Fitzrovia House
This project unites a Georgian townhouse with its former mews and introduces a new penthouse art studio and urban terrace. A sequence of deliberate transitions connects each level, establishing clarity between spaces and a consistent material language throughout.
Context sits at the heart of every project we undertake. Behind a handsome exterior and imposing façade, the interior had suffered from a series of unsympathetic alterations. The upper levels had been stripped of character: modern plasterboard linings, cornices, doors and fireplaces lacked any real authenticity. A 1960s brick extension and asphalt roof had replaced the original roof structure. At basement level, the historic plan had been lost entirely. A sequence of stepped levels stretching back to the mews had disrupted any sense of flow and blocked natural light. Much of the building’s original character had been erased.
From basement to third floor, the historic plan was reinstated. Contemporary additions were removed, and multiple layers of modern plasterboard stripped away to reveal the original structure beneath, allowing the building to breathe again. Where possible, original elements such as timber shutters, the staircase, handrail and spindles were carefully restored. In places, surfaces were intentionally left exposed, such as the brickwork on the first floor, which was repointed with lime mortar and finished with a lime wash. These decisions provided a framework for a more contemporary architectural language that sits in quiet contrast to the restored fabric.
Across the ground and first floors, heavily stained timber boards were sanded back to reveal the original pine, then finished with white oil to create a softer and lighter atmosphere. The limewashed walls and brushed limestone stair treads were treated with the same level of restraint. The black steel spindles were waxed, and the existing handrail, previously heavily polished was pared back to a tactile, understated matte finish. An oversized Palladian fireplace, salvaged from a Wiltshire mansion and installed over 150 years ago, stood in what would become the new kitchen. Joinery and kitchen cabinetry were conceived as freestanding furniture, finished in brushed aluminium and fumed oak. In the master suite, each space was defined by a distinct material language: the bedroom wrapped in timber linings, the dressing room in light brushed aluminium, and the bathroom in polished plaster and travertine.
At basement level, the previous layout had resulted in a series of dark, disconnected spaces. The plan was rationalised, and new panelling and joinery now guide movement through to the mews.
The original floor between ground and first floors in the mews was not reinstated. Instead, the basement level of the main house was extended into the mews, with the floor dropped by approximately 1.5 metres. This created a dramatic 7 metre floor-to-ceiling height and a generous multifunctional space used for listening to records, hosting exhibitions, and screening films. A large window fills the space with natural light, emphasising the texture of exposed concrete surfaces. A fluted timber wall conceals storage and a media room beneath the courtyard, while above, a cast concrete coffered ceiling introduces depth and material weight.
A new rooftop extension completes the project. Cast in concrete, it offers a deliberate counterpoint to the historic structure below. A deep lintel spans the width of the building, anchoring the addition with a sense of quiet permanence. Beneath it, faceted concrete walls form a sculptural volume animated by light and shadow throughout the day. The adjacent terrace offers a place of calm above the city.
There is variation across the house which quietly reveals itself. Each room serves a different function and has its own identity, but there is a clear consistency in the material language and detailing throughout. The transitions are deliberate and carefully considered.
It was also a true collaboration. The client supported our ideas from the beginning, which gave us the freedom to be both precise and ambitious in the way the design developed.
Photography by Michael Sinclair
