GROVES NATCHEVA ARCHITECTS
SELECTED WORKS 2015 - 2023
GROVES NATCHEVA ARCHITECTS SELECTED WORKS 20152023
GROVES NATCHEVA ARCHITECTS
Selected Works 2015 - 2023
CONTENTS
Introduction
Arc Covering by E.E. page 8
Buildings
Periscope House, Queens Park, London page 11
New Mews House, Battersea, London page 33
Park House, Fulham, London page 57
Garden Pavilion, Fulham, London page 81
Three New Penthouses, Exmouth Market, London page 107
Art Deco House, Hampstead, London page 119
New Offices & Penthouse, Notting Hill, London page 145
Furniture
Three Ships in the Night page 177
London Plane Desk page 183
Sirens Table page 189
arc covering
when born astride the nowherenothing ride the circle sky
the here enspacing might inside defy the placeless monotone herespace is soul encaptivating whole raise stones sky high meeting in embraced flight cradling all my dream nights window light
cross depths spanwise lead afar from one side show me rooms to run wild ever child
give me a place where everything begins and ground my faith on sheltered memories relay my race through mossy flying stones from circle sky to sky encircled home
E.E. 2023
for Groves Natcheva Architects
7
BUILDINGS
PERISCOPE HOUSE
Queen’s Park, London
What
A new house in Queens Park, London.
Why
To increase the value of a disused urban plot of land.
How
To its Victorian neighbours, Periscope House appears as a mysterious lantern above a single-storey brick wall along a quiet street in Queens Park. Behind, a building sits within a sunken double-height brick courtyard.
The building is free-standing and asymmetrically positioned some distance away from the courtyard walls so that a 360 walk around and three open air spaces are formed. The upper and the lower open spaces are connected via two external staircases.
The building is made of bricks and timber-framed glazing, capped with a lead roof. The timber framed lantern throws spectacular light with dramatic shadows into the living floor of the building. The glass windowwalls offer triple views and access to the open spaces within the courtyard wall. Brick walls flow from outside to the interior meet the in-situ concrete structure of the building. All of these elements create spaces that feel generous, exciting, open to the outside and safe.
The home is designed for a property developer: the architecture here seeks to speaks to the plausibly universal, to shared elements that lie beyond individual tastes and variations, whilst taking care not to become too abstract. The design is formulated to be adapted, leaving space for reshaping by the eventual end user’s character, whilst standing firm on features whose charm makes the building lovable.
10
upper courtyard sapele timber-framed window joinery forming the structure of the building at ground floor level; view from upper courtyard into living room
section through lantern
section beyond lantern
lower courtyard load-bearing brick and sapele windows forming lower ground floor volume; view from large lower courtyard onto two bedrooms
terrace
living room
ground floor plan
kitchen
passage
bedroom 1
big courtyard
bedroom 2
small courtyard
lower ground floor plan
bedroom 3
13
14 street
entrance brick perimeter wall with solid sapele entrance gates
entrance door solid sapele gate in perimeter brick wall showing entrance door open
16
17
living room sapele structural joinery and in-situ cast concrete forming lantern; view from living room onto smaller lower courtyard & perimeter brick walls
kitchen & dining area
marble and timber kitchen joinery & bespoke light fitting designed for the space by P. Nachev
18
21
living room (left) volume below lantern with view towards kitchen & dining area
kitchen(right) detail of kitchen area with side door to external courtyard passage open
22
internal stair bleached plywood stair formed within in-situ concrete void
23
bedroom corridor polished plaster walls and bespoke timber & Bakelite switches; view to bottom of stairs to left and smaller lower courtyard to the right
small courtyard bedroom sapele framed glazing with view to smaller lower courtyard beyond
24
big courtyard
brick feature stair to courtyard with mild steel handrail forming external tap
27
28
big courtyard (left) view from master bedroom onto shingle stone larger lower courtyard & olive tree
living room terrace (right)
mild steel balustrade forming edge of screed floor to terrace offering a parking space for a car
living room view from upper terrace into lantern space & bespoke metal arched light made for the space by P. Nachev
30
31
living room view from terrace looking out towards perimeter wall of land forming smaller lower courtyard beyond
NEW MEWS HOUSE
Battersea, London
What
A new mews house on a tiny footprint by the river.
Why
A modern home for newly weds.
How
The external footprint of the land is defined with high walls of blue-black bricks and the building volumes are sculpted within. The spaces created are of simple, clearly defined geometry. Stage-like picture windows frame the city outside.
The structure of the house is exposed, a nod to the craftsman’s satisfaction in making things well. Here ceilings, floors, walls and staircase show off the rigorous alignment between structure and architecture, and tell a tale of many careful hands meticulously building with quiet joy.
The living spaces are located on the ground and lower ground floors in an open plan arrangement and connected by double height volumes both internally and externally. Various areas of the living areas can be separated by sliding screens to multiply the number of rooms in the house. The bedroom is on the first floor with direct access to a generous rooftop terrace.
Although modest in size, the house contains a variety of moods, views and light that seek to cater for the richness of spirit the newly weds bring to the house.
Nothing superfluous, nothing hidden: this house is an oasis in the midst of the noisy city scape.
32
front elevation blue-black brick facade and the large metalframed picture window
34 ground floor plan lower ground floor plan first floor plan long section terrace courtyard living room kitchen bedroom
35
view from front door view into kitchen and ground floor terrace beyond
kitchen exposed timber structure painted with blue-black brick wall set at perimeter of land forming terrace and void above courtyard to lower level
37
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kitchen view from back of house to front elevation; marble and timber kitchen joinery forming top lit double height space to living room on floor below
front picture window view from front entrance door showings kitchen joinery unit forming top lit double height space to living room below
40
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main staircase view down from kitchen to living room on floor below
main staircase
white-washed open timber staircase & ceiling joinery expressing the structure of the building
43
44
study corner of living room located below open staircase & adjacent to sunken courtyard garden, the study room is formed by a sliding screen wall separating it from the double height living room
living room view from study toward double-height volume connecting the living room to the kitchen above
47
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study corner of living room shaft of light from courtyard garden
garden courtyard
perimeter walls formed of blue black brick creating a double-height sunken courtyard providing light and space for a garden in the city
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52
courtyard bathroom bathroom separated from courtyard by black framed windows
double height volume view from living room looking up to front elevation picture window of kitchen
54
55
roof terrace staircase to roof terrace on top floor
PARK HOUSE
Fulham, London
What
The home of two artists.
Why
To make an old Georgian villa and its garden come to life.
How
Reshaping the existing building and garden for a new resident is approached conceptually in two ways.
First, the layout and envelope is manipulated as though sculpting plaster. A triple height single volume is formed in the middle of the house, through which a new folded bronze staircase rises, acting as an artery linking together the internal spaces. This simple move reinvigorates the primary volumes of the Georgian villa and readies the house for a new daily routines : sculpting, painting and bringing up a family all under the one roof.
Second, the walls of the newly formed spaces are imagined as canvasses ready to receive a collage of colours and fragments of textures and reflections, creating the feeling of living in an unfinished painting. The spaces are vibrant and free spirited, evolving and reinventing themselves as they reflects the passing life of the house.
Interior decor and furniture by Beata Heumann.
56
entrance hall view ahead to the rear garden and central stone & bronze stair to left
58 main section through centre of house
59
main staircase hot rolled metal on stone plinth base and metal balustrade with timber handrail
kitchen view from morning snug looking past kitchen island through to garden
61
dining room
view from living room
through to library and garden beyond
62
morning snug room view from kitchen showing new skylight above large sofa facing new stone fireplace
63
kitchen view from rear garden into kitchen with morning snug in the distance and onto front garden
64
65
library room view from the entrance hallway
dining room view from main entrance hall way to breakfast room & garden beyond
66
main staircase detail of stone steps and bespoke metal balustrade
67
69
blue bedroom guest room on upper floor with view through to bathroom
daydream room top floor snug with garden view
70
71
blue bedroom guest room on upper floor with view to front of house & street beyond
72
first floor landing staircase traversing the central space of the house
73
master bathroom view from first floor landing to master bathroom
74
master bathroom view towards balcony & the garden beyond
central volume staircase traversing the central space of the house
76
77
master bedroom
new feature stone fireplace and cast iron inset
entrance entrance view of main house
79
front elevation
GARDEN PAVILION
Fulham, London
What
A pavilion at the end of a garden.
Why
A place to dream.
How
The Garden pavilion is nestled within a mature garden of white iceberg roses and flowering jasmine.
The structure is sunk into the ground and set away from the garden walls allowing views from the pavilion on all sides. The front elevation is symmetrical around a large bay window, which looks back at the main house. Radial brick steps on either side of the bay lead down to the entrance as if leading to a sunken grotto.
Within, a central large open space is flanked by two symmetrical smaller spaces separated by pivoting screens on each end. A bay window in the central space houses a kitchen top set at the garden level. A wood burner defines the centre, a large window to the rear looks onto a quiet ivy clad mossy passage. Japanese rain chains by each window measure the passing of time with raindrops.
The structural elements of the building are the finishes of the building. The materials used are raw and tempered, left exposed to emphasise the connection with the enchanted world of the garden. Architecture, structure and interior design are inseparable. Simple furnishings complete an evolving picture of spaces used over the years variously as a painting studio, a guest house, a library or simply a space to dream.
The garden design is by Diana Wilson of Faber & Wilson.
80
left wing view from central volume with light falling on exposed brick walls through metal Crittal windows
82
lower ground floor plan
long section
83
detail (above) exposed steel structure integrated into timber structure
detail (below)
Japanese rain-chain
85
garden view of garden pavilion from main house
central volume
a free-standing blackened metal rotating stove on a concrete base; reclaimed hardwood flooring, exposed brick, steel & timber structure off set against Crittal windows
86
89 central space central bay window forming circular space of kitchen
detail japanese rain chain, load-bearing brick walls and metal Crittal windows
90
91
detail central bay window surrounded by slow, radial brick steps down
93 central space view from right wing through to left wing
detail exposed timber & steel structure with feature lighting
94
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detail
curved steel exposed structure junction with exposed timber roof structure & feature light detail
96
detail
Crittal window & timber lining junction
97
detail flue junction with timber ceiling
central space the garden pavilion is pulled away from the rear garden wall to allow for windows back and front
99
central volume
100
semi-circular polished kitchen worktop sits level with the garden lawn reflecting the sun’s rays into the pavilion
detail timber lined walls junction with brick walls
102
103
detail hard & soft shadows falling onto brick walls
104
central volume raw steel against exposed timber panelling
GENSURCO HOUSE
Exmouth Market, London
What
Three new penthouses on the London skyline.
Why
To increase the real estate value of a client’s existing portfolio.
How
The project delivers two new floors of real estate, with independent access from street level, in the heart of London. Here, three new penthouses with majestic views of the London skyline come to exist.
The key to unlocking the value of the property is the architectural solution for a new means of access through the existing fully occupied, commercial office and retail building. The solution both enables the construction works and secures future use of the property as a high end residential.
The architectural thinking thereon focuses on utilising the two main strengths of the newly created territorythe privacy and the far-reaching views. Here the thinking is four fold. First, the building is set back from the facade. Second, solid balustrades define the facade edge, form private external spaces and enable a fully glazed facade to the residential spaces. Third, full height glazing in distinctive black metal frames, turn the city views into the distinctive feature of the interiors. Fourth, the interior architecture is kept minimal and calm allowing the focus to fall on the generous layouts, the lavish terraces, the sense of privacy and the views.
The three penthouses are secret tree houses up in the sky half way between the stars and the city below.
106
main floor
the living spaces of the penthouses are pulled away from the edge of the building and separated by a 360 terrace with a high balustrade providing the required privacy to the glazed living spaces whilst offering the rooftop views of London beyond
108 main floor plan long section terraces terraces 1 2 3 living room bed 1 bed 2 bed 3 bed 1 bed 2 bed 1 bed 2 bed 3 penthouses penthouses street level kitchen living room kitchen living room kitchen street level residential entrance residential stairs offices offices
109
stair to terrace floor
white washed spaces and natural timber board on feature walls used to create calm interiors
living room terraced balustrades create a feeling of openness to the interiors and provide a feeling of privacy
111
kitchen simple white washed spaces with strong black windows frame views that make the London skyline the feature of the space
112
roof terrace
a 360 wrap around terrace to the apartments enhances the feeling of space and light and allows for the ebb and flow of internal and external spaces
113
external facade & terrace the new penthouses are a discreet addition to the traditional building below remaining invisible from the street & mysterious when viewed from the high level buildings across the street
115
top floor terrace timber deck with far reaching views of the horizon made safe by the barely visible glass balustrade
116
ART DECO HOUSE
Hampstead, London
What
New into old. Why
Breathe new life into an elegant Art Deco home.
How
The interventions within the existing structure have a lightness of touch and tell the story of the refurbishment within the fabric of the building at every turn.
Every intersection between the old and the new has been carefully considered - conserving the spirit of the original, yet celebrating the new. For example, the areas of new brick have been coursed to clearly demarcate what is new and what is original. In place of removed windows, Whiteread-like concrete imprints of the old windows are left in place, adding to the memory of the house. Where the existing fabric is maintained and repaired the work is meticulous in it’s execution and invisible to the eye.
New colours and materials are chosen to fit harmoniously with the existing house, whilst clearly defining the junctions between the new and the old.
The finished effect is a consistent, well-balanced composition that hovers between urban simplicity and craft-based minimalism.
118
house entrance an extension is created to form a triple height entrance hall in a fabric clearly not part of but complementary to the original house
120 ground floor plan long section garden kitchen courtyard entrance hall living room kitchen entrance courtyard guest wing
house entrance a timber feature staircase connects the three floors of the house in a triple height volume with full height Crittal windows facing both the front of the house and the internal kitchen courtyard to the rear
121
entrance courtyard
a
122
connection between the main house and the ancillary building to the right is made with a triple height entrance hallway providing a glimpse through to the kitchen courtyard to the rear of the house
entrance hall
view from front entrance door of bespoke timber staircase & through to kitchen courtyard beyond
124
125
master bedroom landing view down to entrance hallway & window to kitchen courtyard
127
master bedroom landing view towards master bedroom suite & staircase to children’s bedroom on the upper level
entrance hall view down from the top landing to the entrance hall of the house with children’s bedrooms
128
main staircase white-washed plastered walls form new curved shapes against the shadow of the existing house roof structure
129
detail bespoke staircase in oiled oak with bronze detailing
130
131
detail bespoke timber staircase bending to form bench in the entrance hall of the house
detail bespoke timber staircase bending to form bench in the entrance hall of the house
132
detail
structural detail to feature staircase, oiled oak and antique bronze
133
kitchen courtyard in-situ concrete forming new courtyard wall, black Crittal windows and accoya cladding forming new extension
134
entrance hall view to guest bedrooms and underside of staircase landing
135
kitchen
an all white space provides respite from the dense variety of dark brick, patterned tiles and concrete of the external fabric
136
139 kitchen new kitchen located between courtyard to the north & main garden to the south
reorientated
141 garden facade primary spaces of the house to face the garden
kitchen courtyard view through to kitchen; new bricks forming new opening demarcating new & old
142
garden elevation
the original formal language of the house with its strong rectangular forms is respected and emphasised
143
NEW OFFICES & PENTHOUSE
Notting Hill, London
What
Making office space contemporary.
Why
To maximise the commercial value for our client.
How
The building provides three floors of new office space designed for our times. Here the boundaries between residential and commercial architecture are blurred: work spaces are comfortable, calm, cool, not commercial in their look-and-feel, and yet the building has a highly efficient floor plate and stand-of-the-art services.
A curved veneered staircase on a mild steel floor is the warm and inviting first view into the building from the street. This space is at the heart of the building and gives identity to the internal spaces as it holds the three office floors together. The offices are open plan, light filled, triple aspect spaces with large highly sound-insulated bronze windows. White washed spaces are grounded with brunt copper floor tiles. Black tracks transverse the ceilings ready to fit a variety of adaptable lights to suit flexible space configurations. Floor to ceiling glass partitions provide sound insulation while maintaining a light open plan feel.
A penthouse is nestled discreetly on the top floor: a found space within the skyline. Four walls tied by large corner windows delineate the volume of this home. A red terracotta floor mirrors the sea of roofs around. Four floor to ceiling copper sliding walls divide the space into three - one living room and two bedrooms - and guide the pink sunset light deep into the penthouse every evening.
144
communal entrance
waxed veneered
plywood, liquid plastic floor, antique bronze windows & antique bronze steel lights
146 front elevation ground floor plan entrance hall office
ground floor office burnt copper rubber floor and exposed black steel structure reference a modernist live-work sensibility
147
149
front facade antique bronze windows, antique bronze panelling & rain feature and white render
150
detial view from street to main staircase; mild steel plate floor & waxed veneered plywood wall cladding
detail entrance space with folded mild steel lacquered bench, painted brick wall, waxed veneered plywood with the curved black-brown door matt cut into liquid plastic floor
151
communal staircase waxed veneered plywood walls curved to form staircase volume, stair made of plywood treads & risers
152
detail oak handrail with bronze detail & antique bronze street light
154
155
detail
first floor landing & entrance to office space; mild steel plate floor with brightly painted office entrance door with submarine portholes
156
detail view into first floor office space from communal staircase
157
detail first floor office showing private space separated by acoustic glass walls
158
ground floor office open plan office space with triple aspect; library partitions creating pockets of space
ground floor office open plan office space with discreet glass acoustic wall to provide sound separations while allowing light and sense of openness to remain
161
ground floor office
the raised ground floor provides privacy whilst simultaneously allowing the space to feel part of the street outside
162
penthouse large corner windows to four sides of the volume provide light and a feeling of immersion with the sea of rooftops
164
penthouse
an ante room & light staircase at the first floor level form the entrance and leads up to the main floor of the penthouse
165
penthouse
the single floor plate is divided in to three spaces- one large space to the front and two bedrooms to the rear both with en-suite bathrooms; corner windows to all four sides create the feeling of a seamless connection with skyline
166
penthouse
the floor plate has a 360 terrace accessed from a number of openings; the kitchen sits behind raw bronze sliding screens which reflect the gold of the setting sun
169
detail waxed veneered plywood joinery kitchen with bronze work-top & splash-back sit behind raw bronze sliding screens
170
detail sunset rays caught on waxed veneer plywood and raw bronze surface
171
terrace
a 360 terrace around the penthouse enclosure provides a pathway for walking and contemplating the city
172
FURNITURE
THREE SHIPS IN THE NIGHT
Knightsbridge, London
What
A meeting point between sculpture and furniture.
Why
To bring three family generations together in one room.
How
The commission was to create a piece of furniture for a living room, which gathers from time to time a large loving family, scattered around the world. The brief inspired the concept of the piece - three ships meeting briefly in the night.
The lightness of boats floating on water is sought in the design to balance the size. The reference to hulls of boats allows for the piece to be oriented to the various key elements within the living room - windows, entrance door, bar and fireplace - whilst retaining a strong sculptural identity.
The furniture grouping is made up of two separate pieces which can be adjusted according to occasion. The configuration and mobility of the pieces allows for a variety of interactions and the piece look equally good with one or many sitters.
Three Ships in the Night has marquetry letters embedding in a secret location part of a poem by the 13th century Persian poet Rumi chosen by the client.
My soul is from afar, of this I am sure and there I shall return.
176
detail side seat detail with poem marquetry; Adriana Natcheva & Murray Groves in conversation
view from the rear designed to sit unapologetically centre stage in a room & impartial to the presence or absence of sitters
178
long view the piece provides as many ways to prop up human interactions as the imagination allows, Murray Groves in conversation with the maker Richard Williams
181
LONDON PLANE DESK
Surrey, England
What
A bespoke desk with tattoos.
Why
Designed for a female client in the 21 century.
How
The commission is to use two specific very large planks of a particular London plane for the design of a working desk for a home study.
Four different lines of thought are compressed to align into a single simple concept for the desk.
First, the wish to show off the beauty and unusual size of the timber planks. Second, the need to consider how the ubiquitous cables of modern life will coexist with the desk. Third, the fun in making a bespoke desk suited to the femininity of the commissioning client. Fourth, to show off the expert craftsmanship of the award winning furniture maker.
The final design can be described simply as two large planks with curved edges, held together by timber dowels leaving gaps in between.
The London Plane Desk is made by Richard Williams Furniture.
182
detail top & side connection with contrasted joints set at distances as required to manage the movement of the two large planks; gap to top & sides for computer cabling and to express the size of the two planks of wood
desk side view two london plane timber planks are held together by expressed timber joints; a horizontal piece between the two planks provides suitability; a waxed mild steel shelf is balanced on the horizontal piece
185
desk view from front a horizontal timber bar connects the two large planks that make up the desk and obscures the view of the sitter from the front; a thin, waxed, mild steel shelf extends from back to front serving as a shelf to the sitter and a display space for visitors
186
THE SIRENS TABLE
Wimbledon, London
What
A bespoke dining table.
Why
Furniture, architecture and interior design by the same hand.
How
The Sirens table is designed to sit in a formal dining room with an elaborate timber ceiling and strong architectural room layout.
The design of the furniture piece responds playfully to both. First the shape of the table is made elliptical to allow for the flow of the dining space. Second, the top is a richly polished, dark surface reflecting the delicate ceiling work and chandelier above. Third, the support of the table is the sculptural focus of the piece where the craftsmanship of the maker is expressed.
The two structural supports of the table are set apart to reveal the fireplace behind. The pieces are hand carved to resemble the gentle flow of mountain river water, as an allegory for the gentle convivial conversations floating above the table top.
The Sirens table is made by Richard Williams Furniture.
188
detail hand carved detail to supporting structure of the table
table viewed from the side the two structural supports of the table are set apart to reveal the fireplace behind
190
detail the structural supports of the table are hand carved to resemble the gentle flow of mountain river waters
192
detail the top is a reflective, rich, dark surface reflecting the delicate ceiling work and chandelier above
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editorial Edited & Co-ordinated by Groves Natcheva Architects Designed by Groves Natcheva Architects photography Alun Callender
Cockeliss
Barbetta
Groves groves natcheva architects 86-87 Campden Street London W8 7EN + 44 (0) 207 937 7772 info@grovesnatcheva.com www.grovesnatcheva.com CREDITS
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Helenio
Murray
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