the natural massing of the client’s building creating a semi-circular void of curved glazed brick, a ‘visual bridge’ that unites two otherwise divided views and locations, framing the Church’s round window. The clients distinctive building, containing; expansive studios, offices, apartments and gardened roof terrace, now emphatically conveys the client’s capacity for creative connectivity and for providing focused and effective channels of communication.


The first people to drink in The Bricklayers Arms were the ‘brickies’ that built the pub and all of Shoreditch around then from the ground up, of bricks made from the local mud. During the 1990’s the pub was the epicentre of an extraordinarily intense period of creativity. It was witness and venue to; Razorlight’s roof top gig, Steve McQueen, the YBA’s and many, many other significantly influential artists, designers and musicians crossing paths, ideas and actions at this now infamous drinking hole.

The narrative of Lipton Plant Architect’s expansive design reflects the pubs most defining eras; its regimented Victorian hierarchical heritage (e.g. separate entrances and ‘brickie’s’ ideals for brick laying), in contrast to the electrical, egalitarian interactions of the artistic 1990’s.



This grand mansion building on London’s Chelsea embankment which overlooks the Thames, Battersea Peace Pagoda and The Chelsea Physic Garden is referred to by Samuel Pepys. When the current owner purchased and moved into the property 40 years ago, it had already been divided into flats from a single dwelling. LPA identified a unique opportunity to refurbish a historic building, it was cleared of alteration exposing the original fabric throughout, the roof removed and a clever and sympathetic additional floor inserted within a new roof structure. A duplex apartment across a new basement and ground, laterally across the first and second floor and a duplex penthouse at third and roof level. Restoration is evident throughout the building and an injection of colour and detail provides each apartment with a modern twist. A new lift was inserted to provide level access to each apartment, duplex apartments are readied for additional internal lifts and a dumb waiter was installed in the penthouse to bring heavy items from floor to floor. The preservation and modernisation of a once run-down and under-used building now responds to its environment and its users and provides a recognisable reason for its status as a locally listed building.


The form and format of this energy-efficient new-build five bedroom family home in Sevenoaks, was inspired by the need to negotiate the steep slope of the site. Raising the entrance by half a storey the building envelops its context, provoking a more interesting circulation around the house with a mix of interlocking rooms set around a 7.5 metre-high living space.


The design is intrinsically linked back to the history of the area and the house. The Victorian Villa is sympathetically restored including the re-alignment of the existing mis-matched rear elevation. The new extension grows from the notion of the ‘superior suburb’. It is designed to be impressive. The scale is mountainous, the walls are thick, the floor-ceiling heights tall, the door spans wide, the floor plan large. Everything is grand and over indulgent with the intention to impress. The journey through the building from the Victorian compartmentalised darker space to the extension is compressed through a new doorway to allow for a striking revelation of new large and open space.


Lipton Plant Architects has been awarded planning permission for seven new build apartments in Bromley. The proposal replaces an existing bungalow with 7 new homes aimed at first time buyers.

Every aspect of the architectural design is driven by narrative reflecting its locality; a fusion of the local vernacular, local geology and local history both ancient and modern.

The overall form is representative of the immediate vernacular, with contemporary architectural details. An inverted ‘moat’ in the form of a grassy mound provides shelter from the busy streets, planted with wild grasses from the country park.

We have designed a modern interpretation of the pair of houses that were originally intended to occupy the site, modest yet high quality, complementing its context.

We have secured an excellent planning permission, this is one of very few sites where the planning committee has supported car free development.


Horses play a key role in High Barnet’s history: The market, Barnet’s Horse races, and the high density of Coach Houses and Inns provided for travellers and their horses on route to and from London.

LPA’s ‘Horse-Shoe House’, comprising of a new community centre and 10 apartments, reflects the communities heritage in every aspect of its fabric and form. LPA’s use of red brick, the proportions of balconies and windows, the wattling style woven balconies, the white ‘porches/loggias’, all simultaneously reflect the material language of the buildings immediate Victorian neighbours and the areas Tudor architectural heritage. The rhythm of the bays and balconies break up the facade, stepping in and out; horizontally to continue the stepped pattern of the Victorian terrace, and vertically, the first and second floors overhang like the local Tudor Coach houses. At the heart of the scheme, the building overhangs a horse-shoe shaped cobbled courtyard, which provides a welcoming entrance and accommodates the mode of transport, now cars, not coach & horses.


Working closely with the artists owner of this Georgian town house in Islington, LPA invested and crafted this home / studio with the distinct personality of both space and user.

The buildings history had been turbulent having changed hands many times and left as a vacant shell for many years. We restored the building, forensically investigating what we could find in the remaining shell and painstakingly putting the building back together. We collaborated with the artist in experimental expressions of time, playfully mismatching the past and the present, creating a multitude of illusions with materiality and form; trompe l’oeil, hand-painted torn Japanese wallpaper, entrance halls of real rock, denim canopies, rope walls.

Almost the whole footprint is taken up with a basement artists studio with an intricate system for 24 hour ‘natural’ light, out of which an office/studio pops up and out at the back of the first floor garden.

The final result is a creative and collaborative triumph, utterly distinctive, made absolutely of place and people. It is a building which has to be experienced to be understood.



Lipton Plant Architects have extended and refurbished The Bath House Children’s Community Centre, in Dalston, North London. A multi-purpose building functioning daily as a nursery for children aged 1-5 and as an after-school club and holiday care. The works were successfully and considerately completed on a tight budget in 11 weeks during which the building remained in constant use. Central to the scheme’s story is an intricate tree-like form growing upwards from the now expansive open-plan multi-purpose ground floor, enveloping the stair with its mezzanines and dens until it reaches the top floor an area for quiet play, reading and sleeping nestling in the tree top. The tree represents and encourages protection, adventure, creativity and growth; physically and emotionally, and was inspired by the tree-house in ‘Robinson Crusoe’ written by the local born author Daniel Defoe. The impact of the space has already proved immeasurable on its users; children, staff and parents. The Bath House Children’s Community Centre was awarded outstanding status by Ofsted and then went on to win RIBA Awards Education Category. (see video)

The client has engaged with LPA again to further develop the works and the story to encompass the whole community centre in stages, growing in reverse; from tree, to sapling to seed!


The design is rooted in the rigorous development of a concept that is borne from investigative research of the host building and the wider context. The development of this concept and the proposal are further described and detailed in this report.

The existing building is not to be demolished and the existing fabric largely retained. It also has a reduced basement. These differences result in a proposed scheme, that has a different architectural concept and materiality. The uses for the building remain as permitted. A contemporary gallery/showroom for Aria is retained, a design and furniture retailer who have 2 further stores in the immediate vicinity. Aria require additional space to allow expansion.

Above the new gallery will be a residential unit of a similar size to the permitted scheme offering a 2 bedroom dwelling of the highest standard making use of this unique site. The proposal has been designed and developed through research, creating a proposal that although contemporary is completely of its place and deeply rooted in the history of the host building.


LPA recently completed and won the design proposal for this prime London location and historic Society in North London.The listed historic building is on the village green and LPA’s scheme will have a significant impact on the whole community as it will engage and invite locals in to the new and old spaces and facilities of this historic Society never previously accessible to the public, whilst respecting the requirement of the existing members.

LPA’s design proposal will physically and spiritually create a connecting ‘spine’ through the maze-like old areas to the zig-zagging new buildings, from the private to the public areas of the site.

Taking up almost 50 percent of the site, the new building will openly entice curious users. At street level a transparent new caffe welcomes you, as you step in, you find yourself to one side of an unexpected amphitheatre-like stepped courtyard. 125 linear metres of books, previously only accessible by appointment, snake around the courtyard taking the form of a ramped zig-zagging library.

The challenges of creating a design, working with a listed building, with difficulties of access and exits and complex user requirements, were not insignificant.

LPA resolved this with such a coherent concept and form that not only provides new facilities to all users of all ages; members of the society and members of the general public, but by developing and expanding this already historic site, provides the area with an iconic landmark.


‘The Light House Complex’, a mixed use scheme comprising 179m2 commercial space and 9, 2 x bedroom homes, celebrates the birthplace of British Film and its most remarkable local inventor. Known simply as ‘Daddy Paul’ in the film industry, Robert Paul (1869-1943) who lived, worked and filmed in the nearby streets, invented and pioneered films and projections of local characters and stories. LPA have created a light defusing void that cuts through the substantial massing of this building. Like ‘Daddy Paul’s’ ‘urban lense’, the building and its ‘light beam’ reflects and projects into local life. This major complex provides a shimmering tribute and a distinctive focal point on the local streetscape.


The previously introverted lower ground floor of this family home, with closed-in corridors and segregated rooms has been transformed. Introducing light and delicacy LPA has created an extrovert double height glass space that reaches out across three levels making connections with the garden. A glazed tryptic; a ground floor balcony, an oriel stair seat and an internal study window, overlook the double height space and garden, creating connected, light filled and playful spaces that resolve and enhance the family’s specific requirements and rhythms.


Championing the power of great architecture by transforming undervalued and unloved British housing stock, Lipton Plant featured on Channel 4’s ‘Ugly House to Lovely House with George Clark.’ Co-Director, Ed Lipton was selected as one of five top British architects, who each grappled with redesigning an ‘ugly’ house. Our team worked under challenging budget and time constraints to revitalise the 1970’s semi-detached house within the suburbs of Wokingham. The goal was to remodel the owner’s building into a home that lived up to their specific needs; physically, aesthetically and emotionally, and to generate excitement and pride. A bespoke and highly designed extension transformed the house and provoked a surprising and inspiring journey for all involved.


This projects aims to eschew the idea that adaptations to locally listed buildings need be ‘in keeping’ to be successful.  Here, a modern extension opens up the rear of the property. Using contrasting blue slate brick work to separate the old from new and enhance the existing structure.  The bold ground floor extension is topped with glass, which forms both a study space and walk-on glass roof terrace accessed through a door, disguised to appear like a traditional sash window.  The project won a Brick Award.


Embassy Lodge, a block of flats in North London was one of the first buildings built by the client’s father in 1965 and his developer daughter’s requirements where that the authenticity and original fabric of the building should be preserved as much as possible. LPA was invited to build a small roof extension, but during a site survey LPA discovered the plot’s untapped potential. The large basement was lying redundant, the apartment layouts were clunky and inefficient and a significant external area lay unused. Confident of maximising the space potential and value, LPA proposed a wider strategic redevelopment. Embassy Lodge was restored and re-configured, adding balconies with views across the park and a top floor penthouse level which increased space by more than 60%. LPA also gained permission for Embassy Mews, a 3 storey new-build comprising of 3 additional apartments, in place of the dilapidated garages. Now two buildings, Embassy Lodge and Embassy Mews face each other across a newly landscaped courtyard. LPA transformed the plot from 11 to 21 homes consisting of 1, 2 and 3 bed apartments which were all fully tenanted within two weeks of completion.


We were asked by our client to convert existing 3 storey dwelling into flats and develop the garden of an existing house.

The site is in a central London location, and entering the existing building there is a strong sense of transition. There is a transition in the street rhythm as you approach the site. There is a shift from loud to quiet as you walk from the front to the rear of the building, and an evolution in the quality of light and proportion through the existing building.

Our proposal took this theme of transition as a starting point, the idea of transitioning from one state to another.


This family home had been manipulated over the years into an untidy maize of small rooms with poor circulation.  Lipton Plant’s work reconfigured the property to provide a single staircase, leading to five generously sized bedrooms and a dramatic two storey extension providing living space and study.  From the stained cedar frame of the glazed rear addition drawn inwards to form warm wood walls, to the rotating space dividers and concealed children’s sandpit – this project is a celebration of bespoke joinery and detailing.


Historically Highgate consisted of 4 areas of ancient woodland. A regular client came to LPA with a compact garage plot which sits directly on one of these woodlands, once used exclusively for coppicing. Our brief was to provide housing on the site while maintaining some of the existing garages, and to incorporate our design into an extensive landscaping proposal.

LPA created a design and planning proposal for a gathering of three houses, a woodland-like cul-de-sac, entirely complementary to its context. We did this through exploring the materiality of the houses in relation to the traditional process of woodland coppicing, and exploring how the buildings could grow around the existing garage buildings.






Remodelling and extending a primary school. The school  is named after William Tyndale who is acknowledged to be a founding father of the English Language. Tyndale translated the bible from Hebrew and Greek in the 16th century with the aim of making it accessible to the masses. In doing so, he coined a number of phrases that we still use now.

“LET THERE BE LIGHT”  – One of the most powerful and commonly known of Tyndale’s use of language.

The proposal focuses on bringing light through to all the spaces and in making the inaccessible existing spaces accessible – reflecting Tyndale’s purpose, that accessibility to knowledge is empowerment.


This was a house of two halves, generous and light-filled on top, awkward and dingy beneath.  Transformation into a cohesive family home began with conversion of a Juliette balcony into a glass terrace which extends outwards to form the roof of a new 3.5 metre-high kitchen and living space.  This glass and concrete space is enlivened with bright upholstery, a wide planked timber wall and accents of colour from concealed low energy colour-changing lights.  To date, this is our only project with an indoor swing.


The community approached LPA to design a War Memorial and a village Community Hall. LPA looked at the problems with the village infrastructure and planning problems and devised a design that combined the two, suggesting ‘The Memorial Building & Gardens’. Due to traffic the village was being brought to a stand-still at different times and locations in close proximity to the site (schools, shops etc). LPA calculated the requirements for the village  and resolved the problem by designing a large scale stacked car parking facility below ground, under their building. The land at ground level is no longer needed for cars. LPA designed a landscaped garden which plays almost as significant a focus as the building in LPA’s proposal. The Memorial Building both represents the gratitude of the local community to the soldiers sacrifices in both World Wars and looks to the future in the buildings capacity as a Community Hall by provoking and providing multiple community functionality and bring different generations together. The buildings form is made up of horizontal rectangular ‘blocks’ which bend and wrap over one another from ground to first floor, supporting and knitting together then gathered around a central core.  The form reflects the co-dependence and support between each generations of the community, between past and present. As a whole this design solution is a village masterplan, resolving transport and congestion issues, generating a physical and psychological focal point, which is both a tribute to the past and the future and gives the heart back to the community.


The project is in Charterhouse Street where the boundary between two London Boroughs form. With the immediate notion of opposites the project is lead to explore contrasting elements within the area; the diffusion of calm and busy, quiet and loud between Smithfield Market and the streets surrounding depicts the juxtaposition of lifestyle from day to night. These contrasting attributes are woven into the brief where the design essentially provides a live and work environment for the client.

More contrasting elements:

-City Workers and Butchers

-Facades: plain and decorative

-Contrasting political views

Charles Dickens tale of two cities


LPA’s client bought two houses in the London borough of Hackney because the very large garden to the rear provided the potential for backland development. First LPA identified and partitioned off the land needed for the original houses. The remaining plot provided a quiet, tree-filled respite from the main road, but also a huge range of planning and development restrictions including; tree roots, overlooking, access, garden plot size, basement light wells, internal and external amenities.

Using the multiple and uniquely site-specific restraints themselves to define the story and the spatial envelope, LPA started with a block mass model and pushed, pinched and pulled into every available area to maximise space.

Working within rather than against the restrictions provoked LPA’s site-specific design solution for 3 houses, each with; basement, ground and first floors and each with their own private gardens.