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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 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.


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.


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.


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.


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.



‘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 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.


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.


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.


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.