The most everyday and banal of material, even a car park, or a suburban railway station is transformed into something with presence and character. Their designs combine a surrealistic sense of experimentation in form, colour and imagery, with a rigorous and intelligent approach to planning and detail. It has an essentially English quality in tune with the tradition of Hawksmoor, Soane, Butterfield and Burges.

There is a sense in the work of an enjoyment in the process of exploring a variety of approaches to architecture in the very different projects they have undertaken. Participating in the Croydon urban initiative to look at ways of redefining the threadbare utilitarianism of its 1960’s buildings, they produced playful and literally fantastic high tech gymnastics, involving inflatable structures, laser beams and showy flamboyance. This was work that was provocative, but which nevertheless engaged with the context for which it was designed, and offered genuine insights for dealing with the time expired relics of the period. Yet the Stonehenge Visitors Centre offered Britain’s most moving archeological monument a suitably dignified setting.
This was a design that rose to a sublime setting, with an appropriately powerful response, and yet did so in such a way that the integrity of Stonehenge remained inviolate. At a time when the universal uninflected space had never been more prevalent, their work was characterised by a renewed focus