At the end of the turn-around is the piece of land, with upward topography, where the Nautilus was built. It is limited by three of its adjoining properties because each of them has high buildings. The fourth adjoining property if to the west and has wide views of a green area with mountains in the horizon.
When entering from the outside you go up by means of stair and when getting inside the Nautilus through a big stained-glass window, a space experience is generated as you live the sequence of the distance traveled, where neither the walls nor the floor or the ceiling are parallels. A fluid space in three dimensions that can be perceived in the continuous dynamic of the fourth dimension when you walk in spiral on the stair, with a sense of floating over the vegetation. Two elements are outstanding: the living room emerging from the inside garden and the dining room table coming out from the wall. A continuous, large, integral area liberating shapes and with changing lights that follow the natural rhythm of man’s movements.
The social life of this dwelling place flows inside the Nautilus without any divisions. Going up the spiral stairs, continuing through the hall, going through the television room sheltered in the Nautilus belly flows the space up the spiral stairs to the study room, where you can view the mountain’s landscape.

The project is part of a vast plan of improving public spaces in the area of the Old Street roundabout, in the center of London, and whose elaboration was commissioned to architects Tonkin Liu, after having won the competition in 2004.
From the very beginning, the architects realized how important the plane trees on the site were – not just to shield the space from the busy road, but also by providing interesting shadows and, in particular, circular areas of shelter from the rain. As a result, they created a second row of trees, creating an urban “room”, paved with whitish granite. The pavement surface was conceived as a sort of screen, reflecting the lights and shadows filtered through the foliage, even by night.
The Promenade of Light project improved the public space in London by using a series of new elements that, due to the coherence and quality of the project, created a dynamic, animated, safe area, which is gladly used by passers-by.

Situated on a quiet street, in an area that is representative for Bucharest architecture - for the old city charm (low-rise individual dwellings, with a garden) and for the city's contemporary aspect as well (de-structured urban tissue, with insertions inappropriate in height and style, with buildings restored in bad taste and with semi-urban functions, such as production and storage) - the "N" villa retreats from the street, without being completely hidden, protecting its precious content from the aggressive actions of the outside world.
The street alignment is done through the two lateral facades, while the main facade is animated through uneven vertical slits, that allow it to function as a barrier, protecting the privacy of the rooms behind it, without obliterating the view from inside - the height of the slits allows the viewing of the entire horizon line in the occupants' visual field.

Adrian Soare and Eliza Yokina have confirmed their position in the first line on local architecture last year, when they won the Grand Prize of the Bucharest Architecture Annual. That was just the beginning. They talked to us about their future projects, about dreams and hopes, about freedom and its limits.

"[...] I believe we've stopped searching for established, well-known procedures, for architectural styles and currents. In exchange, we try to be very coherent in the specific responses we offer. I believe young people have realized that architecture, today, cannot be a manifesto or an isolated gesture, but that it must represent a complete and complex answer to a certain problem. And then, we must be ready to respond to a solicitation on all levels. I believe that our buildings always look different and try to convey a coherent message in a certain context." (Eliza Yokina)

The building is remarkable through the fragmented character of its volumetry, where the upper floor is slightly in console and where Oriental-influenced decorative elements and windows don't let the partition show on the facade. The only element providing the building with unity is the external finishing, in calcio-vecchio style. This has been carefully restored, with consideration towards the vegetal and zoomorphic decorative motifs. The roof has also been restored.
The interior was reconstructed with care. The monumental staircase in oak wood and the beams were cleansed, as were the fireplace decorations. The criteria behind the new spatial division was respecting the building's status as a museum. The basement, the winery and a few of the storage spaces were turned into exhibition rooms.
A new curatorial concept placed each of the old, priceless patrimony artworks in its own place. After the completion of the work process, the Zambaccian Museum has become one of the few places where one can enjoy the charm of a restored "boyar" house.